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For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

For years, EYRE LLEW were defined by motion.

Cities blurred into one another. Borders became routine. Airports, night drives, ferry ports, backstage rooms, festival fields, hotel corridors, and long-distance journeys stitched together into a single continuous life of movement. Success, such as it existed, was measured in miles travelled, crowds gathered, and momentum sustained. The band moved because they had to. Because stopping felt like failure. Because “making it” always seemed to live somewhere just ahead.

Then the world stopped.

Lockdown didn’t just interrupt EYRE LLEW’s trajectory; it dismantled it. The relentless forward motion that had shaped their identity for over a decade disappeared overnight. Tours vanished. Plans dissolved. The infrastructure of their lives as musicians collapsed into silence. For a band built on movement, it felt devastating.

Written across lockdown and the years that followed, the album is not a record about absence; it’s a record about presence. About love that feels like home. About stillness as strength. About devotion without spectacle. About grief without melodrama. About healing without performative optimism. About growth that doesn’t announce itself loudly, but happens slowly, privately, and honestly.

After years of movement, it is EYRE LLEW learning how to stand still and discovering that this is where the real growth starts.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

"Based in Thiers (63), Ernest Bergez, also known as Sourdure, has been walking a tightrope for the past ten years, combining a spirit of experimentation with a personal, handcrafted approach to traditional music. Affirming and transfiguring the ""Sourdure-esque"" aesthetic, Outredore unfolds a surprising array of discoveries in Occitan and French: hallucinatory laments, oblique rhapsodies, and carnivalesque odes.


A generous and respectful invitation to build unexpected bridges between disparate sonic worlds, the album extrapolates the modal vocabulary specific to traditional Occitan music, blending it with stylistic elements from around the Mediterranean. Carried by a voice more raw than ever and caught in the ebb and flow of a troubled era, Outredore's songs explore the relationship between the personal and the political.


Vulnerable, faltering and visceral, Outredore evokes a nova cançon occitana that has traded folk guitars for electronic machinery."

Whispering Ln. Vol. II was recorded between 2018 and 2019 in America, alongside the pieces that formed the first album. These recordings belong to the same time and space, shaped by the same quiet focus and slow attention to sound.

While remaining rooted in minimalism, this album introduces several more rhythmic pieces, drawing inspiration from early electronic music – echoes of composers such as Tom Dissevelt and Raymond Scott.

Movement and stillness coexist throughout this record. Rhythms and patterns shift and occasionally dissolve. The music asks for little and offers even less explanation, inviting listening without urgency – to slow down and remain present. May it offer a moment of calm, where time loosens, and attention gently settles.

Whirr and Luster have been orbiting each other for years, bound by a shared language of glide guitar, buried vocals, and volume as emotion. A through line that’s only deepened by Nick Bassett’s hand in producing and mixing the majority of Luster’s previously recorded output. The Whirr & Luster Split pairs one of American shoegaze's most storied bands with one of its most vital new voices across four new songs. Out on 12" EP, CD EP, and digital via Freewhirl Records. Splits are sacred territory for Whirr. More than a decade after the band helped define the modern heavy-shoegaze landscape, the Bay Area five-piece returns with its first new material in years. “Spiral Again” opens the record in classic Whirr fashion: an avalanche of guitar wrapped around a lyric about losing yourself in someone else’s gravity — spiraling, intertwining, coming down together. “Wish I Could Give You The World” follows, one of the most openly romantic songs the band has ever recorded, all wildfire imagery and dizzy devotion, desire rendered at full volume. Produced by Whirr and Zac Montez, both tracks find the band in signature form: enormous yet tender. On the flip side, Los Angeles' Luster continue their run as the standouts of the new shoegaze generation. Formed with the intent of pushing the genre forward rather than reenacting it, Luster fold electronic pulse and '90s texture into walls of glider guitar, and the two contributions here find the band in peak form. "Against the World" is a love song as a locked door — it's you and me, us against the world — claustrophobic and comforting in the same breath. "Forever" closes the record in a haze of doomed-romance repetition, a mantra of do you feel it now dissolving into the knowledge that nothing lasts. Also produced with Zac Montez, the songs make the case plainly: Luster aren't students of the form. They're peers. Taken together, the four songs read like a conversation. About distance, obsession, and the ache of never being able to give someone enough — carried across two coasts and two generations of a genre that refuses to fade. Loud, longing, and gone too soon: the Whirr & Luster Split, out September 18th. Whirr and Luster celebrate the release and cement the collaboration with two shows — the only U.S. Whirr performances of 2026, with no shows planned beyond them. Each night features a unique set built from rarities and live debuts, alongside exclusive vinyl variants and merchandise available only in that room, on that night: 9/18 — Los Angeles, CA @ The Wiltern 9/20 — New York, NY @ Brooklyn Paramount Two nights, two coasts, and no telling if there’s a next time — for the songs, the pairing, or the band itself.

Liam Hayes is an acclaimed American musical artist known for his songwriting and uncompromising approach to making records. He started cassette multitracking while a preteen and made his first real studio recording at twenty one. This started an obsession that ultimately led to his releasing a 7” single (Found A Little Baby/Three Quarters Blind Eyes) on a small US indie label. Those tracks garnered the attention of the UK music press, and on the strength of those songs a career was launched. The follow up was highly anticipated by critics and listeners alike, but rather than playing to expectations he delivered a highly personal album of solo piano/vocal songs (More You Becomes You). Not one to repeat himself, Hayes started off the millennium by serving up the extravagant pop/soul opus (Fed). Both records are now considered to be masterpieces.

Hayes’ songs are recognised for their exquisite melodies, poetic lyrics and distinctive vocals. He’s released seven albums, two singles and a soundtrack, and applies his craftsmanship to a variety of genres from orchestrated pop to stripped down rock. Comparisons to Brian Wilson, Laura Nyro, Carole King, Harry Nilsson, Badfinger (and even Prince) are numerous. His music takes the best of radio and stellar classic pop records of the 60’s and 70’s and brings it into the present.

Along with making records Hayes has appeared on screen performing his music in High Fidelity (directed by Stephen Frears) and A Glimpse Inside the Mind of Charles Swan III(directed by Roman Coppola) which he also wrote the soundtrack for.

In this, their first production for Hayes, are (executive producer) Terrence Washington and (multi-instrumentalist/producer/arranger) Vincent Carlo with additional contributions from Terrence’s father, legendary arranger TOM TOM 2084 (Chi-Lites, Phil Collins, Plush).

His latest album, Dancing Backwards, sees Liam stepping through the shadows in his life and into a new musical day.

Julis Erfolgsalbum „Ein neuer Tag“ erscheint erstmalig als hochwertige Colored 1LP Edition und bringt
einen der prägenden Meilensteine der deutschsprachigen Popmusik als besondere Sammlerausgabe auf Vinyl
zurück.
Mit ihrem zweiten Studioalbum knüpften Juli 2006 nahtlos an den Erfolg ihres Debüts an und erreichten
erstmals Platz 1 der deutschen Albumcharts. Songs wie „Dieses Leben“, „Wir beide“, „Zerrissen“ und
der Titelsong vereinen eingängige Melodien, kraftvolle Gitarren und die unverwechselbare Stimme von Eva
Briegel zu einem zeitlosen Sound zwischen Aufbruch, Emotion und Hoffnung.
Die Colored 1LP Edition verleiht diesem modernen Klassiker einen besonderen Sammlerwert und macht
das Album zu einer Bereicherung für jede Plattensammlung. Ob als nostalgische Reise zurück in die 2000er
oder als Wiederentdeckung eines der prägendsten deutschsprachigen Pop-Alben seiner Zeit, „Ein neuer
Tag“ begeistert bis heute mit seiner unverwechselbaren Atmosphäre und musikalischen Qualität.
Sichere dir jetzt die Colored 1LP Edition und erlebe ein Album neu, das eine ganze Generation begleitet
hat.

Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow.

Remastered limited edition double vinyl with double-sided screenprinted poster-cover (sleeve folds out to be one huge poster). A real collectors item!

When Off Off came out around June 1984, one couldn’t speak of an independent music scene in Portugal. Warm Records’ vague existence didn’t have any impact and Dansa do Som’s inaugural release appeared only in December. 10 years after the revolution, after two IMF interventions, a lot of political instability (not to say turmoil, in the first couple of years) and the natural excesses of a sudden burst of freedom, the Portuguese consumer had more choices but a generally poor standard of living. There was no entrepreneurial culture and serious second thoughts about investing private money in risky ventures.

After many complaints about the whole music scene (institutions, critics and record label executives, popular and classical music alike), something that would continue well beyond the end of the decade, Telectu decided to finance, record, produce, release and sell an album with complete independence from outside structures. Their karmic reward was profit. According to Vítor Rua, Off Off was the only album fully payed by the duo and the only one that really payed off. Not an easy accomplishment for a double LP housed in a large (also double-sided) screenprint with complicated cuts and folds. The artwork was conceived by António Palolo, a friend and multidisciplinary artist. It was based on a collage of heavily saturated and xeroxed polaroids framed in shocking pink and green. Palolo was considered the third member of Telectu, regularly producing slides, video and other visual support for their shows. The inspiration for the type of cover came from GRM’s Gramme series.

Off Off is divided in four distinct sides, each one corresponding to a “theme” or “function” related to Telectu’s manifold artistic interests and interactions. The titles are also gateways to influences and a small portion of Portuguese cultural life:

- Side 1 / “Diagonale” is dedicated to Egídio Álvaro, art critic and gallery director (he opened Diagonale in Paris). Performance art was arguably his main artistic concern over the years, so the music on this side is suggested for use by one or more performers in live or playback situations. The three tracks segue into each other, linked by a synth arpeggio much in the same way as Telectu’s previous “Belzebu” álbum (1983);

- Side 2 / “Anarké” is dedicated to the composer Filipe Pires, one of Jorge Lima Barreto’s recurring invocations when asked about worthwhile contemporary music in Portugal. It is subtitled “concert music”, proposing «a new form of listening». Three tracks also, and these are separated by “clap interludes”, which basically consisted in the following: JLB and VR each had a pair of headphones on, and they clapped their hands according to the rhythm of the music each one was listening. Both musicians were interacting with a different Steve Reich piece: Vítor with “Music for Mallet Instruments”, Jorge with “Six Pianos”. The result is disjointed clapping, an awkwardly deliberate celebration of their own music. Telectu applauded themselves.

- Side 3 / “Cornucópia” is subtitled “music for theatre” and dedicated to Luís Miguel Cintra and Luís Lima Barreto (JLB’s brother), both connected to the Cornucópia theatre company. The side consists of several short pieces previously used as interludes in the Cornucópia staging of “Mariana Espera Casamento” (1983). Field recordings, mood pieces, ambience and a numeric poem (“Soneto Soma 14x”, by E.M. de Melo e Castro) read by João Perry, a quite well-known stage actor. His voice is treated with a flanger effect;

- Side 4 / “Palolo” is “video music”. It’s a one-take mix recorded from cassette sources (Telectu studio experiences) and done live while watching António Palolo’s Om film (1978) projected on the living room wall. It’s a deep, immersive, quasi-mystical 20-minute piece perfectly suiting the meditative, abstract, fluid images created by Palolo by mixing paint and water inside a bathtub. One imagines the Cosmos, hardly suspecting the technique. The film is 90 minutes long, so the music on the LP is of course edited.

The six titles on sides 1 and 2 evoke demons, all of them with conflicting symbolism, since it varies from culture to culture, religion to religion. No explanation is given and Vítor Rua has no idea where this imagery comes from. During virtually the whole stretch of the 1980s, Jorge was the one in charge of titles and concepts, and Vítor didn’t bother too much even reading the liner notes :) In any case, when you synchronize the listening experience with the imagery, a powerful impression emerges, a feeling of being in the presence of these entities while placing yourself inside the sonic narrative.

Off Off is undoubtedly a seminal album in the history of electronic music, as much Heldon as Fripp & Eno, jazz and American minimalism, cosmic out-thereness, mantric miniatures. Telectu at the height of their powers, still very early on, delivering an album-manifesto advocating intermedia art and the fierce independence of Portuguese musicians «from the scum of capitalist music industry monopolies. It’s a path to follow, albeit one that requires enduring hardships and retaliation from music industry gangsters.» Despite a few journalists deemed «capable of being free», the media are «enslaved by the dominant and fascist imbecility of the speculators of light music.» Off Off is addressed to those journalists «and to an audience angry at the cultural misery imposed upon us ..., certain that this music will open new horizons of musical pleasure in the conception of Portuguese avant-garde music, and in the open consciousness of us all. OFF OFF repeats Freedom.»

Those two words are a direct lift from Alberto Arbasino’s 1968 book Off Off, the basis of which is a critical analysis of Theodor Adorno’s and Dwight MacDonald’s ideas concerning the stratification of culture in different levels (high, mid and low) and the pervasiveness of mass culture in the form of a culture industry. In very simplistic terms, and that is precisely the point that inspired Jorge, Arbasino argued that it was possible and desirable to effect a revolution from below, cultivating alternative circuits completely cut-off from what he termed the in-in reality. Telectu’s record was a deliberate demonstration that it could be done, displaying Freedom in the face of all the gatekeepers and other human obstacles.

For their third album, Under The Reefs Orchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clément Nourry (guitar), joined by Marti Mélia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recorded at Robot Studio in Ghent by Pieterjan Coopejans,
orchestra also expands with distinguished guests – An Pierlé, Catherine Graindorge, and Alejandra Borzyk – who upset the balance and ignite the embers of improvisation. Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continues to roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praised by the international press (Earmilk, Spin Magazine – which ranked Sakurajima among the 22 best albums of 2022), the group stands out as one of the most daring projects on today’s vibrant Belgian scene.

Pioneering Ghanaian musician King Ayisobareturns September 4, 2026 with his forthcoming seventh album Pure Confusion, recorded and produced by On-U-Sound’s Adrian Sherwood.

Ayisoba is one of Ghana’s most distinctive musical voices. The world’s foremost player of the kologo - a homemade two-string lute fashioned from a calabash and covered in goatskin - he delivers fiercely political and socially observant songs using three different voices, including the voice of his grandfather that possessed him as a child. Sherwood meanwhile is the pioneering British producer and founder of On-U Sound whose hugely influential career has connected dub, post-punk, industrial, hip hop and experimental music through collaborations with artists including Lee “Scratch” Perry, Mark Stewart, Horace Andy, Sinéad O’Connor, Nine Inch Nails and Depeche Mode.

Ayisoba and Sherwood first collaborated during a BBC Radio 3 Late Junction session at Maida Vale in 2017, organised by Ayisoba’s long-time collaborator Arnold de Boer/Zea of The Ex. The pair immediately connected, and during the pandemic, when Adrian’s long-time African Head Charge collaborator Bonjo Iyabinghi Noah was in Ghana looking for musicians to collaborate with Sherwood suggested Ayisoba, who eventually featured on two tracks on African Head Charge’s 2023 album A Trip To Bolgatanga (Bolgantanga is the region Ayisoba is from). Ayisoba then returned to the UK in late 2024 and travelled to Sherwood’s Ramsgate studio where the pair laid down the songs that would become Pure Confusion: “All the songs were already in my head,” says Ayisoba. “This album is all recorded live, over one afternoon. Adrian only plays live, and I like that. And he works hard - he doesn’t sleep. I woke up in the night and he was still working.”

“In my role producing it, I just let it roll to make a good vibe,” says Sherwood. “We recorded it completely live, did some programming and processing on some tracks, using dub techniques live on the mixing desk and adding some slick touches. We wanted the colours on the album to swing off what Ayisoba was doing, so we invited some friends to participate. Doug Wimbish (Sugar Hill Gang) arrived from America and lent his services playing bass on a couple of tracks; the wonderful Ivan Hussey (Celloman) played bass, keyboards and cello - cello is not really featured on African recordings so we thought it would be really cool to try it. I'd been working with Alex White (Fat White Family/Primal Scream) on my album (The Collapse of Everything) and so he added sax to a few tracks and I brought Alan Glenn down especially - Alan was in Little Axe but also Nine Below Zero and played in the Yardbirds – to add some mouth organ; Mark Bandola added a bit of flavour with his Juno, Ayisoba’s long-time Ghanian collaborator Ayuune Sule added some percussion and vocals and Matt Smith did some programming.”

“King Ayisoba is quite amazing, so unique,” Sherwood continues. “He’s got his own handmade instrument and three different voices - when you’re listening you think it’s three different people. He’s a breath of fresh air, full of love for the music which he wants to share with everybody. Some tracks we kept very straight and others we experimented with - adding dubby psychedelic little touches to trip you out a bit. The added production we did at On-U has given it a shine while still keeping it vibrant, live and spontaneous. I’m really proud of this record”.

On Pure Confusion, Ayisoba documents the anxieties, contradictions and changing social realities of contemporary Ghana. “Land is a problem for everyone,” says Ayisoba of the opening track “Property”. “If you don’t build on your land they will take it away. Plenty corruption in Ghana, plenty confusion. They sell the land to two, three, four people and then everybody fights.”

Elsewhere Ayisoba explores illness, spirituality and social stigma on “Bemba”, warning against hiding sickness out of shame or fear of “bad juju”: “People hide their sickness and the sickness kills them.” “Tewigiloge” reflects on cultural difference and open-mindedness encountered through world travel: “We will tour the whole world and we will see many things we may not like or understand… your eyes will see, but don’t talk - you have to be open-minded.”

Spirituality runs deeply throughout the album. Ayisoba’s grandfather was a respected spiritual healer whose presence the musician says still guides him today. “The grandparents’ spirits are the ones you can contact,” he explains of the spiritual chant “Nkaase”. “This song talks about the forefathers.” The closing track “Leeda-Mampanga (It’s Not My Strength)” acts as a statement of humility and gratitude: “You have to be humble, even if you have talent. God gives you the power.”

For more than two decades, King Ayisoba has been one of Africa’s most distinctive musical innovators, transforming northern Ghanaian kologo traditions into a bold contemporary sound rooted in hypnotic rhythms, social commentary and spiritual intensity. Since the breakthrough success of 2006’s Modern Ghanaians, Ayisoba has built an international following through acclaimed albums, relentless touring and collaborations with artists including Lee “Scratch” Perry, Orlando Julius and African Head Charge. Performances at Roskilde, WOMAD, Le Guess Who? and the Barbican have further cemented his reputation as a singular live performer and cultural force.

505 Games und Laced Records präsentieren die mitreißende Musik von „WUCHANG: Fallen Feathers“ auf Doppel-Vinyl.

Die gesamte Musik wurde von Joe Caithness speziell für Vinyl gemastert. Das Gatefold-Cover ziert ein Artwork des Entwicklers Leenzee, das den Protagonisten Bai Wuchang darstellt.

Die Handlung spielt im Land Shu während der Ming-Dynastie, und die Filmmusik spiegelt eine Welt wider, die von kriegführenden Fraktionen, einer mysteriösen Krankheit und monströsen Kreaturen heimgesucht wird. Die Musik fängt die feierliche Schönheit der Landschaft und die darunter lauernde Furcht ein und verbindet traditionelle chinesische Instrumente und kraftvolle Gesangsdarbietungen mit grandiosen Orchesterarrangements und unheilvollen Gesangseinlagen.

Zusammen bilden Musik und Artwork ein Werk, das sich zugleich elegant und unheilvoll anfühlt – ein Artefakt, das der untergegangenen Dynastie, die es repräsentiert, würdig ist.

Ein Gespräch mit Thee Sinseers kurz vor der Veröffentlichung ihres neuen Albums ,Love Stories" bei Colemine Records macht eines ganz deutlich: Dies ist kein Album, das eine glatte und ordentliche Liebesgeschichte erzählt. Es geht hier nicht um das Happy End. Es geht um alles, was davor, danach und trotz allem passiert. Auf dieser LP hat sich die Band auf eine erdigere Instrumentierung konzentriert - Kontrabass, Gitarren, die durch Verstärker laufen, um einen wärmeren, an die Sechziger angelehnten Klang zu erzielen - und sich von allem inspirieren lassen, wo es sich bot, selbst an den unwahrscheinlichsten Orten. Es ist dieses genreübergreifende Denken, das Sänger Joey Quiñones als das bestimmende Merkmal der Platte ansieht. "Es fühlte sich zu keinem Zeitpunkt so an, als würden wir Soul-Musik machen", sagt er. ,Es fühlte sich an, als würden wir einfach unsere Musik machen." Die Band wollte etwas Ehrlicheres einfangen als nur die Höhepunkte - sie wollte die Höhen und Tiefen romantischer Beziehungen zeigen und gleichzeitig den Rahmen erweitern, um auch das Familiäre, das Komplizierte und das Ungelöste einzubeziehen. Die Eltern der Bandmitglieder sind auf dem Albumcover zu sehen, ihre eigenen Liebesgeschichten sind in die visuelle Identität der Platte eingewoben, manche dieser Geschichten bestehen noch, andere nicht. ,Jeder einzelne Songtitel führt dich auf einen anderen Weg der Liebe - egal, ob du gewinnst oder verlierst." Quiñones wollte, dass die Zuhörer sich auf diese Mehrdeutigkeit einlassen. ,Liebe ist unendlich", sagt er. ,Sie reicht über ein Leben hinaus. Ich möchte, dass die Leute immer noch verwirrt sind - ich möchte, dass es wie ein offenes Buch bleibt." Doch eines bleibt durchgehend konstant: das Bekenntnis von Thee Sinseers zu ihrer Herkunft. Diese East-LA-Identität stellt sich nicht zur Schau - sie existiert einfach, eingewoben in das Gewebe der Musik, ohne als Abzeichen getragen zu werden. Hier wird kein Liebeskummer vorgetäuscht, sondern es ist das Echte.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

For theirthird album, Under The ReefsOrchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clement Nourry (guitar), joined by Marti Melia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recordedat Robot Studio in Ghent by PieterjanCoopejans, orchestra also expandswith distinguished guests - An Pierle, Catherine Graindorge, and Alejandra Borzyk - who upset the balance and ignite the embers of improvisation.Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continuesto roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praisedby the international press (Earmilk, Spin Magazine - which ranked Sakurajima among the 22 best albums of2022), the groupstands out as one of the most daring projectson today's vibrant Belgian scene.

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

A beautifully obscure piece of European library music, Rundflug (Local Flight) captures the cinematic, atmospheric side of the Jeff Bastow Orchestra. Both tracks unfold as a concise instrumental journey, combining elegant orchestration with a distinctly nostalgic, airborne atmosphere. Light, melodic and cinematic, feeling like the soundtrack to an imaginary film you know too well, with melodies that will linger in your mind way after the music is over.

On the B-side, Castro Moore delivers a new extended version, stretching the original into a deeper and dubby journey built for the slower passed dancefloor.

Der legendäre Euro-Disco-Klassiker „Slice Me Nice“ von Fancy erscheint als exklusive farbige 12“ Maxi Single in einer besonderen Edition für Sammler und Fans des kultigen80er-Jahre-Sounds.

Neben den beliebten Originalversionen enthält diese Veröffentlichung eine Auswahl brandneuer, moderner Remixe von renommierten Produzenten und DJs wie Pulsedriver, Brave, Flemming Dalum, DJ CON-T und Neospace. Die neuen Interpretationen verbinden den unverwechselbaren Charme des Originals mit zeitgemäßen Dance- und ClubSounds und machen diesen Klassiker fit für die Tanzflächen von heute.

Ob für DJs, Vinyl-Liebhaber oder Italo-Disco-Fans – diese 12“-Maxi bietet die perfekte Mischung aus Nostalgie und modernen Beats und ist eine unverzichtbare Ergänzung für jede Sammlung

“Environments 3” is one of ‘the great lost albums’ by The Future Sound Of London and these sessions have taken on almost mythical status with the group’s fan base. It was initially due for release after the 1993 release of the UK Top 10 album hit “Lifeforms”, but that didn’t happen. Instead, much later in 2010, it came on CD and download. Only now is it being released on vinyl for the first time..



This release also comes after the success of the first two installments which have sold steadily across the different volumes over the years and still climbing. This third volume is a sparse, highly minimal, and vivid departure from their dense 1990s period, and cited as one of the standout ambient releases of its time with FSOL in fine creative form. Reviewers at the time noted he complete absence of the heavy, spacey atmospheres of Lifeforms or the dark chaos of Dead Cities with delicate textures and moody variety throughout. While mostly calm and meditative, certain cuts evoke a desolate, lonely, or gently industrial feel.

Oscar Later is the solo project of one half of Once Twice, formerly known as Parallels. The EP takes its premise from the 1967 Outer Space Treaty, which ruled that no nation could claim ownership of the Moon or any other celestial body. Across six tracks, that idea of ownership, distance and free imagination runs through the record, which combines breakbeat and shimmering synths with processed vocals and clips from vintage ads and obscure films.

"I wanted the record to feel like public-domain myths, commercial promises and space-age optimism all colliding," Oscar says, "blurring the line between memory and fantasy."

Opener 'Air Time for Andre' channels chopped-up breaks reminiscent of Skee Mask, combined with processed found audio. 'Wenlocked', named after the East London street where it was written, develops from a downtempo sketch into a heavier club track as the bassline builds, inspired by releases on Voam and Floating Points' live sets. 'It Never Made Sense' steps away from the dancefloor, built around a granulated Orion Sun vocal that, as Oscar puts it, "ties the track into quite a surreal space," leaning towards Burial, Overmono and Radiohead.

The title track, 'The Moon Belongs to You', runs a vocoded 90s ad through a detuned one-note synth. It's the track Oscar says "best encapsulates the intention of the EP as a whole: surreal, wacky and clubby." 'Yaya' keeps the energy up as a straight techno cut, its gated bassline locking in around a chopped vocal and pitched samples. Closer 'That's Quite A Lot Of Zeroes!' expands from a stripped-back Buchla line into something huge, driven by chopped samples and inspired by sci-fi scores like Dune and Annihilation.

The cover is designed by art director Will Millner with designer Josh Lowe, a homage to space food and 80s industrial design geared to survive life on the moon. It's available as a limited vacuum-packed 12" record.

The EP launches alongside a music video for 'It Never Made Sense', directed by Louis Mackay, telling the story of a group of kids who steal the moon for themselves.

In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.

A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).

From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.

I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa

The newest sound suite by Night Foundation, the solo project of visual artist and Noir Age label owner Richard Vergez. Inspired by reality and light. Mental objects that traverse our minds in the form of sound. Things familiar, but new to your ears. Interest in the things left behind. Some were just accidents that fell on the tape. Manipulations of time.

A memory archive containing exposed wires, slightly broken machines, and those slow, morose moments in film or the happy accidents in dreams. Live, improvised sequences for liminal synths, one-string guitar, mutated trumpet, metal objects, drum box. That type of thing. Under the spell of Brussels, Leeds, and Berlin.

Night Foundation is a current collaborator with Little Annie and has releases on labels such as Psychic Liberation, Jungle Gym, and Amulet of Tears.

For fans of:

Bourbonese Qualk, Klaus Schulze, x.y.r., Tomaga

Limited edition cassette with Rispgraph cover and newsprint insert.

Set for release Sept. 11, 2026

Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

David Thomas Broughton, accompanied by Neil Turpin (drums) and Matthew Bourne (piano), form a Leeds-rooted group bringing unpredictable performances that move fluidly between song and
abstractionat.

Neil & Matt perform improvising explorations around David’s snippets of words and guitar. In turn, David responds to Matt and Neil, building and dismantling loops that can be subtle, often harmonious, sometimes obtuse.

The record, due for release in summer 2026, a selection from an improvised recording session in February 2020, just before the first lockdown.

British composer Simon Goff interprets space, both within ourselves and the objects that surround us with Interior Realms - vol.1; a wondrous, contemplative work of electronic chamber music.

The idea first came from the philosophical idea underpinning the book Interior Realms, published by Theatrum Mundi in 2021. In it, a collection of essays reflects upon architecture’s influence on the human spirit. It challenges us to think not only about music as space, but also about how architecture can shape our ideas of composition. It also asks us to think about how space can make us experience music internally differently.

Interior Realms, the album, inhabits this idea and creates a dreamlike, atmospheric arch between its outer and inner parts. Joyous, immense and light-filled compositions sits side by side with the almost pure silence and introspect of its inner core. Goff wanted to create parallel compositional voices, performing them in various locations, each offering its own sonic character, unique spatial sounds, and reverb. Together with his long-time collaborator, Lynn Wright, the album was recorded in the Großer Wasserspeicher, Berlin's oldest water tower, and at the Grunewaldkirche, a location known amongst others from being the birthplace of many great works by artists such as Nils Frahm, Dustin O´Halloran and more. Cellist Anne Müller appears alongside Goff’s violin and viola on several pieces as they improvised and interacted with each other in the resonance of the space.

In addition to his own endeavors, Simon composes primarily for film and has collaborated with Hildur Guðnadóttir, Jóhann Jóhannsson and Peter Broderick among others. His collaborators has left an inspiring mark on him, all while standing firmly on his own feet with grand intention and results as heard on this absolutely brilliant atmospheric work.

Die fünfte Vinyl-Auflage ist bei Bad Afro traditionell in Blau und auf 500 Exemplare weltweit limitiert! Das Album verdankt seine Entstehung den psychedelischen 60er Jahren und dem Einfluss von Sky Saxon, Arthur Lee, Morricone und Syd Barrett und strahlt dennoch so hell und frisch wie die Morgensonne. Vom barocken Pop von "A Sound for Two" über die knackigen Garage-Licks von "My Heavenly Way" und "Sold for Sinners" bis hin zur wogenden Pop-Eleganz von "The Only One" und "The Ecstacy Once Told" ist dies ein Album, das von der Hand der spirituellen Erleuchtung berührt wurde. Der charismatische Bandleader Daniel Poulter schreibt wunderschöne Songs, unter deren psycedelischer Oberfläche sich zeigt, dass THE DOLLY ROCKER MOVEMENT eine großartige Popband sind, welche zudem einen ganz eigenen Klang und Stil besitz. Trotz der Tatsache, dass das Album 13 Jahre alt ist, ist es das meistgestreamte Album auf Bad Afro.

HINÜBER machen Musik über das, was bleibt, wenn man aufgehört hat, so zu tun als ob. Über die kleinen Erschöpfungen, die sich nicht dramatisieren lassen. Über Zustände, nicht Ereignisse. Ihr Debütalbum HAPPY PICTURES erscheint auf Flight 13 / Rookie Records - und es klingt genau so: präzise unscharf, melodisch zermürbt, irgendwo zwischen Aufbegehren und Resignation, ohne sich für eines von beiden zu entscheiden. Die Band - vorbelastet durch Ex-Bands wie NEIN NEIN NEIN und KOETER, verteilt zwischen Köln, Bielefeld und Mönchengladbach - hat lange genug gewartet, um zu wissen, was sie sagen will. HAPPY PICTURES ist kein Ausbruch. Es ist die Bestandsaufnahme danach. Dreizehn Songs, die keinen Ausweg versprechen, aber auch keinen brauchen. Punk mit Post-Punk- und Emo-Einflüssen - Schubladen, die passen und gleichzeitig nicht reichen. Der Begriff, der wirklich zutrifft, wurde von der Band selbst geprägt: Zustands-Pop. HAPPY PICTURES: dreizehn Songs über das, was innen brennt und außen nicht aufhört. Wo das eine endet und das andere anfängt - lassen HINÜBER offen.

180g 2LP im Gatefold mit 40 Seiten Booklet & 3 neuen Tracks

1976 und 1977 waren zwei sehr entscheidende Jahre im Leben von Manfred Mann's Earth Band. Die Band wechselte mehrere Bandmitglieder in der Mitte einer erfolgreichen Fünf-Alben-Abfolge, während sie mit ihrer einzigartigen Mischung aus Progressive Rock, Jazz und Bluesmusik eine unglaubliche Anhängerschaft in der ganzen Welt aufbaute. Obwohl Manfred selbst mit früheren Erfolgen in den Pop-Charts vertraut war, verschaffte The Roaring Silence Manfred Mann's Earth Band eine ganz neue Ebene des Ruhms, da dieses Album 1977 die Spitze der Charts erklomm.

Natürlich hatte Bruce Springsteens »Blinded By The Light« alle Voraussetzungen für einen Hit, aber es muss sowohl die Band als auch Springsteen überrascht haben, denn es war für beide die erste Nummer-Eins-Platte. Dieser Titel wurde von einer ganz neuen Legion von Mann-Fanatikern beklatscht, da die erfrischende Kombination aus dem Leadgesang des neu hinzugekommenen Chris Thompson und Manns vertrauten Keyboard-Phrasierungen diesen Titel zu einem modernen Classic-Rock-Standard machten. Auch heute noch ist dies einer der meistgespielten Songs der klassischen Rockgeschichte.

Limitiertes 180g Doppelvinyl im Gatefold mit Hängetaschen plus 40 Seiten Booklet mit ausführlichen Infos und Interviews!

Im Jahr 2026 jährt sich die Veröffentlichung des legendären Albums »The Roaring Silence« von Manfred Mann's Earth Band zum 50. Mal. Das Album, auf dem auch der US Nummer-1-Hit »Blinded By The Light« zu finden ist, stürmte weltweit die Charts. Diese Jubiläumsausgabe enthält das Originalalbum sowie ein exklusives Bonusalbum mit drei brandneuen Tracks der Band und Live-Versionen von Albumtiteln, sowohl aus der Zeit der Veröffentlichung als auch von aktuellen Konzerten. n

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

Oliver Baroni, stand-up bassist and Hillbilly Moon Explosion co-vocalist has a new side-project with a flexible group of musicians, under the moniker The Baroni Blow-Up. In keeping with the Englishman"s worldwide rock"n"roll viewpoint from his base in Switzerland, it"s an international affair. The band-members are American, though two were found in London. Guitarist Andy Kandil, a session favourite and veteran of psychobilly legends Mad Sin amongst others, and drummer Tuck Nelson, who also co-engineered recordings in his London Echo Ray Studio. On vocals is Shy But Flyy, the celebrated blues and jazz singer from Long Beach, CA. The A-side song "I Wanna" is an obscure punk song original by Berlin band Hot Boogie Chillun; the flip "Free" is a Shy But Flyy original. The single"s artwork originated in Spain.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Die Shubert Alley ist eine Straße im Theaterviertel von Manhattan in New York City und gilt als Zentrum
der Broadway-Theater. Für sein Album “Swings Shubert Alley” griff der Sänger Mel Tormé 1960 natürlich auf das Repertoire der vielen bekannten Kompositionen zurück, die Cole Porter, Stephen Sondheim,
Leonard Bernstein, Harold Arlen und andere Koryphäen des Genres für Broadway-Aufführungen geschrieben
hatten. Obwohl er dabei auch einige etwas balladeskere Nummern interpretiert, ist die allgemeine Stimmung von ungezügelter Begeisterung geprägt. Dazu trägt nicht zuletzt das fulminant swingende, elfköpfige
Orchester des Pianisten und Spitzen-Arrangeurs Marty Paich bei, mit dem Tormé hier so meisterhaft um
die Wette eifert. Die agile Band, in der hochkarätige Solisten wie der Altsaxofonist Art Pepper und der
Posaunist Frank Rosolino spielen, wird von dem Bassisten Joe Mondragon und dem Schlagzeuger Mel Lewis
angetrieben.

Seit 2019 schrauben FOUR BLACK LUNGS behutsam an ihrem Sound, feilen an Melodien und Songs, die sich sofort vertraut anfühlen, ohne jemals beliebig zu werden. Die vier neuen Stücke klingen wie der erste Kaffee am Morgen: warm, vertraut und voller Energie. Unter der eingängigen Oberfläche stecken jedoch Geschichten, die mit einer ordentlichen Portion Weltschmerz und Hoffnung erzählt werden. Midwestern Pop-Punk trifft auf Heartland Rock und große Melodien.

2020 album from Colorado’s freewheelin’ melodist Josephine Foster. Revolving between her adopted Spain and her native American West, Josephine was stationed this spring in Nashville with maverick guitarist and comrade-in-arms Matthew Schneider. The result: ‘No Harm Done’, a spacious and enveloping love letter of an album. Eight new slow-burning songs branch forth from idiosyncratic country folk blues, sung with sibylline wit and a hint of the absurd, awash in sensually anachronic lyricism. “The Wheel of Fortune”, nearly a title track by virtue of its refrain: 'No harm will come/if there's no harm done', are words of a homebound wanderer finding refuge in healing stillness with her beloved, having 'time to kill' in the midst of 'hard times to feel at home'. All delivered with calm sagacity upon the pedestal of Mr. Schneider's pedal steel and underscored by a knowing trebled chorus in Foster's lower register. Going nowhere never felt like so righteous of a destination before. Devotion in all its permutations, spiritual to carnal, are seamlessly explored. In 'Conjugal Bliss', overtones of the 12-string and autoharp gently interplay, sounding like some unearthed Carter family wedding hymn (it bears the subversive subtitle '69' ) while 'How come, Honeycomb?' bounces low in the hips like a sultry old music hall number à la Harry Nilsson. The obliquely sapphic 'Leonine', it's unquiet harp scaling right out of ancient Lesbos, dreams of a kingless land; in 'Sure Am Devilish', a stargazer humbly confesses to a lowercase lord. 'Old Saw', the mesmeric album closer, is a medium's petition to cross the threshold and merge with the holy spirit. Josephine's enigmatic voice captured once more by frequent co-producer Andrija Tokic in his analog Bomb Shelter studio, where layers of her guitar, piano, organ entwine with Schneider's 12-string, pedal steel and electric bass to rouse a spectral yet full blooded band. The ensuing cycle of songs pulse and glow within the ruins and deep fundamental roots of American song. “Remarkable, ghostly music” The Guardian.

If you’re as obsessed with unfairly unheralded bands as we are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot Records proudly announce GANDALF’s 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of THE LEFT BANKE, KALEIDOSCOPE, THE MILLENNIUM, and THE ZOMBIES, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond’s “Sweet Caroline” and Van Morrison’s “Brown Eyed Girl”), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band’s PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you’ve got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: “Put the needle in the groove, sit back, and take the trip with GANDALF.” Enough said.

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.