Hoc est Bellum's debut full-length "Filth Majesty", to be released by Time To Kill Records, continues on the path of the bestial onslaught paved by the band's first release "Demo 2023". On the album, this extermination squad introduces similar ferality and brutality found in the genre's ancient masters, these days much too rare in Finnish black metal. Added to the relentless attack are elements of dark atmospheric passages which seep with malevolent and poisonous aura.
White Vinyl. Hoc est Bellum's debut full-length "Filth Majesty", to be released by Time To Kill Records, continues on the path of the bestial onslaught paved by the band's first release "Demo 2023". On the album, this extermination squad introduces similar ferality and brutality found in the genre's ancient masters, these days much too rare in Finnish black metal. Added to the relentless attack are elements of dark atmospheric passages which seep with malevolent and poisonous aura.
Newly signed to EMI Records, seven-piece boyband December 10 are ushering in a new era in pop music. Formed on camera during Netflix’s Simon Cowell: The Next Act (released globally on 10 December 2025), the hugely fun, utterly joyful, incredibly charismatic, often rambunctious and completely endearing group consist of Cruz (20), Danny (17), Hendrik (19), John (17), Josh (17), Nicolas (17) and Seán (19).
Within weeks of the series airing, the pace was relentless. December 10 sold out their Introducing! run of live dates across the UK and Ireland, adding extra shows twice in response to demand before all 13 dates sold out within minutes; built a huge online following, with millions of followers across social media; and released their debut single “Run My Way” on 30 January 2026.
Since then, the band have released the singles “Infinity (123)” and “Angel”, landed in the Official UK Top 10 best-selling vinyl singles of 2026 so far, and made their festival debut at Ultra Teens Fest Japan, performing to a crowd of more than 12,000 fans.
Summer 2026 will see December 10 embark on their headline UK and European tour, December 10: The Next Step, (which kicks off in Amsterdam on 26 June and wraps up in Dublin on 21 July,) release their debut EP, On Your Side, on 10 July, and make appearances at Summer Sonic Festival in Japan and Reading & Leeds Festival in the UK.
They’re not just brilliant singers, but accomplished musicians too, playing 14 instruments between them: Nicolas plays guitar and harmonica; Danny plays guitar; Josh plays guitar, cajón and drums; Hendrik plays guitar, bass and piano; Seán plays guitar, piano and harmonica; while John was due to take Grade 8 clarinet and piano this year - until life got a bit busy.
December 10 are very much a boyband for our times: a truly inclusive group representing Chorley, Rochester, Dublin, London, Lisbon and Walsall, with Irish, Brazilian, Indian, Nigerian and Jamaican heritage between them, and musical influences that are just as expansive.Pre-order our debut EP ‘On Your Side’ now!
Booker Stardrum und Evan Shornstein sind beide Künstler mit einer ganz eigenen Stimme. Als Schlagzeuger hat sich Booker den Ruf erarbeitet, einer der originellsten Groove-Drummer der experimentellen Jazzszene zu sein. Er verbindet sein melodisches Gespür mit perkussiven Instrumenten und schafft so einen ganz eigenen Sound. Evan Shornstein, alias Photay, hat sich eine Nische in der elektronischen Musikszene erobert, in der er sich sowohl als Meister der Synthesizer als auch des Schlagzeugs präsentiert. Wenn man die beiden zusammenbringt, erschaffen Booker und Evan eine explosive Welt aus Beats, Elektronik und Melodie. Ihre Musik wirkt frisch und doch vertraut, groovig und emotional.
Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.
A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.
Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.
After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.
The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.
A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …
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The 4th album from Melodeath trailblazers CARRION VAEL. Like a bastard offspring of The Black Dahlia Murder, Necrophagist & Nevermore, CARRION VAEL are set to cement a sound that will bear their brand for years to come. Epic, swathing and furious, 'SLAY UTTERLY' is a grisly, visceral ride into the mind of various Serial Killers, a theme that the band have now become known for through their OTT lyrical approach.
Dark Wings marks a shift toward a looser, more collaborative sound for Mason Jennings, recorded in an unconventional studio space built inside a design workshop with drummer Scott McPherson and engineer Aaron Featherstone. What began as a single track evolved into an 11-song collection shaped by ongoing sessions, spontaneous collaborations, and a rotating cast of musicians. The result is a warm, full-band record that leans into texture, instinct, and the energy of capturing music in the moment—an inspired departure from Jennings’ more solitary recent work. Vinyl pressing limited to 500.
Legendary lyricist AZ returns with Doe Or Die III, the long-awaited next chapter in one of hip-hop’s most revered album series, Doe Or Die III delivers polished production, razor-sharp storytelling, and the timeless sophistication that has defined AZ’s career.
Blending classic East Coast grit with modern finesse, Doe Or Die III features standout collaborations and lush, cinematic beats that complement AZ’s signature smooth delivery alongside features from Nas, Jadakiss and more. A must-have for collectors and fans of elite lyricism.
Feiern Sie 45 Jahre der berüchtigtsten Band der Welt: Mötley Crüe! Erhältlich als limitierte 5LP-PictureDisc und 5CD-Deluxe-Boxset. Enthalten sind die ersten fünf Multiplatin-Alben von Mötley Crüe: Too Fast
For Love, Shout At The Devil, Theatre Of Pain, Girls Girls Girls und Dr. Feelgood. Mit den legendären
Hits: „Live Wire“, „Too Fast For Love“, „Looks That Kill“, „Too Young To Fall In Love“, „Smokin’ In
The Boys Room“, „Home Sweet Home“, „Girls, Girls, Girls“, „Wild Side“, „Dr. Feelgood“, „Kickstart My
Heart“, „Don’t Go Away Mad (Just Go Away)“ und viele mehr!
Die britische Indie-Pop Sängerin und Songwriterin Suki Waterhouse ist zurück mit ihrem dritten Album
„Loveland“. Bekannt für den „dream pop“ Sound ihrer beiden Vorgängeralben sowie ihre Arbeit als Model
und Schauspielerin, überzeugt das Multitalent mit ihrem genreübergreifenden Sound zwischen Pop, Indie
und Alternative.
Mit „Loveland“ präsentiert Suki Waterhouse ihr bisher stimmigstes und zugleich persönlichstes Werk. Es
ist ein Album, das von Selbstfindung, Transformation, Mutterschaft und der Rückkehr zur eigenen Identität
erzählt. „Loveland“ enthält 14 neue Songs, die gemeinsam mit einigen Größen der Musikszene – darunter
Amy Allen, Aaron Dessner und Joel Little – geschrieben wurden, und beleuchtet die Distanz zwischen dem,
was einmal war und dem, was gerade wird.
Mit weltweit über 1,5 Milliarden Streams hat sich Suki Waterhouse als feste Größe und als eine der spannendsten Stimmen im Indie-Pop etabliert. Nach den Erfolgen ihrer von der Kritik gelobten Alben „I Can’t
Let Go“ (2022) und „Memoir of a Sparklemuffn“ (2024) hebt sie mit „Loveland“ ihren Sound auf ein
neues Level und unterstreicht ihren Status als vielseitige Künstlerin mit unverwechselbarer Stimme.
Mit dem 1964 bei Verve Records erschienenen Album “The Individualism of Gil Evans” schuf der Komponist,
Arrangeur und Pianist Gil Evans eines seiner fesselndsten und detailreichsten Werke. Mit einer atemberaubend besetzten Big Band, in der Größen des Jazz auf junge Talente und klassische Musiker trafen,
präsentiert Evans zwei eigene, von lateinamerikanischer Musik inspirierte Kompositionen, ein gemeinsam
mit Miles Davis geschriebenes Stück sowie eine Nummer aus der “Dreigroschenoper” von Bertolt Brecht
und Kurt Weill.
Mit seiner Band Ubiquity (was so viel wie “Allgegenwärtigkeit” bedeutet) schlug der amerikanische Vibrafonist Roy Ayers Anfang der 1970er Jahre ein neues musikalisches Kapitel in seiner Karriere auf. “He’s
Coming” war 1972 bereits das dritte Album, auf dem der ehemalige Bebopper mit seiner Band ein unwiderstehliches Gebräu aus jazzigen Improvisationen, Funk-Rhythmen, Soul-Harmonien und spiritueller Tiefe bot.
Dieser Sound sollte Ayers Werk während des gesamten Jahrzehnts prägen und ihn später zu einer Inspirationsquelle für Soul-, Funk-, Hip-Hop- und Neo-Soul-Künstler machen.
Mit fantastischer Stimme, beinahe 2 Millionen Followern in den sozialen Medien, einem weltweiten Tourneeplan
und bereits drei Studio-Alben bringt die 27-jährige Stella Cole einem jüngeren Publikum die Klassiker aus
Jazz und dem American Songbook nahe. Ihr erstes Live-Album nahm sie jetzt in einem ebenso legendären
wie intimen New Yorker Cabaret-Club auf, wo schon Größen wie Eartha Kitt, George Shearing und sogar
Woody Allen auf der Bühne standen.
”Live at Café Carlyle” zeigt Stella Cole gefühlvoll, strahlend und swingend mit ihrem Trio und einer brillanten Auswahl an Klassikern aus Filmen und Musicals, von ”He’s a Tramp” über ”Anything Goes” bis
”Perhaps, Perhaps, Perhaps”.
Das Album wurde während der Konzertreihe der Band in der Coventry Cathedral im Jahr 2019 aufgenommen und enthält ihre Hits:
„A Message To You Rudy“, „Ghost Town“ und „Too Much Too Young“.
Als eine der letzten Aufnahmen der Band mit Terry Hall wird das Album höchstwahrscheinlich die wirklich
letzte Veröffentlichung von The Specials sein und als Hommage an ihre gemeinsame Karriere dienen.
Eine Sky-Arts-Dokumentation über die Konzerte wurde 2024 mit großem Erfolg veröffentlicht und kann
online auf Abruf angesehen werden.
Mit Conal veröffentlichte Conrad Schnitzler 1981 eines der faszinierendsten Werke seiner produktiven Schaffensphase - ein Album, das seinen stetigen künstlerischen Aufbruch eindrucksvoll dokumentiert. Bestehend aus zwei rund 21-minütigen Tracks, entfaltet sich Conal wie ein vielschichtiges Klangpanorama: keine lineare Erzählung, sondern ein offenes Geflecht aus elektronischen Strukturen, Schichtungen und Übergängen. Schnitzler verdichtet hier unterschiedliche musikalische Ideen zu einer Art Momentaufnahme seiner kreativen Entwicklung - roh, präzise und kompromisslos. Die außergewöhnliche Klangqualität und komplexe Gestaltung lassen den Einfluss des Paragon Studios erahnen, das ihm ideale Bedingungen für seine visionäre Arbeit bot. Conal steht exemplarisch für Schnitzlers rastlosen Innovationsdrang - ein Schlüsselwerk elektronischer Musik, das bis heute nichts von seiner Faszination verloren hat.
1969 salsa gem originally released on Mary Lou Records, one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). We are now happy to reissue this rare and in-demand album after decades unavailable! It includes an insert with liner notes. "Soogie" (1969) was Willie Rodríguez's first album for Mary Lou Records. Mary Lou Records, at that time, was also one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). This is remarkable, as it hardly includes boogaloo, which was still prevalent during those years, yet already on the way out. According to Bobby Marín, its musical director "we didn't call it salsa at the time; it had no name. It was mambo or música movida, they used to call it on the radio." The first tune, 'My Dog Soogie,' which provides the title for the recording, is a playful guaracha about a dog The following track is the wildly popular 'La Puerta del Dolor.' 'El Chivo' (the goat) is a spicy guaracha, which changes into a son montuno-guajira. 'Grande' is a guaguancó, followed by 'Los Callos de Dolores,' also a delightful guaguancó. Then comes the ballad 'Porque yo te Amo,' a monster hit of the sixties by popular Argentine singer Sandro. Next we have 'Al Compás del Güiro,' a guaguancó, with the delicious chorus that goes "cómo va, cómo va, cómo va, mi güiro cómo va." 'Paul's Thing' is an instrumental guaguancó, with engrossing sax solos. Finally, we have the smashing, extended descarga 'Salsa con Willie Rodríguez.' We are now happy to reissue this rare and in-demand 1969 salsa gem after decades unavailable!
French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis
French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis
Zum 20-jährigen Jubiläum von "The Greatest" erscheint das legendäre Album von Cat Power erstmals als pink farbene Vinyl-Edition - inklusive einer streng limitierten Neuauflage des ikonischen rosa Foliencovers. Eine Veröffentlichung, die nicht nur Sammlerherzen höherschlagen lässt, sondern auch die zeitlose Magie dieses außergewöhnlichen Albums neu aufleben lässt. Für die Aufnahmen kehrte Chan Marshall damals nach Memphis zurück - direkt an die Quelle des warmen, sinnlichen Hi-Records-Sounds der 70er-Jahre. Gemeinsam mit Soul-Legende Mabon "Teenie" Hodges, Gitarrist und kreativer Partner von Al Green, entstand ein Sound voller Tiefe, Gefühl und musikalischer Eleganz. Hodges, Mitautor von Klassikern wie "Love and Happiness" und "Take Me to the River", prägte mit seinem unverwechselbaren Gitarrenspiel das gesamte Album. Unterstützt wurde er von seinem Bruder Leroy "Flick" Hodges sowie weiteren Größen der legendären Memphis-Szene. Zusammen erschufen sie einen Klangkosmos aus samtigen Bläsern, funkigen Streicherarrangements, sanften Background-Vocals und tief verwurzeltem Southern Soul. Das Ergebnis ist ein Album, das sich jeder Zeitströmung entzieht und bis heute nichts von seiner emotionalen Kraft verloren hat. Songs wie "Willie" wirken zunächst schlicht, offenbaren jedoch bei jedem Hören neue Facetten. "Where Is My Love" klingt zugleich zerbrechlich und zeitlos - wie ein Lied, auf das Cat Power ihr ganzes Leben hingearbeitet hat. Mit "Living Proof" öffnet sich das Album schließlich in einen zurückhaltenden Gospel- und Country-Soul-Swing, der den ruhigen Momenten eine neue Intensität entgegensetzt. "The Greatest" ist weit mehr als nur ein Album - es ist eine musikalische Reise voller Melancholie, Wärme und Schönheit. Zwei Jahrzehnte nach seiner Veröffentlichung gilt es längst als moderner Klassiker und als eines der eindrucksvollsten Werke im außergewöhnlichen Schaffen von Cat Power.
A master class of shimmering, surrealistic '67 British psychedelia that is widely considered a holy grail of the genre and currently fetches huge prices in the collectors' market. 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal.First-ever legit reissue. Caleb Quaye only released one single in the sixties under his own name, but what a record it is! Released on Philips in June 1967, 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal. On the other side, 'A Woman of Distinction' is only fractionally less freaky with treated vocals and a short but gracefully-executed guitar solo. Contrary to hearsay, rumors and guesswork, it can be confirmed that Elton John did not play on the session. However, shortly afterwards, this same core lineup, with Caleb producing, recorded an album with Elton, "Regimental Sgt Zippo", a superb psychedelic pop work that remained unreleased until 2021.
Reissue of the debut album by Laghonia, one of the most important bands of Peruvian rock. Originally released in 1960, "Glue" will be cherished by lovers of Latin American rock, pop and psychedelia as practiced by other similar classic bands such as Traffic Sound, We All Together, Black Sugar and Telegraph Avenue. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ) and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP "Glue" on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beatmelodies, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. "Glue" is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Deluxe edition: 180g vinyl LP in tip-on jacket and insert with liner notes.
Debut EP (1969) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano mecánico". Includes versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. The first of these is titled "Born to Be Wild" (1969), including versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. Recording covers was completely normal at the time and was also their way of learning the musical language. It's worth noting that the term "cover" did not carry the meaning it has today; back then, the main goal was to spread the music and bring it to a wider audience. First time vinyl reissue.
First time double-cassette reissue of 1987's double LP opera rock by Spain's legendary punk band Eskorbuto. "Los demenciales chicos acelerados" is a political satirical work against any kind of dictatorial regime. "Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial sleeve art, Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". lthough "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with new cover art.The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.
Second EP (1970) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano Mecánico". Includes a new funky version of 'Born to Be Wild' by Steppenwolf, as well as three original compositions by the band. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. Their second EP "Born to Be Wild II" was released in 1970, it featured a new funky version of the Steppenwolf original. It also introduced the band's first original compositions and their new influences: 'Ritmo de la Vida,' an instrumental chord-driven melody with Latin jazz overtones where we begin to hear the influence of Santana; 'El Abrigo Café de Piel de Gallina,' a standard blues number that recalls 'All Your Love' by Otis Rush; and 'The Seeker,' with a Latin vibe and lyrics that include the first reference to drug use in Bolivian music. First time vinyl reissue.
A (new) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999–2004 and issued on CD only under his revered Ø alias for Finland’s Sähkö Recordings in 2005.
»Kantamoinen« is perhaps the most intimately beautiful yet little-known LP in the Ø canon, bridging the gap between his classic ’90s minimal techno productions and the project’s subsequent turn to more ambient, kosmic, and dubwise dimensions in the coolly brilliant »Oleva« and »Konstellaatio« albums.
Dedicated to Mika’s grandma, Laina Vainio (1913–1991), and adorned with a cover image of her garden in Artjärvi, Finland, the 16-part 2LP is the closest you’ll get to a type of nostalgia in Mika’s catalogue.
Whilst recorded 1999–2004 at an early crest of his game-changing work with Pan Sonic, the album clearly manifests a quieter space for Mika to emote far more nuanced feels, from the wide-eyed vastness of »Galaxy« to a breathtaking »Sound Picture«, transitioning from Hans-Ulrich Obrist’s snippet of Oskar Sala into icy bliss, and the rosy warmth of »Summerland« clearly dedicated to his nan’s garden. The rest is better defined as ephemeral snapshots adding up to a broader picture, like a mind’s eye filling gaps in the memory from illusive vapours and sensations, generating all-time gems in the steepled choral synth voice of »In Wind«, or a sense of magic realism in the swaying organ of »Antenna-ant«, with the blooz folk wheeze of closer »To Home« that could feasibly score the most haunting moments of a Béla Tarr flick.
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A major figure in Cameroonian makossa, Ngallé Jojo returns with Élo-Lodie / Caresse d"Amour, his first recording in over 30 years. A singer, songwriter, and producer born in Douala, he rose to fame in the late 1970s with tracks that have become classics, before settling in France and dedicating himself to his faith, like Al Green or Solomon Burke. Now rediscovered by collectors and new audiences alike, he makes a comeback that retains all the hallmarks of his style: a driving rhythm, layers of synthesizers, rich melodies... and his signature catchphrase: CHAUD (Hot). A must- see.
Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.
Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.
Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.
Houndmouth frontman Matt Myers, whose band spent the previous decade blending rock & roll and American roots music into radio staples like the chart-topping, platinum-selling "Sedona," struggled for two years to finish newsongs
At once scathing and stirring, the sharp, insistent riffs go hand in hand with elegant melodies that never outstay their welcome. The aggression and poignancy is beautifully managed with plenty of variations provided to highlight those emotions at the right times. After experiencing the turmoil of life, the aching pain in the melodies is all too palpable. "No Plenitude Without Suffering" is a heartfelt, meticulously put together, pristinesounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.
Riff-driven and immediate, MALIST's style is rooted in the best Atmospheric Black Metal imprint, although experimenting with Post-Metal passages and modern-oriented melodic approaches Often epic and fierce, "Eternal Echo of the Fall" allows the listener to experience the perfect balance between anger and melancholy, as well as a raw, suggestive quality, thanks to mutable sections that float between slow, magical atmospheres and more fiery, aggressive ones. A particular attention to arrangements and a certain amount of ideas seal this album as an intriguing musical journey, in which each song has distinctive traits when compared to the others.
Across landscapes of electronica, ambient textures and jazz improvisation, Be Quiet unfolds as an intimate, spatial set of recordings - built on proximity and contrast, where different cultures, disciplines and sonic identities meeting Moalvaer's unmistakable trumpet voice. The album is accompanied by a documentary film directed by celebrated Norwegian filmmaker Per Manning, capturing the process, environments and relationships behind the music, and informing the project's visual world. Be Quiet unfolds as Molvaer steps into each collaborator's space, responding in real time and shaping a body of work that remains fluid, intimate and constantly in motion.
Finnish multi-instrumentalist Simo Hakalisto makes mosaic music of strings, bowls, bells, reeds, wind, water, and obscure electronics, threaded in subtle currents of color and texture. The title of his latest, Toinen Luonto (Finnish for “second nature”), alludes equally to Shakali’s earthen, tactile soundworld and Hakalisto’s deepening comfort with his craft.
The album’s eight songs feel coaxed as much as composed, a web of resonances set in motion and allowed to simmer, build, or billow. Vibrations and silences unspool and intertwine, alternately pointillist and diffuse, attuned to some hidden harmony of the spheres. In addition to his own repertoire of rare instruments (including a 36-string kantele, built by Hakalisto’s grand-uncle), several notable collaborators contributed to Toinen Luonto: saxophonist Julian Overall; Hakalisto’s partner in the duo Lunar Horns, Timo Juntunen, playing udu and percussion; American experimentalist Roy Werner; and Belgian ambient flute samplist Les Halles.
Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum) presents his lush Exotica inspired 2016 album on LP for the first time in a limited edition deluxe gatefold sunset swirl coloured vinyl edition, with each pressing having a unique pattern.
For fans of Air, Martin Denny & DJ Shadow.
'The Double Sunrise' is a re-imagining of Exotica seen through Ferguson’s own lens, which includes Pop and Hip Hop elements plus samplers, synths and drum machines thrown into the mix. That combination of beats and lush cinematics owes as much to Exotica pioneer Martin Denny as it does to Air and DJ Shadow.
Guest vocalists include Melanie Pain (Nouvelle Vague), who brings a sweet Francoise Hardy and Jane Birkin influence to her songs, and Australian singer Meg Washington. As well as her own successful career, Bamboos fans would know Washington from her vocals from “The Wilhelm Scream” and “King Of The Rodeo”, as well as “Beautiful Trash” from the 2011 Lanu album ‘Her 12 Faces’.
Ferguson's own instrumentals are also gems of lush, nostalgic delight.
Reviews for ‘The Double Sunrise’
“Even with the clear influence of South Pacific exotica, this second LP is still typical Ferguson: tight, snappy and doused in retro airs.” - Rolling Stone Magazine
“Bamboos supremo Lance Ferguson uses South Seas exotica as a jumping-off point for a record that deftly crosses datelines. Giddy effervescent soundscapes such as “Tiny Dots” sit back to back with breakbeat grooves like “Nightmarchers””. The Age
“This is one of those summer albums you will return to every year. Stunning.” The Daily Telegraph
“The concept for The Double Sunrise is very specific, but it's executed brilliantly...It's one of those records that evokes a place and a feeling that most of us only ever dream about.” - Double J Radio (Feature Album)
African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.
Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.
On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.
The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.
Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.
In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.
Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.
In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.
“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.
Barry Alan Pincus ist kein guter Name für einen Sänger, dachte sich dieser Künstler zu Beginn seiner Karriere, und er nannte sich Barry Manilow. "Brandy" ist auch kein so toller Name für seinen ersten Hit, also entschloss er sich, ihn "Mandy" zu nennen. Das war 1974. Der Rest ist Geschichte. Barry Manilow zählt ohne Zweifel zu den erfolgreichsten Künstlern der populären Musik, seine Nummer-1-Erfolge sind beispiellos, und seine Songs wie "Mandy" leben auch in jüngeren Generationen immer noch fort. Trotz (oder vielleicht auch gerade wegen) seines nicht immer leichten Stands bei den Kritikern hat er über Jahrzehnte eine Fangemeinde um sich geschart, die in puncto Größe und Anhänglichkeit ihresgleichen sucht. Deshalb wird auch die jetzt erscheinende neue Best-Of-CD "Ultimate Manilow" mit Sicherheit wieder ihre begeisterten Käufer finden. Auf ihr sind 19 absolute Hits des Balladen-Königs versammelt, vom erwähnten "Mandy" über "Could It Be Magic" bis zu "Copacabana". Als Bonus-Track zusätzlich: die bislang ausserhalb von USA unveröffentlichte Nummer "Who Needs To Dream" aus dem Manilow-Musical "Copacabana". Die VÖ wird von einer zielgerichteten Print-Marketingkampagne begleitet.
