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Die britische Indie-Pop Band The Lathums kündigt ihr neues drittes Studioalbum 'Matters Does Not Define' für den 7. März 2025 an. Die Band hat bereits zwei aufeinanderfolgende Alben auf Platz 1 der offiziellen britischen Albumcharts vorzuweisen und ein weiteres Jahr mit riesigen Open-Air-Shows hinter sich. 'Matter Does Not Define' wurde von der Band, bestehend aus Sänger Alex Moore, Scott Concepcion (Gitarre, Piano und Gesang), Ryan Durrans (Schlagzeug) und Matty Murphy (Bass und Gesang), in ihrer Heimatstadt Wigan geschrieben, bevor es in den Kempston Street Studios in Liverpool in Begleitung des langjährigen kreativen Mentors John Kettle und des Produzenten Chris Taylor aufgenommen wurde. 'Matters Does Not Define' folgt auf ihr bisher erfolgreiches zweites Album 'From Nothing To A Little Bit More' und ihr Debüt 'How Beautiful Life Can Be' von 2021.

Limited Red Vinyl

Waxwork Records is proud to release THE TEXAS CHAIN SAW MASSACRE Original Motion Picture Score by Tobe Hooper and Wayne Bell.

In celebration of the iconic film’s 50th Anniversary, the long-awaited score album is now available for the very first time in any format.
The film’s original score by Tobe Hooper and Wayne Bell is an experimental exercise in music compo- sing and performance that utilizes
non-traditional instruments such as suspended cymbals, aluminium saucepans, a children’s toy percussion set, various wildlife calls, whistles, shakers, and more. Waxwork Records’ release of The Texas Chain Saw Massacre by Tobe Hooper and Wayne Bell marks the first time the official score will be made available anywhere.

Waxwork Records is proud to release THE TEXAS CHAIN SAW MASSACRE Original Motion Picture Score by Tobe Hooper and Wayne Bell.

In celebration of the iconic film’s 50th Anniversary, the long-awaited score album is now available for the very first time in any format.
The film’s original score by Tobe Hooper and Wayne Bell is an experimental exercise in music compo- sing and performance that utilizes
non-traditional instruments such as suspended cymbals, aluminium saucepans, a children’s toy percussion set, various wildlife calls, whistles, shakers, and more. Waxwork Records’ release of The Texas Chain Saw Massacre by Tobe Hooper and Wayne Bell marks the first time the official score will be made available anywhere.

Fumio Itabashi is a jazz pianist who has garnered global recognition from jazz enthusiasts around the world. Following the success of Watarase ECHO, which compiled previously unreleased takes of his signature work Watarase through the lens of Minoru Wakasugi, a pioneer of the Japanese jazz scene, the second installment of the series, Watarase VOICE, is now being released by P-VINE. This new album focuses on the "voice" aspect, compiling previously unreleased tracks that feature a diverse array of vocalists who participated in Watarase.

Looking back on a remarkable 40-year career, the series carefully selects and presents the Watarase compositions that are most deserving of being heard today. Through this series, listeners can experience a glimpse into Fumio Itabashi’s life and his ongoing passion for expressing the pinnacle of jazz as an art form, a passion that continues to this day. The Watarase series offers a unique opportunity to savor not just the music, but the essence of Itabashi’s dedication to jazz.

Reissue des 1979er Solodebütalbums des grandiosen Blues-Mundharmonika-Spielers Sugar Blue aka James Whiting aus Harlem, NYC. Sugar Blue arbeitete mit zahlreichen Musikerkollegen (Louisiana Red, Bob Dylan, Stan Getz, Ray Charles, Frank Zappa) zusammen, seine berühmteste Kooperation dürften aber die Rolling Stones-Alben "Some Girls" (1978) & "Emotional Rescue" (1980) sein, darunter der Überfliegerhit "Miss You", den er später solo coverte. Sugar Blue war mit einem Beitrag auf der Compilation "Blues Explosion" (1985) und als Studiomusiker auf Willie Dixons Album "Hidden Charms" (1998) vertreten - beide Werke gewannen einen Grammy. 1997 begleitete er Prince auf dessen Love-4-One-Another-Charities-Tour.

Red Motorbike maestro Eddie C drops on the ensemble with an anthemic ode to the most sought-after of desires. We’ve been keeping this secret for far too long; it’s time to bring U Be Mine into the light, complete with remixes from Lex, Da Silva and Marcello Giordani aka Italo Deviance.
It was just over a year ago when Eddie sent us his original demo of U Be Mine. I remember plugging i the speakers in my fat, pressing play. A fash from a place of love that wet, grey day. The lyrical bass, euphoric stabs, the iconic delay, the pining vox. There are times where things seem naturally bound, designed to intertwine. An instant essential. We couldn’t wait to throw it down in the disco. Much like the coveted desire of its vocoder-clad protaganist, we needed a club-ready fx. Eddie, getting the message, sent us over a quick master - the Eddie C ‘Cash’ Version. Over the next year, at parties from Lisbon to Ibiza, I saw how those swirling arps locked onto the foor, how dancers cosied up to its decadent groove. It was peak time, warm-up and wind-down at once. In the true spirit of the ensemble, we got to work curating a cast of balearic technicians to write their distinct shade of depth onto Eddie’s golden letter. And that’s where it lands.
Lex from Athens casts an exotic, eclectic spirit with his Plaka Remix, all shufing percussions and wild, breezy strings, rejigged baselines and NYC disco tackle. Label curator Da Silva ups the ante with his 7-minute club-ready fx: tight kicks and searing acid, all the bells and whistles for your peak-time excursions. Finally, Marcello Giordani shifts into hyperdrive with the ITALO DEVIANCE ACID CONTROL version, conjuring creatures of the night in kaleidoscopic confgurations, a trusted party roller for the most decadent dancefoors.
We’re releasing U Be Mine on 150 pristine discs only. Claim it as yours, forevermore.

Tominori Hosoya has been producing music under his name sake and Tomi Chair for a number of years now. Known for his uplifting and inspiring house tracks. Tomi makes his Stasis Recordings label debut with this sweet 7” single. Two luscious, atmospheric, downtempo selections for easy poolside chilling.

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

Insolate unveils the 'Full Disclosure' album, arriving 7th March 2025 on her Out Of Place Records, released on digital and double record vinyl. It's the Croatian artist's second full-length release, already supported by the likes of Rodhad, Stephanie Sykes, and Nastia, following 2019's 'Order Is Chaos' on the label and its subsequent remix album, which featured reworks by Ben Sims, Pfirter, Sev Dah, Amotik, Under Black Helmet, Volster, ASEC, and Flamina.

"'Full Disclosure' is a reflection of who I am today. It represents the music I love to play, featuring high-energy bangers alongside functional tracks while experimenting with chords, vocals and melodies. As the title suggests, Full Disclosure is about openness, transparency, and revealing the full truth of who I am as an artist" - Insolate

'On Your Knees' starts Insolate's 'Full Disclosure' LP with rolling dub-infused rhythm drenched in a subtle but potent 303, an otherwordly vocal providing a tripped-out vibe. Closing out the A-side is 'Stand Strong', a pacey groove with an effective vocal sample and well-swung drums shot through with razor-sharp stabs.
On the flip, Insolate teams up with Croatian guitarist PEP for 'The Proof', a real banger that marks his debut in Techno production featuring mind-melting arpeggio sequences and a shadowy atmosphere. This is before 'Survival Symphony' strips things back via minimal drum work and electrifying synthlines that build in intensity.

The title track of Insolate's 'Full Disclosure' album, perfect peak-time cut 'Full Disclosure', continues with glitchy sequences, a bass bin-shaking groove, and another high-impact vocal sample. The aptly named 'Playground' then picks up speed with racing drums and rattling percussion while synths wriggle around playfully, followed by 'Big City', which features hauntingly enchanting melodies laid over bubbling arps and a steady beat. Insolate's 'The Biggest Fan' is another rave-ready trip with carefully crafted polyrhythms which won't fail to hypnotise the dancefloor before 'Ocean of Tears' closes out Insolate's stellar long-player via a captivating vocal harmony and acid-soaked 909s.

Since 1997, Insolate has become synonymous with the Croatian Techno scene via her HUSH! and TRAUM event series and her Osijek-based Out Of Place record label that's spotlighted artists like Anne, Francois X, and many more. She has built an impressive international career that's led her play at Berghain, Rex, and Tomorrowland, while her productions have seen her win the support of titans like Laurent Garnier and Ben Klock and join labels such as Luke Slater's Mote-Evolver and Bpitch.

'Full Disclosure' is a masterful body of work that shows the complete wealth of Insolate's talent and two-decade-long experience in Techno.

Preparing your debut full length record is no small undertaking for any artist. The format itself deserves a certain frame of mind and approach – it’s different, and with Sarah Wild’s debut LP she embraces the idea. Expanding her artistic vision to offer something different, making use of the format and bringing new ideas and musical pathways to her established sound. Releasing on her imprint Midnight Operators in early 2025 – My Body Flows In Gravity constitutes a sophisticated homage to the early 2000s trance movement, integrating nostalgic motifs with her ultra-on point production that sits perfect in todays scene.

From the dreamy proto-house vibes of the opener, establishing a foundation with its understated beats, to the Orbital-esk serenity of the title track My Body Flows In Gravity the album works at evoking the emotive resonance of a golden era of music reborn. This trip is backed up by the Early-Balearic styled tracks such as “Fly With Me To The Moon” and “Visit To Mars” which pull you into hazy smoked filled dancefloor territory, hypnotic melodic progressions effectively capture the essence of Trance’s peak cultural moment.

At the mid point “I Don’t Wanna Go” introduces a different dimension, exploring a more Euro sound that is at the peak of the contemporary scene, but infused with Sarah’s unique edge, hyper pumping beats work alongside spoken word to really up the tempo. Following this the journey returns to a more progressive feel, “Floating Around” and ” On My Way Home” take things into deeper territory, bringing the focus’s of the record back the groove after the blurry eyed highs. Bringing the record in for a perfect landing. There is an emotional duality to this record, a movement through a juxtaposition of yearning and almost frantic emotions alongside more uplifting harmonics through to more introspective moments. The final track “Landing” gracefully closes this arc.

Sarah Wild delivers a sonic journey as much concerned with the process as with the destination itself. My Body Flows In Gravity shows Wild’s capacity to synthesize the deeply personal with the universally resonant, a set of tracks that equally speak to the introspective solitude as they do to the collective euphoria of the dancefloor.

Limited to 150 Copies!

Following the success of his first release, Cyberphunk, Calagad 13 returns with CYBERPHUNK EXPANSION, an LP that broadens his creative vision and reinforces his position as one of the most daring and innovative voices in contemporary electronic music.

This release will be available as a limited edition of 150 vinyl copies, making it a true collector’s item for fans and enthusiasts of Calagad 13’s distinctive sound.

- Für Fans von: Shellac, Bad Breeding, Agriculture, Thank, Unsane, Future of the Left, Modern Technology, Frauds

When the late Jazz impresario and trailblazer Meghan Stabile first launched the Revivalist platform and Revive Da Live concert series in NYC, the goal was to bridge the gap between younger Hip-Hop audiences and traditional Jazz purists. Born from this vision in 2010 was the Revive Big Band, an inventive 20+ piece ensemble led by artistic director, trumpeter, and composer Igmar Thomas. Merging tradition with groundbreaking creativity since its inception, the multi-generational band’s world-class cadre of musicians unites for Like A Tree It Grows. As the Revive Big Band’s official full-length debut, this album represents not only a 14-year timeline of the Revive collective’s journey, but also a deeper tribute to the Black American Music lineage. It’s a celebration of community that uses the timeless power of music to tell a story of cultural legacy, innovation, and artistic collaboration. From original compositions like “R&P” and “The Coming”, to reinterpretations of classic records paying homage to musical legends (e.g. Wayne Shorter, Dizzy Gillespie, etc.) Like A Tree It Grows showcases Thomas’ intricate arrangements that blend Jazz, Hip-Hop, Soul, and a range of genres from the lineage of Black American music. With guest features from Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, Bilal, and more, the album provides a bridge between past and future, inviting listeners to explore the roots of Black music while reimagining its possibilities.

Tobacco City is a Chicago-based band that blends cosmic country with a mix of psychedelic rock and honky-tonk soul. Their sound captures the essence of small-town nostalgia while embracing modern-day themes, exploring heartache, longing, and the bittersweet nature of life. With their uplifting energy and authentic songwriting, Tobacco City continues to carve out a unique space in the countrytinged Americana scene. On Horses, the highly anticipated follow-up to their critically acclaimed debut, Tobacco City, USA, the band takes listeners on a nostalgic journey through the haze of youth, where time feels suspended and plans are nonexistent. The album’s lyrics conjure vivid images of small-town life—smoking schwag behind the grocery store, drinking cream from a gas station with your first love—capturing that carefree, uncertain time when the future felt distant. The music channels the spirit of ’70s country with influences from legends like Gram Parsons and Emmylou Harris, bringing a timeless, uplifting energy to each track. At the same time, the lyrics intersect with modern-day themes, blending the beauty and innocence of youth with the harsh realities of life. Horses feels like a contemporary take on classic country, merging a nostalgic past with the complex world of today, all while remaining undeniably authentic and heartfelt. This follow-up to Tobacco City, USA—which received high praise from NPR and Rolling Stone— cements the band’s place at the forefront of a new wave of countrytinged Americana. “...Like the Chicago band’s namesake, a slow smoke hangs in the air, heavy with heartbreak and feather-blue eyeshadow, but puts a brave face on. Lexi Goddard sings with a far-away look over a pedal-steel cry, a melody that sways to country songs on jukeboxes of yore...” —NPR “Chicago’s Tobacco City do more with less... spacious grooves as pedal steel wafts through like a gentle breeze. Vocalist Lexi Goddard and Chris Coleslaw sounds simultaneously wistful and playful throughout...” —Rolling Stone

Nach ihrem preisgekrönten Debüt präsentiert die spanische Geigerin María Dueñas ihr zweites Album für
Deutsche Grammophon. Im Zentrum stehen die legendären 24 Capricen von Niccolò Paganini, berühmt als
eines der anspruchsvollsten Werke, das je für die Violine geschrieben wurde. »Die 24 Capricen von Paganini
sind ein Meilenstein für jeden Geiger«, sagt Dueñas. Der Zyklus ist bekannt für seine atemberaubende Finesse und Virtuosität und zeichnet sich zugleich durch seine musikalische Vielfalt und Tiefe aus. Um auch
»die sangliche Qualität der Capricen herauszuarbeiten», ist es Dueñas‘ Wunsch, »die Musik hinter der
Technik zum Vorschein» zu bringen. Das Album wird durch eine Mischung an Solo-, Kammermusik- und
Orchester-Capricen ergänzt, die vom Teufelsgeiger Paganini inspiriert wurden. Darunter sind ausgewählte
Stücke von Berlioz, Kreisler, Saint-Saëns, Sarasate, Wieniawski sowie zwei eigens für Dueñas geschriebene
Werke der zeitgenössischen Komponisten Jordi Cervelló und Gabriela Ortiz, letzteres in einer Weltersteinspielung. Begleitet wird Dueñas von Geiger Boris Kuschnir, den Pianisten Itamar Golan und Alexander
Malofeev sowie Gitarrist Raphaël Feuillâtre. Bei den Orchesterwerken von Berlioz und Saint-Saëns wird sie
vom Deutschen Symphonie-Orchester Berlin und dem Dirigenten Mihhail Gerts unterstützt.

Brian Auger’s Streetnoise, recorded in 1969 with Julie Driscoll and The Trinity, stands as a landmark of late 1960s eclecticism, where the boundaries of jazz, rock, folk, and soul blur into a cohesive, genre-defying masterpiece.

Auger was moving The Trinity on from their R&B, jazz beginnings and for Streetnoise, together with Driscoll, delivered a record that channelled their mutually progressive vision. Julie's haunting vocal performances were the perfect counterpoint to Auger’s innovative instrumentation, creating a sound that was both avant-garde yet deeply soulful. “We aimed to challenge expectations, ” Auger recalls. “Every track was a canvas to experiment and push the envelope.”

The album’s gatefold sleeve design, created by Ralph Steadman, inspired by William Hogarth's 18th-century satirical etchings, was as groundbreaking as its music. This was not just a cover, it was a bold statement about art and society, perfectly mirroring the music’s blend of historical reverence and forward-thinking innovation.

Musically, Streetnoise is a kaleidoscope of styles including jazz and R&B, fusion, folk, rock and gospel flourishes. "Ellis Island, " and “Finally Found You Out” are both intense instrumentals that embody the intense fusion of jazz and rock the group was known for. "Indian Rope Man" is one of the standout tracks. A cover of Richie Havens' original, that inspired The Charlatans ‘Indian Rope’ and All Blues, a bold reinterpretation of Miles Davis’ iconic Kind of Blue masterpiece, on which Driscoll's vocal performance may be the highlight. "Flesh Failures (Let the Sunshine In)" is a hauntingly beautiful cover of the finale from the musical Hair. Auger's own compositions from the opening instrumental 'Tropic Of Capricorn', to the introspective solo piano and vocal Looking In The Eye Of The World' display Brian's multiple talents.

Celebrated for its fearless creativity across all 16 tracks, the album is testament to Brian Auger and Julie Driscoll’s visionary artistry. It remains a must-listen for anyone exploring the dynamic intersections of jazz, rock, and soul. The album’s reputation has only grown with time, cementing its legacy as a cornerstone of experimental music.

Streetnoise; A wholly unique album from an equally unique group

Twenty years after its original release, Kool Keith’s very own mixtape "The Personal Album" is finally making its debut on vinyl. Originally only available on CD, this one-of-a-kind mixtape is a deep dive into the eccentric mind of one of hip-hop’s most enigmatic figures. Known for his outlandish alter egos and boundary-pushing lyrics, Kool Keith delivers his trademark extravaganza of sexual and erotic innuendos, surreal storytelling, and unfiltered rawness that makes this album an essential piece of his discography.

The long-awaited vinyl release features brand-new, exclusive artwork by Dutch artist Rob Worst, capturing the essence of Kool Keith’s provocative and unpredictable style. Whether you're a longtime fan or a newcomer to Kool Keith’s world, this first-ever vinyl edition of “The Personal Album” is a must-have for collectors and lovers of unconventional hip-hop. Dive into the bizarre, unapologetic genius that only Kool Keith can deliver—now, finally, on wax.

Buffalo’s own Elcamino teams up with Los Angeles producer Real Bad Man for "The Game Is The Game", a gritty and cinematic body of work that showcases their chemistry, with thw two delivering a classic sound for fans of underground hip-hop.

As the first Real Bad Man project for 2024, "The Game Is The Game" captures Elcamino’s vivid street narratives of ambition, survival, and resilience, underscored by Real Bad Man's signature production style—a fusion of soulful samples, eerie loops, and hard-hitting drums that create a cinematic atmosphere.

This collaboration marks a new chapter for both artists, bridging Buffalo’s raw energy with LA’s experimental edge. Hip-hop fans can expect an album that is unapologetically authentic, gritty, and innovative.

To elevate the experience, the album features guest appearances from rap luminaries Benny The Butcher, Boldy James, Rick Hyde, King Ralph and Player K.

This brand new deluxe edition of "Bag Talk", the acclaimed 2019 collaborative album by Pink Siifu and Yungmorpheus, is a masterful expansion of the duo's underground classic. Originally celebrated for its gritty beats, sharp lyricism, and boundary-pushing creativity, the album saw a first deluxe release in 2022, but with this one the duo is taking the original project to new heights, featuring six brand-new, unreleased bonus tracks that deepen its raw, introspective vibe.

From soulful loops to hard-knocking drums, the chemistry between Siifu and Yungmorpheus shines even brighter on these exclusive tracks, offering fans a deeper dive into their rich sonic world.

This brand new release features 6 brand new bonus tracks, new artwork by artist Alina, and has been mastered for vinyl by Davide "Bassi Maestro" Bassi for enhanced listening experience!

Britny Fox is the eponymous debut album by American glam metal band Britny Fox, originally released in 1988. It was met with critical acclaim and near Platinum sales. Their lead single "Long Way To Love" made heavy rotation on MTV and the band won Metal Edge magazine's Best New Band award in 1988. Britny Fox was formed in 1985 in Philadelphia, fronted by lead vocalist and rhythm guitarist "Dizzy" Dean Davidson. Other band members included Billy Childs on bass, and two former members of the band Cinderella; Michael Kelly Smith on lead guitar and Tony Destra on drums. Their debut album remains their most popular work to date. Britny Fox is available as a limited edition of 750 copies on white coloured vinyl and includes an insert.

Elephant's Memory is the 1969 eponymous album by the American rock band from New York. They are primarily known for backing John Lennon and Yoko Ono. For live performances with Lennon and Ono, they were also known as the Plastic Ono Elephant's Memory Band. Before working together with Lennon and Ono, the band already worked on three albums. Two of their songs, "Jungle Gym at the Zoo" and "Old Man Willow", appeared on the soundtrack of the 1969 film Midnight Cowboy. The band's style can be described as psychedelic rock. Elephant's Memory is available as a limited edition of 750 numbered copies on purple coloured vinyl

-Lagartijeando is synonymous with pushing the alt-Latin electronic scene forwards along with his contemporaries Nicola Cruz, Chancha Via Circuito and El Buho.
-7 Caminos marks Lagartijeando's 4th consecutive LP with Wonderwheel, following La Tercera Vision (2021), Jallalla (2019) and El Gran Poder (2017)
-The album was recorded between Cholula, Mexico and Tarapoto, Peru - it has the energy of the South American jungle and the volcanoes of the Mexican Altiplano.
-Touring Japan all of October 2024 with winter dates in Mexico and Latin America
-Lagartijeando has been releasing music since 2009 (both under that name and Mati Zundel). He's been associated with labels like ZZK (Nicola Cruz) and Waxploitation (Gnarls Barkley, Danger Mouse)
-His releases have sold over 15,000 physical units (Vinyl and CDs) and over 25 million cumulative streams across all DSPs
-Extensive press and blog coverage from the likes of The FADER, Vice, KCRW, NPR and many others.
-Past tour history includes dates throughout Latin America, Europe and Asia

-Lagartijeando is synonymous with pushing the alt-Latin electronic scene forwards along with his contemporaries Nicola Cruz, Chancha Via Circuito and El Buho.
-7 Caminos marks Lagartijeando's 4th consecutive LP with Wonderwheel, following La Tercera Vision (2021), Jallalla (2019) and El Gran Poder (2017)
-The album was recorded between Cholula, Mexico and Tarapoto, Peru - it has the energy of the South American jungle and the volcanoes of the Mexican Altiplano.
-Touring Japan all of October 2024 with winter dates in Mexico and Latin America
-Lagartijeando has been releasing music since 2009 (both under that name and Mati Zundel). He's been associated with labels like ZZK (Nicola Cruz) and Waxploitation (Gnarls Barkley, Danger Mouse)
-His releases have sold over 15,000 physical units (Vinyl and CDs) and over 25 million cumulative streams across all DSPs
-Extensive press and blog coverage from the likes of The FADER, Vice, KCRW, NPR and many others.
-Past tour history includes dates throughout Latin America, Europe and Asia

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts.

Composer Aimée Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature’s symphony merge to become one.

Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound—perhaps the true voice of the wind, which birds may be the only creatures capable of recognising. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind’s range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind—an abstract expression of our ongoing conversation with nature.

Concept, composition and production by Aimée Portioli. Wind recordings by Aimée Portioli and Pablo Diserens.
Mastered by Rafael Anton Irisarri. Front cover photo by Bárbara Cameán and Aimée Portioli. Back cover photo by Maria Louceiro. Design by Daniel Castrejón.

19 Songs in 31 Minuten, das sind im Schnitt 1,631578947368421 Minuten pro Song. Klingt erstmal viel, aber wenn man abrundet sind es nur noch 1,6 Minuten pro Song. Es geht wie immer erratisch zur Sache: Gleich zu Beginn und ganz am Ende verneigen sich Chefdenker vor den Beach Boys ohne diesen willkürlich gesteckten Rahmen mit Surf-Content zu füllen. Der Song "Schweine im Weltall" handelt überraschenderweise nicht von Elon Musk, sondern beantwortet mit waschechtem FUN-Punk die Frage ob Kunst heutzutage um jeden Preis politisch sein muss. "Schnubbi" ist ein schönes, aber auch trauriges Lied, andere Leute haben auch Probleme in "Die schwere Kindheit der künstlichen Intelligenz", "Impfen und Würstchen" läutet endlich eine angemessene Aufarbeitung der Corona Jahre ein. "Was soll bloss aus dir werden" ist ein Erziehungsratgebersong ohne Faktencheck, "Lass die Sau raus" beleuchtet die lächerliche Kulturkampftechnik des absichtlichen Missverstehens. Musikalisch gibt es zwischendurch immer wieder Wellness Passagen, ein bisschen Bossanova oder hier und da Stadionrock. Sepp Herberger würde sagen: Die LP ist rund und die Spielzeit dauert 31 Minuten.

19 Songs in 31 Minuten, das sind im Schnitt 1,631578947368421 Minuten pro Song. Klingt erstmal viel, aber wenn man abrundet sind es nur noch 1,6 Minuten pro Song. Es geht wie immer erratisch zur Sache: Gleich zu Beginn und ganz am Ende verneigen sich Chefdenker vor den Beach Boys ohne diesen willkürlich gesteckten Rahmen mit Surf-Content zu füllen. Der Song "Schweine im Weltall" handelt überraschenderweise nicht von Elon Musk, sondern beantwortet mit waschechtem FUN-Punk die Frage ob Kunst heutzutage um jeden Preis politisch sein muss. "Schnubbi" ist ein schönes, aber auch trauriges Lied, andere Leute haben auch Probleme in "Die schwere Kindheit der künstlichen Intelligenz", "Impfen und Würstchen" läutet endlich eine angemessene Aufarbeitung der Corona Jahre ein. "Was soll bloss aus dir werden" ist ein Erziehungsratgebersong ohne Faktencheck, "Lass die Sau raus" beleuchtet die lächerliche Kulturkampftechnik des absichtlichen Missverstehens. Musikalisch gibt es zwischendurch immer wieder Wellness Passagen, ein bisschen Bossanova oder hier und da Stadionrock. Sepp Herberger würde sagen: Die LP ist rund und die Spielzeit dauert 31 Minuten.

The Helsinki-based five-piece rock band Us has been winning over British ja Japanese audiences with their unique blend of garage rock, punk, and rhythm 'n' blues. Their explosive live energy and catchy rock songs have been brilliantly captured on their debut album Underground Renaissance, originally released in the fall of 2024. Underground Renaissance is now being released on vinyl by Playground Music sublabel Lördag. In 2024 the band played nine shows at Glastonbury festival in the UK and six shows at Fuji Rock Festival in Japan. During the same year Us also released their debut album Underground Renaissance. The album has received praise from such magazines as Rolling Stone Japan, Mojo Magazine, Shindig! and Classic Rock Magazine. The songs have also enjoyed numerous plays on BBC 6 radio. In live reviews Us has been compared to early Arctic Monkeys and The Hives with Mojo Magazine describing their "blistering 3 AM show" at Glastonbury as "Dr. Feelgood-style punk-blues with the vigour of peak Ramones". In 2024 alone, Us have performed at Eurosonic and Bigpop festival (the Netherlands), Glastonbury (UK), Fuji Rock (Japan), Sziget Festival (Hungary), and Transmusicales (France), as well as headline a run of UK dates.

In der Musik von Chase Petra ging es schon immer um Wachstum: Erwachsen werden, über sich hinauswachsen, die Erwartungen anderer satt haben. Auf ihrem zweiten Album wirft das Trio aus Long Beach, Kalifornien, erneut die existenziellen Fragen auf, die die lange, unvorhersehbare Reise des Lebens durchziehen. "Lullabies For Dogs", der Nachfolger von "Liminal" (2018), wechselt zwischen zeitloser Melodik (wie das düstere "Two Nights In New York" und das hypnotische, akustisch orientierte "Icarus") und unermüdlicher Energie (wie "Centrifugal Force" und "Bread And Circus", die mit der Unberechenbarkeit der frühen Panic! At the Disco kollidieren) – und etabliert Allen, Drummer Evan Schaid und Bassistin Brooke Dickson als einen der geschicktesten Acts der Emo-Szene. Kirschrotes Vinyl.

Das Trio aus Mike Alvord, dem Gitarristen und Mitbegründer der legendären Holy Terror, dem italienischen Schlagzeuger Roby Vitari und Bassist Rick Zaccaro, spielt eine Mischung aus klassischem Thrash mit etlichen Killer-Riffs und inhaltlichem Tiefgang. MindWarsn wurde 2013 gegründet, wobei sich ihr Name natürlich auf das zweite Holy-Terror-Album "Mind Wars" (1988) bezieht, doch das Projekt stellt für den Gitarristen ein neues Kapitel dar. "Ich wollte nicht, dass jemand denkt, dies sei eine Fortsetzung von Holy Terror", stellt er klar. "Ich habe es immer als Anhängsel oder Erweiterung betrachtet, und es ist nur natürlich, dass es in unserer Musik Anklänge an Holy Terror gibt." MindWars haben schon einiges an Aufmerksamkeit mit ihren Shows erregt, darunter Auftritte im Vorprogramm von Raven und Mordred sowie Gigs bei Festivals wie Long Live the Loud (USA), Storm Crusher (Deutschland) oder True Thrash (Japan). Mit "V" blickt die Gruppe zuversichtlich nach vorne. "Ich habe Phasen, in denen mir Riffs und Songs in den Sinn kommen, und arbeite schon an neuen Songs", kündigt Mike an. "Aber jetzt freuen wir uns zunächst einmal, eine neue Label-Partnerschaft eingegangen zu sein, und gehen mit etwas Glück in naher Zukunft auf Tour beziehungsweise spielen auf dem einen oder anderen Festival."

Maltuka aus dem norwegischen Bergen sind eine aufstrebende Thrash-Metal-Macht, die mit ihrer Vier-Track-Debüt-EP „Black Rite“ für Furore sorgen wird. Gitarrist/Sänger Viljar Brunvoll und Schlagzeuger Mats lernten sich 2016/17 bei Psykopath kennen, mit denen sie zwei EPs aufnahmen und mehrere Konzerte gaben. Als sich diese Band auflöste, arbeiteten die beiden weiter gemeinsam an Demos, die schließlich zur Gründung von Maltuka führten. Mit Einflüssen, die von Metallica und Slayer über Nuclear Assault bis zu den Teutonic-Thrash-Legenden Sodom und Maltukas schwarzmetallischen Landsleuten Immortal reichen, verleihen die Musiker der bewährten Thrash-Formel eine individuelle Note. Die Songs von „Black Rite“ drehen sich um spirituelle und okkulte Themen, die der Musik Tiefe und Atmosphäre verleihen. Das Cover der EP, das auf einem Gemälde von Kim Diaz Holm (Sólstafir, Vreid) basiert, spiegelt die dunklen Themen der Songs wider. Und während sie als Einführung in Maltukas Sound dienen, hat die Gruppe ehrgeizige Pläne für die Zukunft. „Diese EP zeigt unseren härteren, direkteren Songwriting-Stil“, bemerkt Viljar. „Unser erstes Album wird dynamischer sein und eine breitere Palette an Einflüssen und Sounds bieten.“ Mit „Black Rite“ setzen Maltuka ein mutiges Zeichen, indem sie Thrash Metal eigenständig interpretieren, aber auch seine Wurzeln hochhalten. Die internationale Metal-Szene wird bald von dieser Band sprechen, und das hier ist erst der Anfang.

Stainless starteten offiziell im Jahre 2022 in Portland, Oregon. Aktuelle und frühere Musiker waren vorher bei lokalen Underground-Bands wie Black Breath, Long Knife, Lebenden Toten, Halt, Bellicose Minds, Nightfell, Malikili und Ripper aktiv. Das erste Lebenszeichen der Band war die in Eigenregie gepresste 7" Single "Snakebite"/"Too Hot To Steal". Nun erscheint als Nachfolger das Mini-Album "Nocturnal Racer" mit dem Titelstück sowie "Shot For Shot", "Believer" und "The Evil Lies". Die vier Songs wurden 2023/24 in den Red Lantern Studios (Portland) von Larissa Cavacece (Gesang), Mira Sonnleitner (Bass), Joe Sugar (Drums) und Jamie Byrum (Gitarre, Gesang) eingespielt. Mittlerweile ist Joe Sugar durch Terrica Catwood von der Band Time Rift ersetzt worden. "Ich würde uns als Hardrock oder Heavy Rock bezeichnen", weiß Gitarrist und Sänger Jamie Byrum. "Es gibt zwar viele Elemente des Heavy Metal in unserer Musik, aber es wäre wohl missverständlich, uns als reinrassige Hevy-Metal-Band zu bezeichnen. Die erste Single war im Gegensatz zu "Nocturnal Racer" noch viel mehr im Blues verwurzelt." Frontlady Larissa Cavacece, die von Kanada nach Portland gezogen ist, prägt mit ihrer messerscharfen Stimme irgendwo zwischen Leather Leone und Wendy O. Williams den Sound von Stainless nicht unwesentlich. Jamie Byrum: "Ihre Einflüsse gehen weiter als Chastain und Plasmatics. Allerdings weiß ich, dass sie es ehrt, in einem Atemzug mit den beiden genannt zu werden. Larissa besitzt einen Goth-Background, schwört aber auch auf Crust-Bands wie Amebix und Sacrilege. Des weiteren ist sie ein großer Bowie-Fan und liebt den Rock der Siebziger. Passenderweise hat ihre Karriere als Sängerin in einer Plasmatics-Coverband begonnen." Laut dem Gitarristen/Sänger sind "Sex, Schlangen, Motorräder, schnelle Autos, Rock 'n' Roll, Standhaftigkeit, das Böse und Heavy Metal geeignete Themen für Stainless." Davon wird es in absehbarer Zukunft wohl noch mehr zu hören geben, denn Stainless arbeiten derzeit am Material für ihr erstes vollständiges Album.

Nach der erfolgreichen Vinyl-Wiederveröffentlichung von 'Songs To No One' im Rahmen des Record Store Day 2024, bringt Knitting Factory Records das Album von Jeff Buckley & Gary Lucas erneut auf opakblauen Denim-Vinyl (LP1) und opakweißen Vinyl (LP2) heraus. Dieses Album fängt Jeff Buckley ganz am Anfang seiner verheerend kurzen Karriere ein. Begleitet wird Jeff von seinem ursprünglichen Songwriting-Partner, dem Gitarrenvirtuosen Gary Lucas, und einer kleinen Besetzung von New Yorker Musikgrößen der 90er Jahre. Diese Aufnahmen bilden das intime Fundament von Jeffs unglaublichem Werk.

- Ltd. Col. 2LP: (opakblaues Denim-Vinyl LP1 und opakweißes Vinyl LP2)

Das neue Album beschäftigt sich nicht nur mit der üblichen Kriegsthematik, sondern die Songs von "Landkrieg" kreisen um den 30-jährigen Krieg, der die deutschen Lande von 1618 bis 1648 verwüstete und noch bis heute prägt. Auf "Landkrieg" bleiben SCALPTURE ihren tödlichen Wurzeln treu, aber der Schliff durch die endlosen Stunden auf Tour, zahlreiche Shows und viele Tage und Nächte sowohl im Proberaum als auch im Hellforge Studio haben ihren Sound hörbar nachgeschärft. Die neuen Songs sind brachial, hammerhart und 100% Death Metal, aber sie lassen auch Raum für Abwechslung und spannende Wendungen. Als SCALPTURE im Jahr 2009 in Bielefeld ins Leben gerufen wurden, hatte Gitarrist Felix Marbach als Gründer bereits eine klare Vision: Die musikalische Ausrichtung sollte kompromisslos dem klassischen Death Metal folgen, aber gleichzeitig sollte die Band in jeder Hinsicht ihren eigenen Stil entwickeln. Alle bisherigen Albumtitel von SCALPTURE beziehen sich auf den Krieg, den die Band zu ihrem wichtigsten lyrischen Thema gemacht hat. Ohne Glorifizierung und Stereotypen, stützen sich die Texte auf detaillierte historische Recherchen und schildern die Schrecken des Krieges, der viele Länder dieser Welt bereits in den Abgrund gerissen hat. Trotz ihres Themas vertreten SCALPTURE moderne Werte wie Toleranz, Frieden und Vernunft. SCALPTURE entfesseln einen neuen musikalischen "Landkrieg" und lassen der Welt nur zwei Möglichkeiten: Kapitulation oder die Schädel schütteln!

Arny Margret, Iceland’s remarkable and poetic upcoming singer-songwriter, is due to release her second album ‘I Miss You, I Do’ on March 7th via One Little Independent Records. The follow-up to 2022’s celebrated, minimalist folk debut ‘they only talk about the weather’ sees her working with new producers in America to develop and hone a sound that’s more textured, expansive, and mature.

‘I Miss You, I Do’ incorporates sessions from Arny Margret’s trips to New York City, North Carolina, and Colorado, as well as those recorded in Iceland. During extensive international touring, she wrote prolifically and spent time getting to know producers and musicians who each brought their own unique and individual talents to the project. Arny’s atmospheric and introspective material has been layered with country-inflected full band ensembles, keys, banjo, harmonium, slide guitar and more, adding an ambience that only enhances her natural ability to convey crystal-clear imagery within thematically rich writing.

In pursuit of her creative vision, Arny enlisted producers Josh Kaufman, Andrew Berlin, Brad Cook, and Guðm. “Kiddi” Kristinn Jónsson. Josh Kaufman is best known for his work with Grateful Dead founder Bob Weir, The National, This Is The Kit, Hiss Golden Messenger, Josh Ritter, and The War on Drugs. Andrew Berlin, GRAMMY nominated for his work on Gregory Alan Isakov’s record ‘Evening Machines’, also mixes national punk rock staples such as A Wilhelm Scream, Rise Against, and Teenage Bottlerocket. Brad Cook served as a producer for Bon Iver, Big Red Machine, Waxahatchee, Hand Habits, Kevin Morby, and Whitney amongst others. Arny also returned to Iceland to record with her long-time collaborator and friend Kiddi Jónsson in Reykjavík, Iceland.

First new music from Swervedriver in over 5 years! With 2 tracks recorded with Mark Gardener from Ride and the other 2 recorded by YouTube star Rick Beato, The World's Fair EP ranks up there with the best of Swervedriver's classic early 90's EPs. First pressing is on orange vinyl!

The follow-up to their eponymous 2022 debut album, ‘What Is Your Definition Of Happiness?’ finds Dubinski broadening their sonic palette with the help of Grammy award winning producers Mike Horner (Franz Ferdinand, Placebo, Hot Chip) and Robbie Nelson (Beck, Royal Blood, The Kooks). Across an album themed around the concept of happiness you’ll find tales of crushed dreams, doomed romance and the perils of trying to survive as a DIY live band, all set to a compelling suite of bulletproof melodies which fuse elements of Franz Ferdinand, Parquet Courts, The Clash, Maximo Park, and even Paul Simon.

“A lot of these songs have something bittersweet to them,” says vocalist Eugene. “It’s a record of love, happiness, pain, sorrow, grief, healing, growth and acceptance. We wanted to tell a story with this album, and it flows similar to the way the seasons change.”

After a five-year absence following 2020’s creative elevator-punk explosion Roundelay, Ashley Eriksson, Eli Moore, and Andrew Dorsett of LAKE return with Bucolic Gone, a mature and polished album that is at once groovy, upbeat, meditative, and slow-rolled. As LAKE’s 10th official full-length release, Bucolic Gone is a cohesive work of sophisti-pop that embodies an adult, contemporary sound—intimate, serene, mournful, and hopeful in equal measure.

The multi-instrumental trio is joined by an impressive lineup of collaborators, including guest vocalists Nicholas Krgovich on “Glad Rags” and Daisy Jaberi of Suver with original lyrics on “Love Is Deeper.” Frequent contributors also make appearances: Karl Blau delivers standout shredding on “Ferrari,” Mark Buzard of The Format provides guitar textures across multiple tracks, and New York jazz musician Eric Vanderbuilt-Matthews contributes intricate woodwind arrangements. Steve Moore (Earth, Sunn O))),

First Aid Kit, Sufjan Stevens) adds trombone to “Love Is Deeper,” while legendary Canadian singer Jenn Grant lends her unique vocals to the outro of “Ferrari.” Recorded at The Anacortes Unknown Recording Studio by longtime collaborator Nicholas Wilbur and in the band’s own home studios, Bucolic Gone marks another step forward for Eli Moore in production and mixing. His meticulous attention to arrangement and balance—alongside an arsenal of distorted “whatchamacallits”—creates a rich, layered sound. Celebrating 20 years of ethereal, yearning pop songs, LAKE’s latest effort is their most produced but also most intimate album. Now signed to Don Giovanni Records, the band is ready to continue delivering jams. While the world has changed since LAKE’s last official release, Bucolic Gone shows that time has been on their side.

Pieter Van Dessel is not one to stand still when it comes to music: the driving force behind Marble Sounds keeps challenging himself, exploring new horizons on every album. After the more melancholic eponymous fifth album, synths and drums take centre stage for a pure and almost electronic pop sound on sixth effort ‘Core Memory’. The result is sparkling and epic indie pop, often with driving synths and delicious melodies, like on opening track and first single An Emotional High, or If You Would Prove Me Wrong Now, which did very well in The Netherlands too: Marble Sounds made the cover of Spotify's leading ‘New Alternative’ playlist and played a live session for popular NPO Radio 2 show ‘Blokhuis’. Third single Give Or Take A Few is Van Dessel's answer to A Thousand Miles, Vanessa Carlton's smash hit from the beginning of this millennium. “And your thousand miles, I'd walk ’em too”, he sings in a touching ballad reminiscent of Eels and Tom Waits. Like with previous Marble Sounds records, Core Memory was produced by Van Dessel himself. It’s out on 7 March, followed by a release tour in Belgium and The Netherlands, playing lovely venues from Antwerp to Bruges and Utrecht to Maastricht.