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Third Matinee (or 3rd Matinee) was an American rock band formed by vocalist and bassist Richard Page with keyboardist Patrick Leonard. The group formed after the breakup of Page’s band, Mr. Mister, and the demise of Leonard’s band, Toy Matinee. Leonard and Page were writing partners whose efforts included the Madonna hit “I’ll Remember.”

The rest of the band were: Brian MacLeod (drums), Tim Pierce (guitar), and Guy Pratt (bass), Marc Bonilla (guitar) and was completed by keyboard player and Toto member Steve Porcaro.

Third Matinee released only one album, Meanwhile, which was released in 1994. It features artwork by Mark Ryden, who is also known as “the godfather of pop surrealism” and mastered the Lowbrow style. He previously designed artwork for Aerosmith’s Love In An Elevator, Michael Jackson’s Dangerous, and One Hot Minute by Red Hot Chili Peppers.

Void Terra Firma was Defiance’s second studio album and first album with new singer Steev Esquivel. Defiance belonged to the San Francisco Bay Area thrash scene that gave us bands such as Testament, Exodus, Forbidden, and Death Angel.

This is Bay Area thrash at its finest, listen to standouts tracks like the title track, “Skitz-Illusions,” and “Last Resort (Welcome to Poverty)” for some mighty fine examples of that sound. The record also contains a cover of Iron Maiden’s “Killers”.

The seemingly telepathic connection between the rhythm and lead guitarists sounds phenomenal and newcomer Esquivel also steps up to the plate on this one.

Void Terra Firma is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert with lyrics.

He has curated an intimate, thoughtful collection of songs that deal with cherished loved ones, love denied, the power of faith, and a simpler, less encumbered way of life.The album features a healthy mix of country classics and contemporary bluegrass songs: Sparks revives warhorses from the repertoires of Lefty Frizzell, George Jones, and Hank Williams, complementing them with material from present-day writers including Wyatt McCubbin and Daniel Crabtree.

An evocative, heart-felt singer with few peers, younger bluegrass musicians are inspired by and study the subtle nuances of Sparks' vocal style. But Sparks, however, is a double threat, being equally revered for his innovative guitar playing.

Countless guitarists have tried to emulate his singular flatpicking style, but few - if any - have truly mastered it.

For some years, fans of the Bluegrass icon have requested that he do a project of this nature. At long last, that wait is over. Listeners get pure Larry Sparks.

Recorded at his newly built home studio, it's just him, his signature 1954 D-28 and his son Larry "D" Sparks providing subtle backing rhythm on bass. The warmth and intimacy of this album affords his admirers the opportunity to pull up a chair, relax, and listen to a true bluegrass master do what he does best - playing and singing from his heart to theirs.

Two shiny silver discs of newly discovered recordings from the legendary singer-songwriter when she was performing country music under her birth name, Sherry Lee Myers

Recorded by her mother directly from the radio! Includes three non- LP bonus tracks!

These powerhouse single A & B sides offer testament to the undiminished power of Dale's work, as well as his continuing status as one of rock's preeminent guitar innovators. As a result of Sundazed's unprecedented access to Dale's massive tape archive, this incredible double- LP collection has been sourced from the original analog reels and pressed on colored vinyl. These tracks capture the bigger-than-life guitar master at his absolute greatest... Jungle Fever, baby!!!

After the success of Death Walks Behind You, an appearance on Top of the Pops, and a successful tour, it was time for emerging stars Atomic Rooster to record their third studio album, In Hearing Of. The album is a perfect example of a band evolving and in constant transition, such as they show with this little-known gem of the '70s British rock.

Much less bombastic than the band's earlier releases, In Hearing Of is almost funky at times. The lyrics are doom-laden in the spirit of much of this genre of British hard rock at the time, and pseudo-classical references crop up from time to time, but Vincent Crane's keyboards are generally tasty, and the melodies are often downright memorable.

In Hearing Of is available as a limited edition of 750 individually numbered copies on translucent magenta coloured vinyl.

Tighter is the reissue of the out-of-print debut album Tight by American electronic rock band Mindless Self Indulgence. Originally released in 1999, the album was given an expanded edition in 2011 but has been out of print for over a decade.

This vinyl reissue includes the original 15 tracks, as well as the 11 B-sides, including the songs "Bring the Pain," "Tornado," "I Hate Everyone," and the standout track "Molly." Marked by an eclectic range of influences and showcasing the band's signature sound, Tighter is both chaotic, offensive, and danceable, perfectly capturing Mindless Self Indulgence's early musical efforts.

The album is unapologetic in nature, which solidified Mindless Self Indulgence's reputation as one of the most innovative and boundary-pushing bands. Tighter remains a cult classic and a testament to the band's enduring influence.

Tighter is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl and includes 2 printed innersleeves.

On its fifth Various Artists EP, On Board Music welcomes the prolific, techno-meets-drum & bass artist ASC for a weighty, stepping collaboration with Semblance. Nuversion contributes a groovy dub-influenced cut that will slide easily into both techno and house sets. On the B-side, the inimitable Polygonia displays her delicate, melodic touch with the sublime “Veluo,” before Morphing Territories closes out the record with a pitch-black modular techno roller. All together, Point E is a well-rounded record which does justice to the range and quality of sounds that On Board has been pushing since 2015.

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Carbon Music continues its conquest in a special single summoning some of drum & bass' greatest minds, as Goldie & Lenzman make illustrious debuts alongside label pillars Jubei & Submotive.

Two years after their first collab 'Component' (CM002), Submotive & Jubei reforge the foundations upon which Carbon Music was built, in two tracks written with two powerhouses sharing the same ethos.

Goldie reinstills his prowess, linking to form a holy pantheon on 'Game Of The Gods'. 10 years since Jubei released his album on Metalheadz, they collaborate again with a mutual accomplice in Submotive. Reinforcing the core principles, its a celebration of vigour and mysticism; brute force balanced with celestial pads - bringing shared beliefs full circle towards a new golden era.

Lenzman makes his intro on the flip, with a touch of nonchalent class on the effortlessly rolling 'Members Only'. Having all released with The North Quarter and Metalheadz, the trio share a close bond, developed over years of performing and travelling together. Its an innate understanding; a brotherhood; three elements that progress, intensify and naturally form, in a way that no others can.

DJ Support:

Goldie
Skeptical
Lenzman
Jubei
Bryan Gee
Halogenix

Introducing Bavhu, a dynamic Kiwi duo who have delivered an absolute belter, 'Always Dancin' out on TMRW Music.

Sporting some knocking drums, heaving rhythms, funky bass, irresistibly hooky vocals and filthy disco percussion, 'Always Dancin' is a joyous disco-sampling house outing that’s already garnered heavyweight attention from the likes of Danny Howard, Pete Tong and Zane Lowe, who have already thrown their support behind the track.

DJ Support:

Plays on Radio 1 from Danny Howard, Pete Tong, Dance Anthems + on KISS from TCTS

Foundation Music Productions take two of the standout tracks from Lady Blackbird’s critically acclaimed debut album ‘Black Acid Soul’ and enlist the expertise of some of Jazz’s finest talents, Greg Foat and Emma-Jean Thackray, to step up and remix these absorbing cuts.

On the A side, the much-revered London based, jazz and electronic composer/producer Emma-Jean Thackray delivers a downtempo and entrancing remix of ‘Blackbird’, flexing the jazz elements of the original into a smooth and encapsulating mix that's primed to lose yourself in.

Head to the B to find Greg Foat’s irresistibly smooth production touch with his remix of ‘Collage’, layering floaty percussion, dreamy organ chords and delicate guitars to create a sun-kissed, laid back vibe that shines a light on the scintillating vocals.

rotes Vinyl,
Zum 40. Jubiläum von Bonnie Tylers Kultalbum "Faster Than The Speed of Night" erscheint der Longplayer auf rotem Vinyl. Inklusive der Hits "Total Eclipse of The Heart", "Have You Ever Seen The Rain", "Faster Than The Speed of Night" und "Straight From The Heart".

DeForrest Brown Jr., the writer and producer behind Speaker Music, describes Techxodus as "abstracting Blackness through information overload". On the album he explores the intersection of tech, Blackness and resistance via music taken from his archived live shows, which are then edited, ordered and reassembled in the studio. The main line of inquiry that feeds into Techxodus is Drexciya, whose myths have informed much recent afrofuturist creativity. DeForrest researches and reimagines the artifacts and stories of Drexciya with new maps, ideas and music, particularly reflecting on the 'Seven Storms', seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode. The artwork by Abu Qadim Haqq, who also created artwork for Drexciya, links the work too, with Deforrest re-orienting charts and timelines familiar from Drexciyan mythology, working up clues to all possible environments where Drexciyans could survive, from the depths of the Atlantic, to oceanic islands or even outer space. Like Sun-Ra, another touchstone of Afrofuturist music, it might be that the Drexciyans wanted to leave the planet they hated. With these elements, DeForrest creates a soundtrack for an alternate history, a sort of sci-fi sonic fiction which threads together the sonic warfare and mythos of the Drexciyan records with ideas and references to Ishmael Reed's 'Mumbo Jumbo', which tracks the story of 'Jes Grew', an audio virus, back to the coastal black cities of Alabama and the American South. Musically the album is as intense as its inspirations. DeForrest skilfully hand-plays rhythms which amalgamate trap and jazz drumming, but feel at times like orca-song as they pulse through the thick waves of digital sound. Equally the music evokes the ocean, with deep cold drones, or as if it's floating through time like in 'Holosonic Rebellion' which mixes in recordings of African Warriors. Sometimes there is an energetic turbulence as on 'Jes Grew', where punched-in passages of jazz brass bounce against DeForrest's drums to create a weird disassembled jazz. Towards the end the album begins to feel like a spaceship taking off, the rushes of ascending noise and distortion, distant Southern Gospel Vocals feel like music that's leaving earth. Listen to it without the references or feed your imagination; this is a powerful and immersive original work from one of electronic music's most unique creators.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Wewantsounds is delighted to announce the first international reissue of Ayako Shinozaki's hard to find LP "Music Now For Harp" released in 1974 by Nippon Columbia. The LP was released on the label's cult "Master Sonic" series and features Shinozaki's harp soundscape on works by renowned composer Toru Takemitsu and Katsuhiro Tsubono. The highlight of the album is the spaced-out, ethereal 25-min ambient epic 'Heterodyne' featuring cult musician Takehisa Kosugi (Taj Mahal Travellers, Group Ongaku) on electric violin and sound waves. The album has been newly remastered by Nippon Columbia and is reissued here with its original artwork designed by legendary Japanese graphic designer Kohei Sugiura. It includes a 2 page insert with new liner notes by Alan Cummings.

The debut album from Winnipeg psychedelic jazz-funk collective Apollo Suns, 'Departures' (Do Right! Music), finds the band evolving across new styles and moods, encompassing the shifting tides of the pandemic years.

Produced by Juno award-winning producer Ben Kaplan (Bootsy Collins, Five Alarm Funk), Departures is a cinematic journey inspired as much by artists like Goblin, Lettuce, and Frank Zappa as film, TV and video game scores and soundtracks. The band combines classic compositional techniques with synths and electronics, showcasing genre-melding finesse. Introducing strings, acoustic guitar, grand piano, and lap steel into the mix, Apollo Suns explore the visceral and heavy, the elegant and ethereal, epic house rock to New Orleans-y brass, proggy pathways, string-backed balladry, greasy funk and beyond.

"It's been a heavy couple of years. We wanted to make an album that summed it all up," says bandleader Ed Durocher. "I always kind of think of music as the different parts of life. Sometimes it's aggressive, sometimes it's fun and loose, and sometimes it's sad and hard. So, since we don't have vocals, a lot of these songs try to convey those experiences through sound."

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

Palma Music Studios, Oktober 2022. Die funkigen Vier aus Schweden werden während der sonnigen Tage beim Trinken von Margaritas und Estrella Damms gesichtet, aber nach der Siesta legen sie das laute Fundament für das achte Album der ELECTRIC BOYS."Die Pandemie inspirierte zu einigen ernsteren Themen, so dass "Ups!de Down", das 2021 erschien, ein etwas düstereres Album war, auch wenn die Hoffnung immer präsent war", sagt Conny Bloom, der Hauptsongschreiber der Band."Grand Explosivos", das neue Electric Boys-Album, das am 15. September über Mighty Music erscheint, ist jedoch genau das Gegenteil. Es könnte tatsächlich sein, dass die Jungs die beste Party seit "Groovus Maximus" schmeißen!

Das Album ist ein hart rockendes, melodiöses, funkiges und spaßiges Abenteuer, das zu einem Markenzeichen der Band geworden ist.Die erste Single "I've Got A Feelin'" wies den Weg in die klassischen Rock-Arenen, während die Folgesingle "Domestic Blitz" wie ein Maultier kickt und keine Gefangenen macht. (Oder vielleicht doch?)
Schauen Sie sich das Video an und entscheiden Sie selbst:). Die Jungs haben sichtlich Spaß daran, zusammen zu spielen und wir freuen uns auf ein verdammt gutes Partyalbum am Ende des Sommers.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

Sophomore album from Delmer Darion featuring both the most accessible and ambitious music they’ve created yet. There are some compelling features from Kiran Leonard, Bingo Fury, Anna B Savage, Mabe Fratti and the second half of the album features spoken word from Morfydd Clark who was the lead actress in the new Lord of the Rings series on Amazon.

Margo Cilker's sophomore album, Valley of Heart’s Delight, refers to a place she can't return: California’s Santa Clara Valley, as it was known before the orchards were paved over and became more famous for Silicon than apricots. In this 11-song follow-up to 2021's critically acclaimed Pohorylle, family and nature intertwine as guiding motifs, at once precious and endangered, beautiful and exhausting. Cilker and Pohorylle producer Sera Cahoone brought most of that record's highly-acclaimed crew (studio players for The Decemberists, Band Of Horses, and Beirut) back to the studio with additional contributions from acclaimed Northwest traditionalist Caleb Klauder. Valley of Heart's Delight, Cilker's second record on Portland, Oregon label Fluff & Gravy Records, follows a year busily reaping the fruits of Pohorylle's success, with festival appearances at Pickathon, Treefort, and End Of The Road, and tours supporting American Aquarium, Hayes Carll, Drive-By Truckers, and Joshua Ray Walker. Margo Cilker lives near the Columbia River in Goldendale, Washington with her husband, songwriter and working cowboy Forrest VanTuyl, as well as their dog and some horses.

The Handsome Family definieren seit über 30 Jahren das dunkle Ende des Americana. Brett schreibt die Musik und Rennie die Texte. Ihre Arbeit wurde von vielen Künstlern gecovert, darunter Jeff Tweedy, Andrew Bird und zuletzt Phoebe Bridgers. Ihr Song "Far From Any Road" war die Eröffnungsmelodie für die erste Staffel von HBOs True Detective und wird immer noch jede Woche von Tausenden von Shazams aus der ganzen Welt geteilt. Die neue Platte von The Handsome Family begann mit einem Schrei in der Nacht. 'Es war ein düsterer Winter in der Mitte der Pandemie', sagt Brett Sparks. "Eines Nachts gegen 4 Uhr morgens begann Rennie im Schlaf zu schreien. Sie schrie: 'Komm in den Kreis, Joseph! Heute Nacht ist kein Mond da.' So beängstigend es auch war, ich dachte, Mann, das ist ein guter Refrain!'. Wenn man Brett bittet, seine Musik zu beschreiben, sagt er: "Western Gothic". Es ist Musik, die von den verlassenen Malls in der Wüste inspiriert ist, wo rissiger Asphalt vor Hitze schimmert und dorniges Unkraut langsam das Land zurückerobert.

Celebrate the 5th anniversary of Leon Bridges Grammy-winning album Good Thing. The limited-edition title features a custard color variant, the original track list, and a bonus track “Naomi” originally released on the 2018 Japan Edition. Good Thing was nominated for Best R&B Album, and the track “Bet Ain’t Worth The Hand” won Best Traditional R&B Performance at the 2019 Grammy Awards

Limited edition 7-inch red vinyl of Netflix' hit series Outer Banks Season 3's most iconic tracks including the now classic “Pogues Theme” composed by Fil Eisler. Available for pre-order now!

Reissue auf black Vinyl

Reissue auf black Vinyl

Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.

Soul To Soul is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Stevie Ray Vaughan's third studio album Soul To Soul was released in 1985, just two years after his massive debut Texas Flood. Moving more into a soulful R&B-tinged blues sound, Stevie included two new band members on keyboard and saxophone for Soul To Soul. The band know their way around a number of cover versions of songs penned by Hank Ballard, Doyle Bramhall, and Willie Dixon, bringing a variety of influences into SRV's brand of modern blues. His own compositions such as “Say What”, “Ain't Gone 'N' Give Up On Love” and “Life Without You” reveal an artist that is ever passionate in delivering real blues, and growing in his songwriting at the same time.

After 1976’s Contraband, Golden Earring continued in a straightforward hard rock direction on Grab It For A Second (1978). Working with legendary producer Jimmy Iovine (U2, Bruce Springsteen, Tom Petty & the Heartbreakers, Stevie Nicks, Dire Straits, Patti Smith), this was the band’s final album featuring guitarist Eelco Gelling.

This 45th anniversary edition of Grab It For A Second is remastered for the first time from the original master tapes and features the bonus track “I Can’t Talk Now” (B-side of the Movin’ Down Life 7-inch single). It is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl.

Das nächste Album in unserer Vinyl-Serie von CAKE ist "Comfort Eagle", das vierte Studioalbum der Band, das die Hitsingles "Short Skirt / Long Jacket", "Love You Madly" und "Comfort Eagle" enthält. Der Longplayer enthält remasterte Audioaufnahmen und wird zum ersten Mal als eigenständige 180g 1-LP-Vinyl veröffentlicht (früher war sie als Teil eines RSD-Boxsets erhältlich). Réédition du classique de Cake "Comfort Eagle" en vinyle.