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After a debut LP a couple of years ago, Patrick McEachnie (Chain Whip) is back with a stunning sophomore LP. Where the first LP was Pat taking care of everything, this time it is a full band, resulting in a album of bouncy, power-poppy rippers with great hooks and pop sensibility, inspired by the less abrasive, more melodically driven side of ’70s punk. 13 brand new songs to full in love with. Summer never tasted so good

RT PRO is the new Right Tempo line “for professional use”, addressed to a discerning audience and released on 12” Single housed in a curated packaging. This first instalment is a follow-up to the internationally acclaimed "The Congregation - Jazz Alliance
International" compiled by Jazzcat. It features never previously released remixes of the slammin’ "Seasons in My Mind" track by Japanese producer Yellowtail feat. legendary jazz singer Mark Murphy. In addition to the Original, come remixes by Further Out Recordings’ head Richard E feat. saxophonist/flutist Jake Telford, by Frankson (one half of the British electronic duo Part Time Heroes), and by all-round musician and producer Emanative, who invited his longtime friend and collaborator, keyboardist Jessica Lauren, to join him for this special project.

Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

The Moon and the Melodies is a singular record within the Cocteau Twins" catalogue - unusually ethereal, even by their standards, and largely instrumental, guided by the free-form improvisations of Harold Budd, an ambient pioneer who had drifted into their orbit as if by divine intervention. Building on the atmospheric bliss of Victorialand, released earlier the same year, it signalled a possible future for the trio, yet it was a path they"d never take again. Now, almost forty years after it was fi rst released, it"s being reissued on vinyl for the first time - remastered, from the original tapes, by Robin Guthrie himself. Over the ensuing years, The Moon and the Melodies has attracted a passionate fan base. Its most atmospheric tracks routinely turn up in ambient DJ sets. "Sea, Swallow Me" is one of the Cocteau Twins" most streamed songs on Spotify, having found a new life on TikTok, where it serves as the soundtrack to innumerable expressions of hard-to-express melancholy. For such a low-key aff air, the album casts a long shadow - but Raymonde believes the record"s uniqueness stems directly from its humble, unpremeditated origins. "It captured a moment in time between friends that are enjoying making music together. Really, that"s the essence of it."

Guadeloupe’s Manix is a self taught musician drawing inspiration from traditional Caribbean Folk and Beguine, to Salsa, Reggae and beyond. In 1980 Manix met the group ‘Tamtam 2000’ in Mulhouse, France. Embarking on many worldwide tours, Manix cemented his place in the group with 'Ti Cherie’ becoming a global hit beloved throughout the Antilles, Cape Verde, and La Réunion. Describing his singular philosophy of inciting joy ”At this moment I realised quickly that the simple act of playing wasn't just about one’s own satisfaction, but rather the need to create and share music”.

Browsing the French Football Federation's website, Dijon’s ‘Under Radaar’ was able to track down Manix as he was once the match report coordinator for his club ‘Red Star Richwiller’. It’s now our pleasure to share his music once again.

Words from Manix:
"Now in my 70s, what a joy it is to discover my songs now being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my believe that both music and love will never die”

We are so excited to share our debut release which has already received support from Antal, Hunee and Palms Trax.

"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

"IX" ist eine legendäre und unglaublich kraftvolle Black/Thrash Metal-Platte aus dem Goldenen Zeitalter des Metal!

Die italienischen Black/Thrash Metal-Meister Bulldozer wurden fast einhellig als Italiens Antwort auf Venom bezeichnet. Wir würden diesen Vergleich gerne zu den Akten legen, denn Bulldozer blasen Venom auf "IX" aus den Socken. Bulldozer tun das, was die meisten Venom-Verehrer taten, aber auf dieser Veröffentlichung haben sie eindeutig mehr eigene Identität. Bulldozer hatten mehrere gute Alben, aber keines davon erreichte die Qualität von "IX". Die Bulldozer Alben vor "IX" hatten unter einer schlechten Produktion gelitten. Wir wissen, dass eine raue Produktion zur Ästhetik des Black Metal beiträgt, aber wenn sich die Lautstärke der Gitarren ändert, obwohl dies nicht der Fall sein sollte, wird das zu einem Problem. Der Mix ist hier ausgewogen und die Produktion ist immer noch sehr roh. Das erlaubt den Instrumenten zu dröhnen, aber immer noch in der richtigen Lautstärke zu
sein.

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

THE 7000 DOLLAR ACETATE
The year is 1971, a time when nightclubs still had live bands perform the musical hits of the day. Every city had its local stars and for the club scene of the city of Columbus, Ohio it was the CROWD PLEASERS. Founded in 1968 by June Carey along with her younger brothers, twins El & Al, the seven-piece band grew into an in-demand act that performed all over the city. In April 1971 they went into the studio to record eight songs, but an actual release never materialized. In time the master tape was destroyed and all that was left were two acetates. But as time passed, these too were lost. Over the years, a growing market for obscure funk and soul albums emerged. When one of the acetates went up for sale on eBay in 2011, it sold for $3,900! Eleven years later, in 2022, the last remaining copy also appeared on eBay. Collectors drove the price up until it finally sold for a staggering $7,000! So now, after more than 53 years, Al Carey & Regrooved Records proudly presents the previously unreleased 1971 album of the CROWD PLEASERS featuring renditions of hits by Marvin Gaye, Sly Stone's Little Sister, Neil Young, Gladys Knight & The Pips, Cold Blood, Dionne Warwick, The Lettermen and the original funk break track “Eggs & Bacon”.

Coke Bottle Green vinyl. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

Buzzkunst ist PETE SHELLEY (Buzzcocks, solo) & HOWARD DEVOTO (earliest Buzzcocks, Magazine, solo). 'SPECIAL SAUCE' ist größtenteils eine Neukonfiguration des 2002er CD-only-Albums 'Buzzkunst' von ShelleyDevoto. JETZT (!) zum ersten Mal auf VINYL, mit einer neuen Reihenfolge und zwei (2) bisher unveröffentlichten Tracks - 'Psychosomatic' und 'Punk Of Me'. Und als ob das noch nicht genug wäre, gibt's noch ein zweites Mini-Album: 11 NEVER BEFORE RELEASED HOWARD DEVOTO ARCHIVE RECORDINGS aus der gleichen Zeit, mit dem Titel 'DESIGNOID'. Instrumentalstücke und Songs, eigenwillig wie immer, inklusive eines 21st century re-work von 'Breakdown', das ursprünglich auf der selbstveröffentlichten Debüt-EP der Buzzcocks, 'Spiral Scratch', enthalten war. "This Shelley is Pete Shelley _ old punks will remember him from the legendary Buzzcocks, while '80s rockers may recall his electro-pop hit Homo Sapien. The Devoto is Howard Devoto, Shelley's old Buzzcocks partner who went on to form the arty post-punk outfit Magazine. Now working together again for the first time in 25 years, the duo have achieved a sound that incorporates most if not all of their previous endeavours without reverting to cheap nostalgia. Their 14-track reunion album Buzzkunst is a progressive step forward, combining the grinding guitars of Shelley's youth and the poppy synthesizers of his middle age with the artsy sonic sculptures and post-punk yelp of Devoto's past." - Tinnitist,2002/2022

THE CHURCH's ("Under The Milky Way") main man Steve Kilbey solo Best Of: A stylishly designed anthology of solo and collaborative recordings curated into a deluxe gatefold sleeve double album. Spanning the years 1987 to 2023, the album moves through varying styles and moods all of which are a pleasure to listen to, whether in your car on a long country road or through the city at night or sitting down and absorbing the lush audio experience. Songs taken from 20 albums (one song from each album) all of which will be made available once more. Deluxe gatefold sleeve with full colour printed inner bags. Photos courtesy of Toby Burrows, includes arguably some of the best songs Steve Kilbey has written (and co-written). The very first album of its kind dealing with Kilbey's not unimpressive solo career.

"In the summer of 2021 I was introduced to the French filmaker Émilie Deleuze in Paris. She asked me if I would create a soundtrack for a film she intended to make titled Cinq Hectares. When I asked Emilie what the story of the film was about she replied "It's a comedy and road movie , about a guy driving a tractor across France". I love road movies and I had never composed a movie soundtrack before so I immediately said "yes". I recorded the soundtrack in the summer of 2022 in east London with the help of producers James Rand & Thomas Gorton of @godcolony and a bunch of great young musicians they introduced me to, one of which @alwhite who now plays saxophone with Primal Scream. Émilie's film is an absolute cracker and I'm very proud of the soundtrack. Hope you enjoy listening to it as much as we did making it”

Bobby Gillespie, June 2024

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Im September 1999 veröffentlichten Creed, eine aufstrebende Rockband aus Tallahassee, FL, ihr zweites
Album Human Clay. Voller hymnischer Hits, darunter ”Higher”, ”What If”, ”Are You Ready?” und das mit
einem GRAMMY® ausgezeichnete ”With Arms Wide Open”, katapultierte Human Clay Creed (Scott Stapp,
Mark Tremonti, Brian Marshall und Scott Phillips) an die Spitze der Billboard-Charts und wurde zu einem
der meistverkauften Alben aller Zeiten. Jetzt, 25 Jahre später, feiert Creed den Jahrestag des Diamantzertifizierten Albums mit einer Neuauflage mit vielen Boni. Die am 16. August erscheinende Deluxe-2-CD
enthält das neu gemasterte Originalalbum sowie eine Fülle von Bonusmaterial, darunter ein kompletter, noch
nie zuvor gehörter Konzertmitschnitt, der 1999 in San Antonio, TX, aufgenommen wurde. Eine digitale
Deluxe-Edition des Albums enthält außerdem sechs zusätzliche Bonustracks, darunter alternative Versionen
von Higher” und With Arms Wide Open” sowie eine Coverversion des Doors-Klassikers Roadhouse Blues”
mit dem Doors-Gitarristen und Gründungsmitglied Robby Krieger (live aufgenommen bei Woodstock ’99)

"Two-time GRAMMY Award Winner and multi-platinum selling performing artist Lauren Daigle will release a very special collection of reimagined songs entitled Sessions, on August 16th. Recorded live in front of a limited audience, the 8-tracks highlight the beauty in the songcraft and purity of Daigle vocal prowess. In a first for Daigle, Sessions will be available on numbered limited- edition vinyl variant in addition to digital platforms.
“I love that we’re able to share versions of these songs that people might not have heard before,” shares Daigle. “I think it’s what makes them special. I also thought it’d be cool to add something a little different, something we’ve never done before, so I thought what better, more poignant song is there than Joe Cocker’s “You Are So Beautiful”. It’s up there on my list of all- time favorites.”
Sessions marks the debut release of the recordings captured at SiriusXM, which were previously only heard during the original performances. The Apple Music performances will now be available for the first time across all streaming platforms. Sessions includes her rendition of Joe Cocker’s “You Are So Beautiful,” two new versions of her recently Gold Certified hit “Thank God I Do,” her current radio single, “Be Okay” and the first new recording of her 6x Platinum smash “You Say.”
Daigle recently wrapped the long-awaited European Leg of The Kaleidoscope Nights Tour including sold out performances in London, Manchester, and Amsterdam. The tour will make its debut in the US on July 29th in Columbus, OH with stops in Amphitheaters across the states including Brandon, MS, Colorado Springs, CO, and Santa Barbara, CA before wrapping September 5th in Honolulu, HI. The Kaleidoscope Nights Tour features many of Daigle’s #1s including her groundbreaking 6x Platinum smash “You Say,” 2x Platinum hit “Rescue,” “Look Up Child,” her latest No.1 and Gold Certified GRAMMY Nominated “Thank God I Do.”"

Considered by many fans to be the best album from Livingston Taylor, Ink pays homage to pop songwriting with a collection of richly-realized interpretations, including Gerry Rafferty's "Baker Street" and the great Ray Charles' "Hallelujah, I Love Her So". With his rich vocals, exceptional guitar skills, and meticulous production Ink reveals itself as a document of a man who knows what makes a song a memorable and moving experience.

This album, a favorite with audiophiles, will be released on vinyl for the first time, as a 180 gram LP, on the 2nd August, 2024.

Never played, but old record from label stock.
Hartek Ragga killerz, something dancefloor and well done !

Repress of the X-Tech tunes from TPN09, remastered and pressed on a white color vinyl.
Acidcore to Freetekno, oldschool sound never die !

Note : Label visual might seem to be TPN08 but it is the TPN09 tunes from X-Tech :)

Bad Man Possee is a classic early Eighties dub reggae recording by Junior Murvin, who made his name working with Lee ""Scratch"" Perry on his 1976 debut album Police & Thieves. This album features some stirringly hypnotic tracks to go along with the hit title track. ""Guitar"" is an eerie ode to Murvin's first guitar, riding craftily over a headnodding rhythm provided by Dread At The Controls studio musicians the Roots Radics Band. While Murvin changes speeds quite mercurially, from the love lost recollection ""Never Fall in Love"" to the politically charged ""Rebellion,"" the high quality of the music remains even throughout. Murvin's outstanding doo wop-inspired falsetto is a uniquely inspired nod to the R&B tradition as well as the stylings of ska, rocksteady, and dub. Murvin tops the album off with simply astonishing version ""Man Is the Fire."" Bad Man Possee is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

"Oyster Cuts", das vierte Album und Merge Records-Debüt von Quivers, zeigt, dass die in Melbourne, Australien, ansässige Band in der Art von Emotionen schwimmt, in denen sich die meisten Menschen zu verlieren fürchten. Der überdimensionierte Gitarrenpop von Quivers schimmert wie die Oberfläche eines Ozeans, unter der ein Riff liegt, das abwechselnd schön und schmerzhaft ist, dessen Züge fremdartig und scharf genug sind, um zu verwunden. Angetrieben von Melodien, die manchmal an Galaxie 500 und The Pretenders erinnern, machen Quivers Musik, die zart und hart ist und den Hörer dazu zwingt, immer wieder einzutauchen, wobei jeder Song einen neuen Gefühls-Blickwinkel eröffnet. "Oyster Cuts" ist Sonnenschein-Pop mit Blut im Wasser. Die Verluste und Lieben, die Quivers' Musik seit ihren Anfängen geprägt haben - der plötzliche Verlust eines Bruders im gebrochenen Optimismus von "We'll Go Riding on the Hearses" (2018) und das Leben in und nach der Trauer von "Golden Doubt" (2021) - fließen in "Oyster Cuts" ein, das sich dem Weitermachen verschrieben hat, während es akzeptiert, dass einige Gefühle, wie Trauer, ein Kreislauf sind. Entscheidend ist, dass Quivers sich verpflichten, miteinander Vorwärts zu gehen. Ohne den Chor und die Streicher von "Golden Doubt" ist "Oyster Cuts" ein Beispiel dafür, was immer noch möglich ist, wenn vier Leute - Sam Nicholson (Gitarren), Bella Quinlan (Bass), Michael Panton (Gitarren) und Holly Thomas (Schlagzeug) - zusammen Musik machen. Durch die Verwendung von Tape Loops - die "Oyster Cuts" eröffnen und schließen und das Album wie Haie umkreisen - legen Quivers Wert auf Wiederholung, setzen gemusterte Riffs ein und navigieren durch kreisförmige Gedanken, bis sie an ihre Grenzen stoßen und schließlich zu einem neuen Song zusammenfinden. Ihr verträumter, sonnenverwaschener Jangle-Pop ist dadurch schlanker und muskulöser geworden, und ihre Sound-Palette wird durch Anklänge an The Cure, Echo & the Bunnymen und The Durutti Column verdunkelt. Innerhalb dieses Rahmens betreten Quivers als Band Neuland, indem sie ihrem charakteristischen Gruppengesang eine neue Dimension hinzufügen: Quinlan übernimmt bei vier Songs die Leadstimme, die ineinander verwobenen Gitarren von Nicholson und Panton werden in den Mittelpunkt gestellt und der zielgerichtete Groove von Quinlan und Thomas treibt das Ganze voran. Die Songs von Quivers fühlen sich wie lange Gespräche zwischen Freunden an, in dem Sinne, dass ein Gespräch sowohl ein Akt der Sprache als auch ein Raum ist, den Menschen füreinander einnehmen. Die ersten beiden Tracks auf "Oyster Cuts", "Never Be Lonely" und "Pink Smoke", nehmen diese privaten Universen, die aus gemeinsamer Sprache, Erinnerungen, Songfetzen und dem Licht eines Handybildschirms mitten im Doomscroll bestehen, und verwandeln sie in ein Leuchtfeuer, in suchende Texte, die von massiven Hooks entfacht werden. "All I ever wanted was a true friend / All I wanted was a friend with benefits / All I ever wanted was transcendence" singen Quinlan und Thomas zu Beginn des Albums, und von da an spult "Oyster Cuts" in den Horizont hinaus. Die vier Mitglieder von Quivers erforschen diesen Raum nicht nur, sondern füllen ihn auch so weit wie möglich mit sich selbst aus, indem sie sich aneinanderbinden, egal wie unklar und chaotisch Herzensangelegenheiten werden können. Jeder Moment der Katharsis, den Quivers aus dem Äther zaubern, ist eine Einladung, sich ihnen anzuschließen. Wenn man ihnen zuhört, wie sie dort aufsteigen, wo andere grübeln würden, ist es unmöglich, ihrer Einladung zu widerstehen.

Since forming in 2008, Falling In Reverse have racked up a fanatical fan base, so much so that the band"s legendary videos have been viewed over 30 million times. The attitude of the 1980"s Sunset Strip, the bravado of battle-ready rap, the take-no-prisoners bottom end of metalcore and the boundless revelry of underground EDM parties have all beautifully converged in this one band and this new album. It"s for everyone on Instagram, on Twitter, or anyone with a brain and two ears. "My dad raised me on metal, but my first serious love was hip-hop," Ronnie explains. "When I heard Dr. Dre"s The Chronic, that"s when I fell in love. I didn"t know what the hell they were talking about, the beats were intertwined, and it came inside of me and took me over. When we added hip-hop elements I was thinking, "Should I do this? This sounds crazy! Are people going to like this?" Now I"ve never been so proud of something. The final product, Fashionably Late, is the best work I"ve ever done." First time pressing on limited edition Clear w/Hot Pink Splatter vinyl to celebrate the album"s 15th anniversary!

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Dark Horse Records is proud to release a very limited pressing of Nina Simone’s debut studio album Little Girl Blue, celebrating the album’s 65th anniversary. Originally released in February 1959, Dark Horse’s limited pink vinyl reissue includes a 12x12 insert with an introduction written by Dhani Harrison. Little Girl Blue includes some of Simone’s best-known tracks, including "My Baby Just Cares for Me" and “I Loves You, Porgy,” and even at this early stage in her career, listeners can hear the profound impact she would have on the musical landscape in the ensuing decades.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Brace yourselves for the Rise Of The Raptor! An eruption of rave latino and thunderous grooves with four timeless originals and a future sonic remix by cult dance mastermind Amor Satyr.

This action-packed collection includes, for the very first time on vinyl, DJ Babatr's legendary breakout club anthem "To-K." Additionally, he is unveiling three never-before-released Raptor classics from his vault: "Soundmind," "BUTTA (Piano Mix)," and "DANCE THE SQUAST." These tracks are fully loaded with all the signature trimmings and hallmarks we've come to love from the Venezuelan rave king.

This band hit the metal scene like a (sorry) house afire, going double platinum with their 1990 debut and charting with three singles from the album: “Don’t Treat Me Bad,” “All She Wrote,” and the power ballad to end all power ballads, the
5 hit “Love of a Lifetime.”

The accolades soon followed: FireHouse won the American Music Award for Best New Hard Rock/Heavy Metal Band and best newcomer nods from a host of music mags. And you can see, er hear why: this is glam metal perfectly polished (by producer Dave Prater of Dream Theater fame) for pop radio, with hooks and harmonies galore. But it’s never been out on LP in North America; now, we at Real Gone are bringing one of signature metal albums of the ‘90s to “smoke and fire” vinyl as a tribute to lead vocalist C.J. Snare, who just passed away from cancer this year. Includes inner sleeve with lyrics. Folks have been waiting for this one!

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

Itʼs been five years since the last BELONG long player, as the duo works slowly to organize their sound works. Both the time invested, and the wait, have been well rewarded with this return.

Common Era shows extraordinary progression from that first album of dense, scorched earth instrumentals, hints of a new direction having been revealed on the Colorless Record EP from 2008 which contained covers of four should-have-been classics from the original psychedelic era.

The new material has such common pop elements as “songs”, vocals and drum machines, but the results could hardly be called conventional and are like little else happening on the current “scene”. The songs themselves are akin to radio transmissions received from another time and place, just as likely to be the future as the past, or even from a contemporary alternate universe.

They are both passionate and dispassionate, grey yet technicolor, ghostly and palpable, distant yet immediate, grainy and focused. Upon listening these conceptual contradictions are dismissed with ease, as the recordings reveal that they fit all of these descriptors simultaneously, an extraordinary balancing act.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
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