quête:north end

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

NEW ORDER continue the series of Definitive boxsets, with the band's 1986 album Brotherhood. The boxset will include the original album remastered on CD and 180g LP, plus an Extras CD with previously unreleased demos and rarities, as well as two DVDs featuring the band's performances at Festival of the Tenth at the GMex, Manchester 1986 and Live in Brixton, 1987 in support of World AIDS Day. The DVDs will additionally include live TV performances, interviews and rare band footage. The extensive hardback book will include contemporary articles and liner notes by Irish radio DJ Dave Fanning.





CD Tracks:
1. Paradise
2. Weirdo
3. As It Is When It Was
4. Broken Promise
5. Way of Life
6. Bizarre Love Triangle
7. All Day Long
8. Angel Dust
9. Every Little Counts
10. State of the Nation

CD2
1. Shellshock (AOR Version) *
2. State Of The Nation (Japan Demo) *
3. Paradise (Robert Racic Remix)
4. As It Is When It Was (Japan Demo) *
5. Broken Promise (Instrumental) *
6. Bizarre Love Triangle (Stephen Hague 12” Remix) *
7. All Day Long (Instrumental) *
8. Evil Dust
9. Every Little Counts (Full Length) *
10. Salvation Theme
11. Skullcrusher (Full Length) *
12. Touched By The Hand Of God (Salvation Version)
13. Let's Go (Salvation Version)
14. Sputnik
15. Blue Monday 1988 (Michael Johnson 12” Remix) *
(* previously unreleased)

DVD1
Live at the Academy Brixton, 1987
1. Bizarre Love Triangle
2. The Perfect Kiss
3. Ceremony
4. Dreams Never End
5. Love Vigilantes
6. Confusion
7. Age Of Consent
8. Temptation
TV Appearances
BBC Northern Ireland – Channel One 1986.
Ceremony
Love Will Tear Us Apart
The Tube 1986.
State Of The Nation
Broken Promise
Top of the Pops 1987.
True Faith
Les Enfants du Rock, Rockline 1987.
Paradise
Bizarre Love Triangle
The Roxy, 1987.
True Faith
11pm, 1987.
Bizarre Love Triangle
Extra Material
Stephen’s Fly On The Wall Documentary 1985.
Recording 'As It Is' and ‘Shame of the Nation’ at Denon Studios, Tokyo (May 1985).
DVD2
Live at the G-Mex, Manchester, 19/07/86.
1. Elegia
2. Shellshock
3. Paradise
4. Bizarre Love Triangle
5. Way Of Life
6. State Of The Nation
7. Face Up
8. The Perfect Kiss
9. Ceremony
10. Temptation
Live Extra Material
Glastonbury, 1987.
True Faith
Sister Ray
San Giovanni, 1986.
Dreams Never End
Pier 84, New York, 1987.
All Day Long
Angel Dust
Shellshock
Weirdo
Rapido, Paris 1987.
True Faith
G-Mex, Manchester, 1988.
Touched By the Hand of God
Every Little Counts

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Gitkin returns with Golden Age, a showcase of the latest evolution of his lyrical guitar-driven sound. Exploring the endless expanses of cumbia, North African/Middle Eastern music, the guitarist has increasingly brought his own personality to these traditions, creating a lively interplay between distant modes and rhythms and his own New Orleans-steeped sound.

"VOLUME 1" ist eine denkwürdige Einführung in die Welt von MRCY. Ihre Vision von Soul lässt sich von den Größen der Kindheit (SAM COOKE, MARVIN GAYE) bis hin zu Genre-verschmelzenden Modernisten wie KHRUANGBIN oder SAULT inspirieren - "it's like hearing a distant memory," sagt Barney, "but one that speaks to where you are now". Auf ihrem Debüt blickt der Sound von MRCY tiefer nach innen und weiter nach außen: Die Debüt-Single "Lorelei" war eine ätherische, jenseitige Geschichte über eine Liebe, die in einer Katastrophe enden sollte, während "Flowers In Mourning" Afrobeats und Northern Soul in einer ergreifenden Meditation über Familie und Verlust zusammenbrachte. Das Album wird von einer auffälligen, visuellen Ästhetik begleitet, die in Zusammenarbeit mit Harris Elliot entstand und KI, Adinkra-Symbolik und britische Ikonografie zu einem Look - und Sound - verbindet, der bereits unverkennbar MRCY ist. Auch wenn MRCY sich mit einer ausgereiften Vision präsentieren, haben sie auch hart daran arbeiten müssen. Barney, der inmitten der Schmelztiegel-Kultur von Huddersfield aufgewachsen ist, hat sich als einer der gefragtesten, eklektischsten jungen Produzenten Großbritanniens etabliert; von einem Ivor Novello Award für seine langjährige Zusammenarbeit mit Obongjayar bis zu Mercury-nominierten Künstlerinnen wie Joy Crookes und Olivia Dean. Der in Süd-London aufgewachsene Kojo verdiente sich seine Sporen in der Kirche und sang mit ebenso illustren einheimischen Künstlerinnen wie Cleo Sol und Little Simz. Nachdem sie sich während der Pandemie über Instagram kennengelernt hatten, trafen sich MRCY zwischen den Abriegelungen in Brixton, wodurch sich der Sound der Band - und ihre Verbundenheit - vertiefte. Und obwohl das soziale und politische Chaos unweigerlich in ihr kommendes Projekt einfließt, geht es bei MRCY auch um das Bedürfnis nach einer gemeinsamen Basis: universelle, aber höchst individuelle Erfahrungen mit Klasse, Gemeinschaft und der Qualitätsmusik, die gute Menschen schon immer zusammengebracht hat.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.







g Sorry Live @ Tivoli

i It Curcus [Not]







[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts.

With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special 15th Anniversary Edition, with an additional booklet with photo's, credits and a reflection by Colin Benders.

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

"Ukraine's most beloved and enduring band Okean Elzy will release their first-ever English-language studio album, Lighthouse, on October 11 via Elektra. The group herald the record’s announcement with the title track and new single ‘Lighthouse’ featuring John Rzeznik of Goo Goo Dolls. Produced by John Feldmann (Blink 182, Avril Lavigne, 5 Seconds of Summer), and co-written by Slava, Feldmann and Eva Arnby Busacker (5 Seconds of Summer, Landon Barker), the track also features Travis Barker on drums. A portion of the proceeds from the song will be donated to United24, an initiative launched by the president of Ukraine in support of the country during the ongoing war. The song is accompanied by a cinematic music video – available to stream on the band’s You Tube Channel
Okean Elzy’s lead vocalist Sviastoslav ‘Slava’ Vakarchuk says, ""The creative process was a unique experience for me. Working alongside Feldy and Evey was both fun and inspirational. The song came together in a matter of minutes. Having Travis on drums took the vibe up to a whole other level, and is yet another example of how special the human camaraderie and support is on this track.""
""Lighthouse is a very powerful metaphor for me,"" Slava continues. ""As a Ukrainian I couldn't think of a better metaphor to express our hope for the future, which is part of why the song and album bear that name.""
Okean Elzy radiate luminous energy through ‘Lighthouse’. Anchored to a steady beat, warm guitars ebb and flow beneath a heartfelt promise, “Take my hand, I’ll get you through the storm.” The momentum builds as the song climaxes on an uplifting chorus, “Tonight, I’ll be your lighthouse, shining on.” Meanwhile, Vakarchuk and Rzeznik lock into a bold and bright back-and-forth. The music video seamlessly translates this energy to the screen, capturing the chemistry between the frontmen.
With their upcoming album, Okean Elzy aims to transcend borders and share the rich tapestry of Ukrainian culture with audiences around the world. The album will include collaborations from Travis Barker (Blink-182), Paul O'Duffy and Diane Warren.
In support of Lighthouse, a portion of their North American tour’s proceeds will be donated to Open Eyes Fund, specifically supporting their Drive For Life initiative, whose goal is to deliver 30 ambulances, along with essential medical equipment to the frontlines where urgent medical assistance is required. These efforts will be in addition to the 242 ambulances already delivered to Ukraine and 36,000 lives saved previously by Open Eyes. Following their North American tour, Okean Elzy are set to headline the O2 Academy Brixton in London on December 4. Check out the full confirmed itinerary below. General on-sale begins today at 10am local time.
Consistently selling-out stadium shows, winning multiple YUNA Awards (the nation’s equivalent to the Grammys or the BRITs), and topping airplay charts, Okean Elzy are undoubtedly Ukraine’s biggest band."

Seit der Veröffentlichung ihres Debütalbums St. Jude im Jahr 2008 haben sich Courteeners zu einer der beliebtesten Bands Großbritanniens
entwickelt und eine riesige Community um ihre ausverkauften Shows aufgebaut, die sie landesweit immer wieder vor ausverkauften Häusern und
Plätzen spielen lässt.
Pink Cactus Café ist Courteeners' 7. Studioalbum und ihre erste neue Musik seit More. Again. Forever. im Jahr 2020, das von den Kritikern begeistert
aufgenommen wurde.
In ihrer 16-jährigen Karriere hatte die Band beständigen kommerziellen Erfolg und erhielt in UK Auszeichnungen in Platin (x1), Gold (x3) und Silber
(x2) für ihre Alben. Zuletzt erreichte eine Neuauflage des Debütalbums St. Jude im Jahr 2023, fünfzehn Jahre nach der ursprünglichen
Veröffentlichung, Platz 1 der britischen Albumcharts, und Anfang dieses Jahres gewannen Courteeners bei den Nordoff Robins Northern Music
Awards die Auszeichnung Band des Jahres.

Wick Records is proud to present the debut single from SoCal's newest hit-makers, The Emkays. Comprised of songwriter/ producer/ multi-instrumentalist extraordinaires Alec Kersenboom and Anthony Masino (Lee Fields, Thee Sacred Souls, Jensine Benitez, Junior Scaife et al), the group delivers a pair of pop nuggets that draw from the deeper end of the British Invasion spectrum. Similar to some the American teen combos that were blaring out of suburban garages throughout the mid-sixties, The Emkays deliver their brand of anglophilic rock with a soulful earnestness that was absent from many of their British counterparts. The irony of which notwithstanding, The Emkays shine like the North Star, ready to guide a whole new generation of kids to their side of the pond.

Seit der Veröffentlichung ihres Debütalbums St. Jude im Jahr 2008 haben sich Courteeners zu einer der beliebtesten Bands Großbritanniens
entwickelt und eine riesige Community um ihre ausverkauften Shows aufgebaut, die sie landesweit immer wieder vor ausverkauften Häusern und
Plätzen spielen lässt.
Pink Cactus Café ist Courteeners' 7. Studioalbum und ihre erste neue Musik seit More. Again. Forever. im Jahr 2020, das von den Kritikern begeistert
aufgenommen wurde.
In ihrer 16-jährigen Karriere hatte die Band beständigen kommerziellen Erfolg und erhielt in UK Auszeichnungen in Platin (x1), Gold (x3) und Silber
(x2) für ihre Alben. Zuletzt erreichte eine Neuauflage des Debütalbums St. Jude im Jahr 2023, fünfzehn Jahre nach der ursprünglichen
Veröffentlichung, Platz 1 der britischen Albumcharts, und Anfang dieses Jahres gewannen Courteeners bei den Nordoff Robins Northern Music
Awards die Auszeichnung Band des Jahres.

Seit der Veröffentlichung ihres Debütalbums St. Jude im Jahr 2008 haben sich Courteeners zu einer der beliebtesten Bands Großbritanniens
entwickelt und eine riesige Community um ihre ausverkauften Shows aufgebaut, die sie landesweit immer wieder vor ausverkauften Häusern und
Plätzen spielen lässt.
Pink Cactus Café ist Courteeners' 7. Studioalbum und ihre erste neue Musik seit More. Again. Forever. im Jahr 2020, das von den Kritikern begeistert
aufgenommen wurde.
In ihrer 16-jährigen Karriere hatte die Band beständigen kommerziellen Erfolg und erhielt in UK Auszeichnungen in Platin (x1), Gold (x3) und Silber
(x2) für ihre Alben. Zuletzt erreichte eine Neuauflage des Debütalbums St. Jude im Jahr 2023, fünfzehn Jahre nach der ursprünglichen
Veröffentlichung, Platz 1 der britischen Albumcharts, und Anfang dieses Jahres gewannen Courteeners bei den Nordoff Robins Northern Music
Awards die Auszeichnung Band des Jahres.

Under 1 House is the blazing new mixtape from Blue Hawaii - a six track tour-de-force showcasing the duo's trademark blend of liquid beats, dance-floor euphoria, and soaring diva-vocals.Under 1 House was written during Blue Hawaii's 2019 North American and European tours, and recorded at a wood cabin in rural Québec. Finding each other trapped on different sides of the Atlantic, the record was then finished over long-distance between Montreal and Berlin due to COVID-19 travel restrictions. This music is dedicated to the spirit of togetherness. Unity achieved through confidence, in the seductive redemption of one's own sexuality, finding power in feelin' one's self. Under 1 House honours the magnetism of impulse and first takes. This flow can be found in the brooding, early Warp Records reminiscent "Where are the Keys???", the sub-heavy, lustful organ groove of "Feelin'", the lo-fi high energy "I Felt Love" or the chanting of "I'm my own damn woman" during the screeched ending of "Not my Boss!". Blue Hawaii have been around for a decade, having released 3 full length albums and two EPs to date. Consisting of Ra and Ag, the duo met throwing parties and shows in Montreal and continue to create together despite living in separate cities - split between Montreal and Berlin.