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Seeing Maruja Garrido perform, I felt an overwhelming physical shock. A former dancer, she’s an extraordinary singer and a true force on stage. — Salvador Dalí

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

For Quiet Town, her first album of new material in 12 years, Smith called on producer and musician Neilson Hubbard, alongside engineer Dylan Alldredge. Hubbard enlisted guitarists Will Kimbrough, Megan McCormick, and Juan Solorzano, bassist Lex Price, Danny Mitchell on keys and horns, and a host of acclaimed vocalists for the background vocals, including Maureen Murphy, Nickie Conley, Jodi Seyfried, Matraca Berg, Kate York, and Park Chisolm.

Smith’s talent for expressing the most human of vulnerabilities is on full display on the new album. Beyond the title track, other album highlights include “Jericho,” co-written with esteemed artist and Nashville Songwriters Hall of Fame songwriter Matraca Berg, which gives voice to anticipation of impending life changes of monumental import; “I’d Rather Be a Bridge,” a plea for compassion and connection; and “Farther Than We Should Have,” co-written with Natalie Hemby and K.S. Rhoads. The latter is a song about overcoming the deck stacked against kindred spirits who together trek through a difficult journey and find footing beyond beating the odds.

Highly regarded as a former resident at Salon Des Amateurs at his native Düsseldorf, Tolouse Low Trax/Detlef Weinrich has carved one of the most distinctive sounds in contemporary leftfield club music thanks to his deeply unusual grooves and hypnotic arrangements over the past 15 years as a solo artist.
Fung Day is his first album with entirely new material since Leave me alone which was released through Bureau B in 2022. Fung Day was written and recorded over the course of two years, slowly mutating and progressing from one state to another. Mixed, produced and finally mastered in Paris, his new domicile by choice.

A few words by Yvan Smagghe about Fung Day:
„He pretended he was in exile from Germany but he was a French lover like all of us; his MPC Sampler was smoking hot, an Enigma machine, an ashtray full of ghosts. I had left Paris for the same reasons he came. I could strangely relate. We’d met before he left Düsseldorf, and I knew of him through his oeuvre, his art over words (they were few) and piercing blue eyes.

He was now texting me on a night train from Warsaw going East, as in a Greene novel, asking me to go over his file. He sent me a spontaneous, fun, brave and bold record which is his new album - one that curiously smelled of mechanical grease - machinery of the soul, broken transport rhythms, samples like memories, noise at peace. Referenced yet uncoded. I don’t believe in ulterior motives and complex explanations. Not here at least. On the other hand, I do believe that works can be exposure - especially with the silent type or mistaken identities - and I knew about these too.“ - London, 2024

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Alligator’s Grammy Award-winning, best-selling release of all time, remastered and reissued in honor of the title’s 40th anniversary on clear vinyl and packaged in a beautiful gatefold cover featuring previously unpublished photographs, plus reminiscences of the sessions by producer/Alligator founder Bruce Iglauer. Over 310,000 units sold in all formats. Universally recognized as one of the greatest blues albums of all time. A celebrated studio “cutting contest” between three legendary blues guitarists. Albert and Johnny are sadly no longer with us, but Robert Cray continues to record and tour, and is one of the best-selling blues artists in history with over 3.3 million career units scanned.

Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle is pleased to announce an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognise its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra’s self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang we are treated to Maitra stretching out for over forty minutes on the late night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra’s spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician’s birth.

Viva Ngozi sees its first ever vinyl reissue for RSD Black Friday. Presented in an opaque orange pressing with an oversized 8 page booklet. Hard rock meets funk on this essential entry from Zambian guitarist and bandleader Paul Ngozi’s catalog. Featuring drummer Chrissy Zebby Tembo. A keystone release of the 1970s Zamrock movement, Viva Ngozi was first issued in 1976 on the Chris Editions imprint, and only in Zambia. The recording has never seen a reissue. Now-Again Records presents Viva Ngozi in an opaque orange colored vinyl pressing exclusively for RSD Black Friday. The set also includes an oversized 8 page booklet that details Paul Ngozi and the Ngozi Family's Arc, including rare photographs, discography and annotation.

The No End In Suffering EP is a compilation of songs that are a bit more outside the box of traditional HAGGUS material. On this record HAGGUS experiments with brand new riff territories, added previously unused tempos and left no stone unturned when it came to delivering this slab of horror-inducing sonic butchery. Production-wise the band purposely went for a more raw 90’s goregrind sound while still adhering to the downtuned, heavy theme of the Three Cadavers EP. Limited Blood Red Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

The Three Corpses EP is a heavier, fresh take on HAGGUS traditional brand of mincegore, debuting their new drummer and lowest tuning yet (drop G) to the world. Expanding on the classic HAGGUS approach, they’ve made it the heaviest and nastiest it’s ever been without straying too far from the traditional HAGGUS sound. In traditional fashion this was recorded in the HAGGUS practice space by Hambone but professionally mixed and mastered by Chris Revill of the now defunct band Shitlife. Limited Neon Green Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

From minimalistic murmurings to swarming walls of sound... 113 is an experimental ambient(electronic)/drone(rock) project from The Netherlands. One can liken the Tilburg-based trio Drone Assembly as much to an ongoing science expedition as a musical project. Standing over an impressive assortment of instruments and gear, the members coalesce until becoming - in their own words - a ‘living organism’; synths, looping stations, effect pedals are combined with organic percussion, acoustic instruments and vocals in a probing, conversational way.

Indeed, each performance by Drone Assembly is a completely unique sensory experience. Over the five years since the project’s beginnings, Drone Assembly have performed in all kinds of unusual settings. And in doing so, they defy conventional hierarchies between performer and listener. Each show comes from a level of improvisation, Drone Assembly use the impressive collection of sounds and textures at their fingertips with utmost care and conviction. The result is music that ebbs and flows along the emotional beat of the moment, veering from soft mellow passages, hypnotic swells to resonant walls of noise.

Vinyl release, hand numbered with an unique silk screen printed cover, including insert, download code (also to an exclusive live video of the first four tracks) and sticker.

Jonny Tobin is a Grammy and JUNO-nominated artist based in Vancouver. His sound resides in an alternate dimension between 90's video games and 60's Blue Note records, where fat synth funk grooves playfully collide with abstract jazzy undertones. To date, Tobin has released 5 original albums, making numerous official Spotify editorial playlists to the tune of over 10 million streams. As a live performer, recently Tobin headlined the 2023 Vancouver Jazz Festival and opened for notable acts like Adi Oasis, CARRTOONS and Braxton Cook. After the success of his 2019 vinyl debut "Sunrise" on Austin Boogie Crew Records, Tobin began work on Steppin' Out, his new and exceptional LP full of catchy modern funk songs. On this magnetic album executive produced by Austin Boogie Crew (ABC), the label connected Tobin with vocalists from all over. Featured collaborators include XL Middleton, Shiro Schwarz, Maya Killtron, The Vapor Caves, Rojai and Daniel David (FKA Trailer Limon), many of whom made previous appearances on ABC. Driven by Tobin's stellar production and synth wizardry, this project is a testament to the familial strength of the modern funk community in both good times and bad.

Highly regarded as a former resident at Salon Des Amateurs at his native Düsseldorf, Tolouse Low Trax/Detlef Weinrich has carved one of the most distinctive sounds in contemporary leftfield club music thanks to his deeply unusual grooves and hypnotic arrangements over the past 15 years as a solo artist. Fung Day is his first album with entirely new material since Leave me alone which was released through Bureau B in 2022. Fung Day was written and recorded over the course of two years, slowly mutating and progressing from one state to another. Mixed, produced and finally mastered in Paris, his new domicile by choice.

Composer and performer Stina Stjern have for over 25 years been a steady presence in the Norwegian music scene – starting out as a vocalist in the rock band Supervixen while studying jazz in Trondheim, Stjern’s road has been anything but predictable, and has over the years shown a will to experiment and explore new areas in her music making. Her new album ”Vivid Peace Restored” is perhaps her most radical musical statement yet, as the entire album is made using cassette tape. The sound sources vary from found sounds, various instruments and Stjern’s own voice, but there is no hierarchy, the different elements are given equal importance, and through considerate looping, layering, cut-ups, re-arranging the bits and pieces it forms a rich tapestry of sound. This blurring is intentional, Stjern wants us to get lost in her sound world, a place where nothing is forced or overstated. Tape hiss, subtle melody lines, distant location recordings, gentle waves of noise, and voices melt together creating lush soundscapes

THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.

Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

Repress! It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality.

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.

A masterpiece by George and Sleepy with the new Big Four! A veteran talks about the fun of "those days" and the fun of "now". Jazz is so fascinating!

1950s. The Big Four led by George Kawaguchi gained overwhelming popularity as a pioneering group of modern jazz in Japan. They were active for a long time with changing members and left a big mark on the Japanese jazz scene. This work "George & Sleepy" was released in 1969 as one of Victor's "Japanese Jazz" series. The commentary at the time said "A record that attempts to reproduce the nostalgic George Kawaguchi Big Four", but that is by no means a simple nostalgic work. "Lover" and "Charade" are reminiscent of the Big Four of those days and are undoubtedly fun, and the songs that skillfully incorporate modern techniques and musicality, such as the sophisticated groove of "Tuesday Samba" and the exotic beat of "Vietnam", are also attractive. This is a thrilling piece that conveys the charm of jazz, past and present, with a deep performance that only a veteran can have.

2024 Repress

“Live at Sound City” is an instrumental collaboration between bassist Pino Palladino, guitarist/multi-instrumentalist/producer Blake Mills, and LA-based saxophonist Sam Gendel. Recorded in one day at the legendary Sound City Studios in Van Nuys, the EP presents new versions of compositions from Palladino & Mills’ Grammy-nominated 2021 album “Notes with Attachments” in an intimate chamber trio setting. Across four tracks, the accomplished trio explores common musical vocabularies, then goes about the work of defamiliarizing them in search of something new, blending the sounds of West African and Cuban music, jazz, R&B, English folk, pop, and beyond.

Pino Palladino is a Grammy Award winning songwriter, producer and bassist who helped create the rhythm-section sound of D’Angelo’s Voodoo and Black Messiah, and over a four-decade career has worked with artists including Keith Richards, Erykah Badu, Eric Clapton, Nine Inch Nails, Questlove, John Mayer, Paul Simon, Jeff Beck, Herbie Hancock and Adele.

Blake Mills is a two-time Grammy Awards Producer of the Year nominee. He has released four solo albums and produced and recorded with artists such as Alabama Shakes, Fiona Apple, Bob Dylan, John Legend, Perfume Genius, Jim James, Moses Sumney, Laura Marling, Phoebe Bridgers, Cass McCombs, The Killers, Sara Bareilles, Weyes Blood and Randy Newman. His most recent album Mutable Set, released last year, was praised by Pitchfork as “a hushed collection that floats through the subconscious like a tender dream,” and earned their Best New Music title.

Sam Gendel is a musician living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes collaborations with a wide range of artists including Ry Cooder, Laurie Anderson, Mach-Hommy, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world.

NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

Erstmals als Vinyl,2015

Johannes Oerding ist kein Künstler von der Stange. Er ist nicht gern im Studio und konzentriert sich lieber auf das, was ihm Spaß macht: seine Konzerte und das Schreiben von Songs
Die Musik auf "Alles brennt" hat Oerding erneut im Team mit Sven Bünger und Mark Smith produziert. Innerhalb von vier Wochen wird "Alles brennt" am Meer produziert. Es folgen Overdubs in Kiel, Drums in Hamburg und nach insgesamt zwei Jahren besteht das Album aus 12 Songs, die den verschiedenen Facetten des Johannes Oerding so nah kommen wie nie.
Angefangen mit dem bewusst poppigen Titelsong, der mit dem 700 Mann starken Chor Hamburg Singt im Refrain überrascht, und "Wenn du lebst", das uns mit offenen Armen empfängt, über "Turbulenzen", einer Art Selbsttherapie gegen seine Flugangst und das Problem Kontrollverlust, mit dem er sogar an roten Ampeln zu kämpfen hat, und "Nie wieder Alkohol", einer spontanen, übermütigen Rock'n'Roll-Momentaufnahme, bis hin zu "Zweites Gesicht", seinem bis dato wohl persönlichsten Song.

'We are thrilled to be able to bring you Yara Asmar's first two cassette releases in a deluxe remastered double vinyl gatefold package featuring all new art and design from Yara herself.

Both albums were originally released on Hive Mind Records in 2022 and 2023 and received critical acclaim around the world':

“Melancholic drifts sound through the overcast skies of synth waltzes and accordion laments, infusing ageless melodies with a sense of falling backward through time. History is stitched through gilded aural silhouettes and elegiac drones. Asmar’s music is visceral. While electronics beckon beyond the sunrise stretched through a metallic shimmer, synth waltzes and accordion laments sticks with us while we remain lost in the hazy doldrums, always crawling forward tethered to our past lives. Highest recommendation.”
Brad Rose, Foxy Digitalis

"...these tracks are a cushion against reality. Asmar creates music that unfurls in evanescent bliss, an invitation to a safe space both isolated and welcoming."
Daryl Worthington, The Quietus

"...a set that transmutes the instrument’s droning tones into a sweep of introspective, breath-catching moments of beauty"
Eric Torres, Pitchfork Best Jazz & Experimental Albums of 2023

"The combination and contrast of highly familiar and highly alien elements give Asmar's music a quality not quite like anything else I can name. The way she channels found voices into her surreal mix of sounds is particularly striking."
Byron Coley, The Wire

1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

1967 setzte Nancy Sinatra ihren künstlerischen Aufstieg in die Pop-Stratosphäre fort: mit dem James-Bond-Titelsong ,You Only Live Twice", dem groovigen Farbfernsehspecial ,Movin' With Nancy", der Aufnahme eines der beliebtesten Duette aller Zeiten, ,Some Velvet Morning", und einer Pilgerreise quer durch das Land ins Zentrum der Country-Musikszene. Nancy reiste nach Nashville, um ihr fünftes Album in den RCA Studios aufzunehmen, wo viele der größten Country-Songs aller Zeiten entstanden sind. Auf ,Country, My Way" verschmilzt Nancy ihren persönlichen Stil mit der Country-Musik, was zu einem neuen hybriden Sound führt. Der Produzent Lee Hazlewood nannte es ,Hippie-Billy". Zwar wird der zeitgenössische Country-Sound vielen zugeschrieben, doch wie bei vielen Meilensteinen der 1960er Jahre war Nancy eine der Ersten. Nancy Sinatra war gleichermaßen stark, schwül und klug und war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys kultigem Album von 1967 ist eine wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Singles "Jackson" und "Oh Lonesome Me", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und kommt in dieser Auflage mit fünf Bonustracks: den Non-Album-Singles von 1967: "Love Eyes", "You Only Live Twice", "Lightning's Girl", "Until It's Time for You to Go" und "Tony Rome".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

Der Soundtrack zum Netflix-Film "Rustin" über den afroamerikanischen Bürgerrechtler Bayard Rustin, dem 1963 die Organisation des Marsches auf Washington mit über 200.000 Menschen gelang, einem Höhepunkt der US-Bürgerrechtsbewegung, auf dem Martin Luther King seine legendäre "I Have A Dream" Rede hielt. Komponist ist der renommierte Saxophonist, Dirigent und Jazzkomponist Branford Marsalis aus der weltberühmten Marsalis-Dynastie von Jazzmusikern, eine hoch angesehene Persönlichkeit der Jazzwelt mit einer beeindruckenden Liste von Auszeichnungen, darunter drei Grammys.

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“