quête:p sol

60’s pop, 70’s junkshop glam and the best of catchy punk from Ramones to Jay Reatard come together in one irresistible power pop package. “Hangin’ Out” and “Sticker Song” both deal with some of the most basic aspects of the rockers' everyday life: standing around on corners, listening to Sheena on the radio, playing pinball and crate digging while avoiding local enemies. Hooks for days and absolutely relentless playing make sure this lands firmly in the thrilling-rather-than-tired camp for anyone who has ever loved catchy fast music.
In this light “Terry” is an obvious choice for a more DIY-oriented makeover that fully retains the originals sense of up-yours fun while upping the tempo and infusing it with vocal harmonies that are more New York Dolls than high gloss and giving the guitar solo a punked-up Thin Lizzy treatment.

"Metalhorse" ist das dritte Studioalbum von Billy Nomates, nach dem von der Kritik hochgelobten "Cacti" von 2023 und ihrem selbstbetitelten Debüt von 2020. Ein Konzeptalbum, das sich um das Bild eines verfallenen Jahrmarkts dreht und für die Turbulenzen des Lebens steht - Risiko und Vergnügen, Gefahr und Rausch. Die 11 neuen Songs erkunden Blues, Folk und pianobetonte Arrangements, die Billy Nomates' starken Punk-Sound in eine pastoralere Richtung lenken. "Metalhorse" ist das erste Billy Nomates-Album, das in einem Studio und mit kompletter Band aufgenommen wurde. Zur Besetzung gehören die Bassistin Mandy Clarke (KT Tunstall, The Go! Team) und der Schlagzeuger Liam Chapman (Rozi Plain, BMX Bandits), dazu gab es einen speziellen Gastbeitrag von The Stranglers-Frontmann Hugh Cornwell zu dem Song "Dark Horse Friend". "Metalhorse" ist eine Balance der Extreme. Verlust, materielle Unsicherheit und der Versuch, sich selbst treu zu bleiben, vor dem Hintergrund eines zunehmend unvorhersehbaren globalen Chaos - die Waage hätte leicht in Richtung Dunkelheit kippen können, aber je mehr Tor Maries durchmachen musste, desto wertvoller wurden die kleinen Momente des Glücks. "Metalhorse" fordert den Hörer auf, seinen eigenen Rummelplatz zu finden; es wird immer Dinge geben, die sich gefährlich anfühlen. Gleichzeitig muss man die Lichter bestaunen, solange sie noch brennen. "Metalhorse" tanzt mit diesen Gefühlen von Ungewissheit und Freude und ist von Schmerz und Ausdauer durchdrungen.

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

Legendary Latin jazz percussionist Poncho Sanchez returns with his 31st recording, Live at The Belly Up Tavern. Recorded at the iconic venue in Solana Beach, California, this electrifying live album captures the raw energy and passion that have defined Sanchez’s storied career.
A GRAMMY Award winner for Latin Soul (Best Latin Album, 1999), Sanchez has spent decades honoring and expanding the Latin jazz tradition. With a discography that includes classics like Soul of the Conga, Latin Spirits, Out of Sight!, and Psychedelic Blues, his music bridges Afro-Cuban rhythms, hard bop, and soul, bringing the spirit of legends like Dizzy Gillespie and Chano Pozo to a new generation.
Following his tribute album Chano y Dizzy! and the dynamic Live in Hollywood, Sanchez once again delivers a masterful live performance, full of infectious grooves, rich storytelling, and blazing solos. Live at The Belly Up Tavern is a must-have for jazz lovers and fans of high-energy, soulful Latin music.

Even now, as he reaches his eighth decade, with a lifetime of accolades and a
seminal body of music behind him, Robin Trower is still chasing the biggest
high he knows
It always starts the same way, with a road-scuffed Fender Stratocaster and a revvedup Marshall amplifier, those skilful fingers exploring the fretboard until a riff sticks and
a new song ignites. And from the cultural flashpoint of Sixties London with Procol
Harum, through 1974's stadium- filling Bridge Of Sighs, right up to this year's
acclaimed Come And Find Me, it's these addictive moments of creation that have kept
the guitarist vital, relevant and contemporary while his peers trade on past glories.
"Some people say I'm driven, but I think it's just the love of doing it," reflects Trower of
a multi- million- selling solo catalogue fast approaching thirty releases (and that's
before you compute his collaborations with everyone from Jack Bruce to Bryan Ferry).
"I play guitar every day and just through messing around, ideas happen. I can never
feel the songs coming. But all of a sudden, you get a sliver of an idea and you think,
'Oh, what's this...?'"

Italian jazz guitarist Andrea Rinciari's 'Soho Sessions', presents eight carefully
curated jazz standards and hidden gems with a stellar quartet featuring tenor
saxophonist Alex Garnett, bassist Lorenzo Morabito and drummer Mark
Taylor
"The album represents a great period of my life where I was playing in Soho every
week with this band and we were able to create a vast repertoire of tunes by various
different composers, from American songbook composers to the most obscure
bebop artists," explains Rinciari. "So, the tracks of this album are a good
representation of those tunes."
'Soho Sessions' features a mix of classic and lesser-known compositions, including a
Barry Harris arrangement of 'Bean And The Boys', a rare John Collins piece ('John's
Delight'), and a reharmonised 'I Can't Get Started' inspired by Teddy Wilson. Other
highlights include a fresh take on 'Tea For Two', Bud Powell's groove- driven 'John's
Abbey', and deep cuts by Freddie Redd and Elmo Hope/Sonny Rollins, 'Time to Smile'
and 'Carvin' the Rock' respectively. The album closes with Rinciari's signature
contrapuntal solo interpretation of 'Polka Dots And Moonbeams'.
Rinciari's dynamic quartet breathes new life into the music while exploring fresh
harmonic and melodic ideas. "This album is a reflection of the magic that happens
when musicians play together regularly. The tracks capture the spirit of our weekly
Soho sessions - improvised, refined, and always evolving," concludes Rinciari. "It's a
tribute to the jazz greats who have inspired me and the amazing musicians I'm lucky
to play with."

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

Kalita is excited to present the third volume in their groundbreaking ‘Borga Revolution!’ compilation series, exploring the revolutionary phenomenon of ‘Burger Highlife.’ This unique style fused West African melodies with synthesizers, disco, and boogie, a sound that took Ghanaian airwaves by storm in the 1980s and beyond. With previous volumes receiving strong support by tastemakers such as Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, Volume 3 takes a deeper dive than ever before into the world of Ghanaian digital dance music. This volume features rare, sought-after tracks from artists including Obibini Takyi, Osei Banahene, and Okyerema Asante, as well as Burger Highlife trailblazers George Darko and Lee Dodou. Borga Revolution! Volume 3 offers a curated mix of standout anthems and rediscovered gems, many of which are otherwise nearly impossible to find, making this collection a must-have for fans and collectors alike.

The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife. With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Burger Highlife, one of West Africa’s most exciting musical movements.

(Remastered 2022)

Die limitierte Vinyl-Veröffentlichung des Albums „Love Songs“ von Elton John ist am 2. September endlich wieder als Vinyl erhältlich.

Das Album, welches 1993 ursprünglich veröffentlicht wurde, knüpft an den enormen Erfolg von „The Very Best Of“ und an seine erste britische Solo-Nr.1, „Sacrifice“, im Jahr 1990 an. „Love Songs“ enthält
18 von Eltons beliebtesten Balladen und erreichte Platz 4 der britischen Charts und hielt sich 48 Wochen
lang in den Charts.

Das Album ist als 2LP und auf 180g Vinyl erhältlich.

Julie in Memphis. Während Erics Trip auf Eis lag, flog die Herzogin des kanadischen Flanells im Dezember 1996 in den Süden, um ein Album mit Balladen über postpartale Depression aufzunehmen. Zusammen mit Howe Gelb von Giant Sand und David Shouse von The Grifters, fängt Loneliest In The Morning Julies blaue Phase mit zitternder Genauigkeit ein.

Bob The Egoist presents his first solo EP released via Wide Awake; Felipe Gordon's own record label. This three-song EP features a broad pallet of Bob's musical abilities, beginning with A1 "Fever", co-written with his close Berklee friend and collaborator Bedo. This track kicks-off the EP with chord-heavy grooves and simple, yet effective vocals. It follows up with "New Beginnings", an emotive tune which showcases the intricacies of the songwriter approach to house music: meaningful lyrics and heavy grooves.The EP ends with "Ride Club" a jazzy dance floor tune which features heavy use of cymbals and scat vocals, this is a must-have release for every deep jazz head out there!

One of the world’s best-selling albums, Dire Straits’ Brothers In Arms, celebrates its 40th anniversary with a 1LP pressing. Re-issued in this configuration for the first time since 1985, the single-sleeve 1LP mirrors the original pressing where tracks ‘So Far Away’,’Money For Nothing’, ‘Your Latest Trick’ and ‘Why Worry’ were abridged to fit the vinyl format. Brothers In Arms spent 14 non-consecutive weeks at Number 1 in the UK Albums Chart and is the 8th best-selling album in UK chart history.

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

It's 2022. The world lockdown is finally over. Imagine a picturesque lake in Tuscany. Now imagine a floating state of the art studio on that lake with two maverick rock icons creating a wild, alchemical concept album: Hugo Race, frontman of Australian post-punk legends The Wreckery and guitarist for the Bad Seeds and leader of True Spirit and Fatalists, and Gianni 'Marok' Maroccolo, producer of Italian alternative music and film soundtracks since the 1980s Florence darkwave scene with Litfiba, CSI & CCCP. Together, they fuse an existential narrative made up of individual stories in the style of Boccaccio's Decameron with psychedelic soundscapes framed by experimental electronica, rock instrumentation and decades of experience as cutting edge musicians and studio producers to bring you an album that defies categorization - The Vigil… "We all knew the situation was inauspicious, the planets lined up overhead like a firing squad and this empty silence roaming around our town, cut off from the other mountain towns by an electrical blackout. Without power, there was no way of knowing what was happening anywhere else. Left alone with our thoughts until help came from outside, a group of us gathered around a blazing fire in the abandoned city hall, feeding it with documents and broken furniture. Scientific progress had long told us we were parcels of dumb atoms and that consciousness and the soul were merely human projections. Now science had failed itself..."

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

LP in printed inner sleeve. With De Wonderen, Donder returns once again to the essence of the trio. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.



The album was recorded on a slow summer day in July 2023 in the old theatre hall of KC Nona in Mechelen. Besides the room's lively acoustics and the conscious choice for an upright piano, the recording is characterised by the usual unorthodox playing techniques and carefully documented imperfections.
In contrast to their previous record Het Verdriet, which emerged from a research project on Flemish (folk) music history, this time the premise was to compose and collect new material without any concepts or limitations. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.

De Wonderen is a testament to the beauty found in the small wonders of everyday life. As Guy Peters writes in the liner notes: «With this album that bubbles with percussive ideas and unpredictable contrasts, you are once again reminded that beauty is more striking when you have to wait for it, or find it in unusual places."

Het Mierenlied and Vader Ademt were released as singles with accompanying video's by respectively 3D and motion designer Robbe Callewaert and visual artist and ceramist Juliette Pons. The full album will be released on W.E.R.F.-records November 22nd, on LP and digital platforms. The artwork was designed by Jelle Martens with photography by drummer Casper Van De Velde.

Casper Van De Velde - drums, percussion
Harrison Steingueldoir - piano
Stan Callewaert - double bass, percussion, voice

All tracks by Donder except for All I Want For Now (Genevieve Artadi) and Oh My Love (John Lennon and Yoko Ono)

TELEFAX PRODUCTIONS present a special, four-track wax release of one of 2024’s hottest club cuts - revivalist hip-house jam ‘Break This House Down’. Formed by two vastly experienced producers whose working partnership began way back in the late 1980s, TELEFAX PRODUCTIONS was born to provide a platform for established and unknown artists. One of 2024’s hottest club cuts supported by Honey Dijon, Luke Solomon and London’s Faith crew, ‘Break This House Down’ stars previously unheard mic man DeeVoeNay – a young rapper hailing from Buffalo, NY. Joining the original on this vinyl package is a live version with DeeVoeNay’s band HR Nightmare, alongside a bruk remix from London broken beat torchbearer EVM128, plus TELEFAX PRODUCTIONS’ vinyl-only Acid House Remix. ‘Break This House Down’ spotlights DeeVoeNay’s distinctive flow and party-starting lyrics front and centre, with the well-established, multi-faceted artist Jimmy Cauty responsible for the bold and highly stylised artwork - with Cauty also designing a special physical print included in this unmissable vinyl package.

An absolute classic and long sought after, this remaster and repress contains the underground black label remix of Hurt You So, plus awesome new remixes from Phuture Assassins and Dope Ammo & Ed Solo! Boom!

Classic and legendary are words used on a regular basis, but you genuinely do not get more classic or legendary than Hurt You So by Jonny L. Wildly inventive when first released, and sounding as fresh today as it did back then, these 4 original mixes are pure fire, inescapable anthems from the then and the now, and this reissue, remastered from DAT and rereleased, cannot be missed…

Club / DJ Support
Ed Solo, Ray Keith, Jay Cunning, Dj Rap, Dope Ammo, Annie Mac, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

This outernational project sees the UKs South West unite with Italy's South Tyrol. No Ice Cream Sound makes the journey from the beach to Bolzano to link up with Berise. Multilingual lyrical mastermind; frontman of Stantipowa and longstanding MC alongside Wicked and Bonny. The breathtaking back drop of the mountains sets the scene as Berise works his magic on this heavy hitting steppa style riddim. Much like the landscape, the rolling bass is covered with a message of positive vibrations!

Flipping to the B side we head back west to Spain where we link up with steppa maestro High Nebra. The warmer climate providing the inspiration for a high energy take on this track. We see him take on this already solid riddim and carve it out into that european style we all know and love. As the dance draws into the early hours it's tunes like this that keep the vibes alive!

To celebrate 20 years since the release of Kylie Minogue’s sensational album Fever, a special 20th anniversary edition of the album will be released on white vinyl including a print.
Following the immense success of Light Years, Kylie returned the following year with an album that would go on to be one of the most important and influential records of the 21st century. In collaboration with writers and producers such as Cathy Dennis, Richard Stannard, Julian Gallagher, Ash Howes, Rob Davis and many more, it led to colossal global chart success, winning Kylie both International Album and International Female Solo Artist at the 2002 Brit Awards.
Featuring Kylie’s iconic hit ‘Can’t Get You Out Of My Head’ which amassed a staggering 40 number ones across the globe, as well as ‘It’s In Your Eyes’ and ‘Love at First Sight.’

Archeo Recordings is a record label. Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene for a wider audience of collectors, DJs and music lovers. All releases are limited edition. This release is a Limited Edition EP (250 on black vinyl). New life and an expanded treatment of Quiroga's epic Electronic/Future Jazz/House Snaporaz (Really Swing 2020), from none other than L.U.C.A. (AR029). Archeo delights us with this luscious and limited release featuring Quiroga's sleek jazz-house UFO "Snaporaz". This edition includes an exclusive extended version, a brand-new cut from the Neapolitan groover, and a completely cosmic overhaul from the mighty L.U.C.A. Operating at the nexus of future jazz, beatific electronics and deft house, Quiroga (Walter Del Vecchio to his nearest and dearest) has carved his own irresistible niche over the past two decades, gracing countless labels with nuanced body movers and forging his impressive Really Swing imprint, the original home to this melodic masterpiece. Tucked away on Del Vecchio's 2020 EP "Chords and Desire", the sunny and sultry Snaporaz fell foul of our communal pandemic preoccupation, missing out on the widespread acclaim, appreciation and ass-shaking it so richly deserves. Archeo steps in as patron, giving this Rhodes-led jazz-house heater the full 12" treatment it was born for. On the A1, Quiroga's extends the ecstasy of "Snaporaz", stretching its original elements into a loosely grooving, dopamine-deep delight. Sunkissed keys and tender pads ride the rhythm of a bubbling bassline while the sophisticated percussion snaps, crackles and pops in the background - the perfect environment for the P&P leadline to flourish. If that wasn't enough to have you slipping straight into your party pumps, Walter makes the most of the extra runtime with a HOT hand drum freakout down the final stretch, adding the most enticing icing to an already heady cake. A comparative cooldown follows in A2 offering "Escorpião", a fusion-tinged flirtation for aperitivo everywhere. Cutting back on the kick to save space for the swing, Quiroga leads us through a sublime sequence of hooks, riffs and solos, without ever overwhelming the ears but keeping the groove alive. It's a dizzying delight from start to finish and features one of the finest keytar and cowbell interplays you're likely to hear. The B-side belongs to the frankly legendary Francesco de Bellis, a house, disco, Italo and electro hero, appearing here under his deliciously downbeat alias L.U.C.A. Imbuing Quiroga's original with the atmospheric stylings of his Edizioni Mondo oeuvre, the Roman producer delivers a radical rework, slowing the tempo by 20 bpm and translating those jazzy tones into a drifting new age dancer for the cosmic crowd. Zero gravity rhythms meet mystical melodies uptown as the house hippies get down. Lest we overlook the batshit brilliance of the drum programming, L.U.C.A. caps it off with a bonus beats version sure to delight DJs and dancers alike in its otherworldly oddness.

Previously unreleased; four track 12" with two different vocal takes, each w/ dub. Comes in Bond Export company sleeve.

Another cold case solved! One of DKR's early victories was finding a tape of the drum & bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When we first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. Like with other 'mystery' projects which we eventually came to realize, we never gave up digging on this one. There were two mysteries at work here - one, confirming the identity of the group, and two - finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK "Sound Business" documentary film from '81. In the course of a mere 13 years, both questions came to be solved - we obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins and Paul Mitchell. While the latter two gentlemen don't seem to have done much otherwise, we are sure the roots heads and hopefully all DKR followers know Everton Dacres, who made some fine roots music in the 1970s prior to fronting the Majesterians. We spoke to Everton and he confirmed 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic. All that said, we're happy to re-present this tune now with not only proper accreditation, but also both known mixes and the drum & bass mix in improved fidelity over its previous issue.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

With French Lessons, Jeff The Fool delivers a dazzling display of musical diversity, exploring a myriad of styles and influences. From the melancholic rain of Paris to the warm rays of the Californian sun, each track showcases remarkable technical precision and infectious energy.


Set for release in 2025, this album stands out with its array of international guest artists such as Fleur de Mur, Oden & Fatzo, Mangabey, and Phat Kat. It brings together singers and rappers from Lagos, Detroit, and Atlanta, infusing the work with a unique cosmopolitan dimension. On compositions imbued with French accents, these artists lend their voices to traverse house, hip-hop, jungle, trap, and afro-soul. French Lessons is a true ode to innovation, illustrating Jeff The Fool’s determination to push genre boundaries and reinvent himself alongside talented collaborators. This album pays tribute to the electronic music scene while asserting his unique artistic identity.


Here, Jeff The Fool continues his creative journey, marked by a subtle blend of underground house sounds and more accessible grooves. Since his notable debut with the Pay Your House EP in 2018, he has consistently expanded the horizons of house music, skillfully combining soulful samples and deep rhythms, crafting tracks designed for the dance floor.
Building on the success of his 2022 album Russian Dolls, released under Nowadays Records and amassing millions of streams, Jeff The Fool continues to captivate house music purists while drawing in a broader audience. His live performances, intense and eclectic, blending house, techno, disco, and electro, have taken him to international stages, showcasing the breadth and richness of his talent.

Thumbprint records is a brand new label out of Bristol. It is ran by the artist who goes under the name LMB and is a well overdue personal project.

For the first installment Thumbprint Records bring you an all round excellent EP by Morphology who have been releasing music for the past 15 years on such lables as Abstract Forms, Cultivated Electronics and De:tuned.

This is Morphology's first release of 2025 and we are proud to make it our first release. Each 4 tracks are classic Morphology, moody,solid and definitely dance floor material. We hope you enjoy!

Supported by the likes of Craig Richards, Bobby, Lukas Wigflex, Ralf Lawson, Radioactive Man and Dave Harvey.

Proudly presenting our reissue of the sought-after 1978 album 'Ritmo Y Sabor' from Cuban, master bongo player, Manteca. A deep, hypnotic, sonic excursion of Afro-Cuban/mambo rhythms to get lost within. Released in 1978, there are a number of different pressings of the album coming out on labels including GRC, Desca Records and Sound Triangle Records. Stripped-back and low-fi, this is a pulsating hit of instrumental Latin-jazz dance magic.

Predominantly made up of just percussion and bass, the album comes courtesy of Carlos "Rico" Ramirez on bass, Carlos Patato on congas, timbales by Nelson Padron and Lazaro Pla aka Manteca as band leader. A Cuban legend, Manteca rose to fame playing with Ernesto Lecuona and the Cuban Boys. Although he featured on numerous recordings in his home of Cuba, only a handful exist of his as featured soloist or band leader.

A whirlwind of percussive brilliance, ‘Ritmo Y Sabor’ is brimming with energy regardless of the tempo of the track. An instantaneous ability to make you move, the grooves come alive with each new rhythm introduced. Take for instance, the track 'Afro Funky' that more than lives up to its name. A breakbeat Latin-funk workout, with a mighty fine walking bass line that provides the basis for the drummers to vibe off. Elsewhere, 'Rumbon En Casa De Cando' is fast and furious perfect for the jazz dance specialist, whilst 'Sabor A Mantecado' keeps you on your toes with its trance-like repetitive bassline and percussive interplay. 'Cosa De Manteca' is another heavy-Latin funk gem with a rough and raw feeling of relentless yet groove-driven percussion.

A must-have Afro-Cuban, rhythmic funk triumph, that shows Manteca and his band in full flight

Wenn herausragende Jazzmusiker mit einer gemeinsamen Geschichte im Studio zusammenkommen, ohne zu proben oder vorbereitende Auftritte zu absolvieren, ist das Ergebnis oft eine oberflächliche, nummerierte Session. Das ist bei Solid Jackson ganz und gar nicht der Fall.

Die vier Musiker, die an dem gelungenen Nachweihnachtsalbum Consenting Adults von Criss Cross aus dem Jahr 1994 mitgewirkt haben, gehören zu den »Top Five« eines jeden eingefleischten Jazz-Kenners. Dieses zweite Treffen von M.T.B. (benannt nach den Nachnamen von Brad Mehldau, Mark Turner und Peter Bernstein und in Anlehnung an die »Young Lion«-Band OTB aus den späten 80er Jahren) ist ein intensives, konzentriertes Konzert, das die herausragende Stellung jedes Mitglieds in der Jazzlandschaft von 2024 unterstreicht. Jeder hört zu. Keiner übertreibt es mit dem Spielen oder setzt auf »House«. Die Atmosphäre ist von konzentrierter Exzellenz.

Consenting Adults wurde erst 2000 veröffentlicht, sechs Jahre nach seiner Entstehung. In den Liner Notes werden die Protagonisten (Larry Grenadier, damals wie heute, spielt Bass; Leon Parker, der Schlagzeuger von 1994, weicht Bill Stewart) als »junge Elite-Improvisatoren, die nach Abschluss ihrer Ausbildung zu den Machern des Jazz des 21. Jahrhunderts gehören werden« beschrieben.

Kurz gesagt, so Mehldau in einer E-Mail-Konversation für diesen Text, waren Turner, Bernstein und Grenadier - der in den letzten drei Jahrzehnten in einer Vielzahl von Kontexten immer wieder wunderbare Entscheidungen getroffen hat, nicht zuletzt in Mehldaus Trio mit Jeff Ballard, im kollektiven Trio Fly mit Turner und Ballard, an der Seite von Stewart in Trios unter der Leitung von John Scofield und Pat Metheny und auf 15 früheren Criss-Cross-Alben - 1994 ›voll ausgebildet‹ und ‹haben an der Identität gefeilt, die sie damals schon hatten.‹ Dasselbe gilt für Stewart, der auf Solid Jackson seinen 26. Auftritt mit Criss Cross hat.

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Solo artist debut album for Vidar Landa, mostly known as guitarist and co-founder of the Norwegian rock/metal group Kvelertak and the powerpop outfit Beachheads. For his solo work he record and performs under the name King Hüsky.

A self-annointed ‘over thinker’, nudged into sociability with dark humour and most comfortable in the silent company of books, Landa’s sidewards step into the realms of subtle, honeysweet songcraft peaks with the release of the first, self-titled King Hüsky album Nine tracks are set to offer listeners the same loosely-assembled, yet graciously insistent sonic experience inherent to not only the single Lately I’ve Been Thinking Of Your Mother, but also King Hüsky’s skip-a-long, late-2024 teaser Running

Marty Willson-Piper is an English guitarist, singer, and songwriter best known as a longtime member of the Australian band The Church (1980–2013). With a career spanning over 45 years, he has contributed to a wide range of musical projects, including his solo work, collaborations with All About Eve and The Saints, and his own band, Noctorum.

In 2025, Willson-Piper launched Archaeological Dig - Volume 1, the first in a planned trilogy of releases where he re-records over 30 songs from his extensive catalog. This re-imagined collection features ten songs from different time periods, played with strings, acoustics, piano, and keyboards while still incorporating bass, drums, and multi-layered vocals. The album revisits material from his solo career—including selections from In Reflection (1987), which also received a Record Store Day 2025 reissue, and Art Attack (1988)—as well as songs from his tenure with The Church, drawing from landmark albums like Heyday (1985) and Starfish (1988).

Included in Volume 1 are fan favorites like "Tristesse," originally featured on Heyday (1985), and "Spark," from the platinum-selling Starfish (1988). These songs highlight the diversity of Willson-Piper’s catalog and showcase his evocative songwriting and signature guitar work.

Adding to the album’s distinctive presentation, the cover art for Archaeological Dig features a themed sci-fi illustration, with each of the three volumes depicting Willson-Piper in a different setting alongside UFOs. The release is available across all planets and throughout the galaxy via the In Deep boutique label in conjunction with Schoolkids Records.

Blending psychedelic rock, folk, and alternative influences, Willson-Piper’s music remains deeply atmospheric and introspective. Beyond his recording career, he is also an avid vinyl collector, music historian, and passionate champion of independent artistry.

Follow up to the debut 12" EP that was pressed, sold out, repressed, sold out, and pressed again.
They're currently mastering their debut album (recorded by Sam from Pigsx7), it's due in the Autumn on Wrong Speed.
To keep the merch table hasslers happy WSR have pressed this super limited 7", with two cover versions on the B-Side.
In the last 12 months the band have been named One's To Watch by BBC Introducing, had numerous Radio One plays, had a live 6Music Session for Riley + Coe, and have shared stages with Benefits, Big Joanie, Swami John Reis, House Of All, Uranium Club, and more.
The next 12 months for IRKED are gonna be big

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

Carlos Santana ist der große musikalische Kollaborateur, der seinen einzigartigen Gitarrenstil und seine weitreichende musikalische Vision mit einer großen Vielfalt von Künstlern verbindet, um etwas Neues, Einzigartiges und Transzendentes zu schaffen. Santanas Vision für Sentient war es, seine jüngsten Kollaborationen aus einer neuen Perspektive zu betrachten und sie zu einer klanglichen Pilgerreise durch Jazz, Hip-Hop, Soul, Rock und lateinamerikanische Rhythmen zu verweben. Er hat die Songs nicht nur so arrangiert, dass sie seiner Vision entsprechen, sondern viele von ihnen auch neu interpretiert und einige Aspekte der Tracks verbessert, um ein kohärentes Hörerlebnis zu schaffen. Die Songs auf Sentient reichen von aktuellen Hits und Kollaborationen mit Superstars bis hin zu seltenen, unveröffentlichten und übersehenen Tracks, die Carlos in einem neuen Kontext präsentieren wollte. Das Ergebnis ist eine spirituelle Reise durch die unendlichen Möglichkeiten der Musik, geführt von Santanas kompromissloser Muse.

Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Five Five is the second studio album from the Miami-born underground rap pioneer, Pouya. Marking a slight transition into a more mature sound, Five Five showcases Pouya’s evolution as an artist while maintaining the raw authenticity that has endeared him to his fans. With tracks like "Suicidal Thoughts in the Back of the Cadillac Pt. 2" and "Handshakes," Pouya delves into themes of struggle, resilience, and personal growth, offering listeners a glimpse into his journey. In what became truly a solo effort, Five Five is limited to one feature in Night Lovell, with production primarily handled by Mikey The Magician (Track 4 produced by Chevali). The album draws from elements of Bone Thugs-N-Harmony, yet remains uniquely rooted in Pouya’s own style. Over the years, Pouya has developed a long lasting core fanbase, first bubbling up in Miami alongside artists such as Denzel Curry, and then becoming a nationally celebrated artist. Back in print for the first time since originally released in 2018. Pressed on Wire Wheel Picture Disc Vinyl and cut at 45 RPM.

Bekannt als der Haupttänzer der globalen Superstar-Gruppe BTS, veröffentlicht jhope sein zweites Album mit dem Titel ’HOPE ON THE STREET VOL.1’ - jetzt zum ersten Mal auf auf Vinyl! Mit dieser Veröffentlichung erzählt j-hope von seinen bescheidenen Anfängen als Teil einer Street Dance Crew und den Weg zu BTS. Der Inhalt des Albums umfasst: Äußere Hülle, innere Hülle, Vinyl, Fotobuch, Schlüsselanhänger aus Papier (je 3), Fotokarte, Filmfoto und Textkarte (je 6).

Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

3024 is excited to announce "Panta Rei", the long-awaited debut album by London-based, Italian artist Ehua. This album, which comprises a collection of songs crafted over the span of a year and a half, is not just an exploration through sound but also a significant milestone in Ehua's personal and artistic development. For the first time, she explores her vocal expression while also incorporating a range of percussive and other analog and acoustic instruments, resulting in a distinctive set traversing various corners of the bass music continuum.

Accompanied by unique artwork created out of concrete by Jeroen Erosie, a booklet with background and photography and a short eponymous film, 'Panta Rei' represents an intricate 'gesamtkunstwerk'. An exciting blend of various media with contributions from a range of artists, of course all centered around Ehua's beautiful and intimate music.

"Panta Rei" will be released in May, available on vinyl, as well as digitally and in booklet format. 3024 X Planet Wax are hosting a launch event on April 24th in South London.

Limited Gatefold LP version on Gold / White Smash Vinyl (500x). Agusa's Debut Album Högtid Reissued on Karisma Records. Since their formation in 2013, Swedish progressive rock band Agusa has carved out a distinct name for themselves in the world of retro prog, Scandinavian folk rock, and Krautrock. Their evocative sound and immersive compositions made such an impact that Karisma Records is now proud to present a reissue of their debut album, Högtid. Originally released in 2014, Högtid quickly became a favourite among fans of vintage progressive rock. The album is a masterful collection of extended instrumentals, weaving together folky melodies, psychedelic jams, and otherworldly Krautrock explorations. Listeners will hear echoes of Kebnekajse, Amon Düül II, and Camel, as Agusa channels the spirit of the genre's golden era while crafting a sound that is uniquely their own. Though guitarist Mikael Ödesjö remains the only original member from the Högtid lineup, this album stands as a bold and timeless introduction to Agusa's musical journey. Now remastered by Magnus Lindberg (Cult of Luna, Dina Ögon, Crippled Black Phoenix), this new vinyl reissue brings renewed depth and warmth to the album's intricate soundscapes.

En pakt med naturen is Tusmorke's first ever live album, recorded live at Oslo's biggest independent record store Big Dipper, as part of their 25th anniversary celebration last October. "We knew we had to do something special with Tusmorke. Benediktator and Krizla have since the early 2000s been building their record collections and releasing their own music simultaneously. We like to think the records we sold them in our store somewhat influenced their musical output, at least we know that the albums they released had a huge impact on us!" (Andreas Leine Jakobsen, Gerenal Manager, Big Dipper Musikk & Hi-Fi "Is this Folk Horror? Silly question, perhaps, but we need you to mutter certain phrases while listening: Bucoloc, acoustic, ancient, uncanny; acid, pagan, peasant, occult; wildness, wilderness, wildestness, Wicker Man. Ever since the start of Tusmorke, we've wanted to make an acoustic album. In Skien, Telemark in the 90s, we wanted to record in an ancient loghouse with an open hearth (årestue) in the local folk museum Brekkeparken. Years passed and line-ups changed. Then, when we supported Ved Buens Ende at Blå in the Autumn of 2021, we were joined by Åsa and Dauinghorn. They played some of the arrangements that we finally managed to record here, after several attempts to find a suitable time and place to make it happen. Again, time had passed and line-ups had changed, but the spirit of Folk Horror remained. We ask you to close your eyes and picture yourself in a windowless low dwelling, open to the sky through a hole in the roof. Acrid smoke curls upward and occasional sparks fly from the smoldering fire. Music wafts through the gloom in this serene scene of timeless primitivism. There is no electricity. There are no synthesizers. I won't even mention digital things, because they don't exist. There is only Folk Horror and you are in League with Nature." (Benediktator)

Seit 2011 und mit sieben Alben hat das explosive Trio immer größere Erfolge gefeiert und sich Aufmerksamkeit und Anerkennung bei Rock-Fans und Jazz-Anhänger:innen gleichermaßen erarbeitet. Der Bandname lässt eventuell auf Jazz schließen, nur dass in der Besetzung vom Hedvig Mollestad Trio Klavier, Saxophon oder Trompete nicht auftauchen. Stattdessen: Gitarre, Schlagzeug, (Kontra-) Bass und Songs, die gerne mal die Melvins beschwören (Blood Witch). Jazz ist hier also in erster Linie Rock und keine Kammermusik. Mollestad lässt ihre Gitarre dabei unablässig und vom Overdrive getrieben jaulen, tänzelt die Skalen auf und ab, rifft sich durch die halsbrecherischsten Soli und spielt dennoch geerdet mit dem satten Groove von Schlagzeug und Bass. Nach arbeitsreichenJahren (solo, mit Weejuns, Soundtracks und Auftragsarbeiten) verspürte Mollestad den starken Drang, zum Kern zurückzukehren, der immer das Trio war, mit dem alles 2011 und dem starken Debütalbum Shoot! begann. Die Aufregung war groß, als es ins Studio ging, und da ein Großteil der Musik recht kompliziert ist, mit vielen kleinen Variationen und langen Strukturen, waren die Studio-Sessions extrem fokussiert und konzentriert. Hedvig betont, dass das Hauptziel des Trios darin besteht, immer Spaß zu haben, ob im Studio oder auf der Bühne, und diese Freude mit den Zuhörern zu teilen. Beim Hören von Bees In The Bonnet wird deutlich, wie sehr das Trio es vermisst hat, gemeinsam neue Musik zu machen, und dass sie sowohl als Songschreiber als auch als Musiker sehr gut sind. Frontfrau Hedvig Mollestad präsentiert sich hier nicht nur als Riffmeisterin, sondern auch als Sologitarristin, die den bereits angestellten Vergleichen mit Tony Iommi und Jimmy Page mehr als gerecht wird.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

House of Gold & Bones – Part 1 is the fourth studio album by American rock band Stone Sour. It is the first Stone Sour album without bass player Shawn Economaki, who left the band in 2012, his studio replacement was Rachel Bolan from Skid Row. Musically, Corey Taylor also described the album's sound as "Pink Floyd's The Wall meets Alice in Chains' Dirt". House of Gold & Bones – Part 1 was released on October 22, 2012 and debuted at number 7 on the Billboard 200 music album charts. The album has sold just under 130.000 copies in the United States alone and got raving reviews all over the globe. The album hasn't been available on vinyl for over 10 years and is now available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes a 4 page booklet.

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

Released in 2000, Soundphiles is the debut album by British electronic duo Kinobe. Known for their smooth blend of downtempo, chillout, and trip-hop, Kinobe crafted an atmospheric and cinematic sound that became a staple in lounge and ambient music scenes. The album features the iconic track "Slip Into Something", which gained widespread recognition through its use in commercials and compilations. Other standout songs like "Skyscraper" and "Bopalong" showcase Kinobe’s signature mix of mellow beats, lush instrumentation, and soothing melodies. Soundphiles captures a relaxed yet sophisticated vibe, making it a go-to album for fans of chilled electronic music. Its seamless fusion of organic and electronic elements solidified Kinobe’s reputation in the downtempo genre, earning them a dedicated following. Ideal for laid-back listening, Soundphiles remains a defining release in early 2000s chillout music. Soundphiles is available as a 25th anniversary edition of 500 copies on translucent blue coloured vinyl.

Recorded live in 1961, this album by the Horace Silver Quintet captures all the energy and groove of hard bop. Driven by Silver’s percussive and melodic piano, the quintet—featuring Blue Mitchell on trumpet and Junior Cook on tenor saxophone—delivers intense and spirited performances. Tracks like Filthy McNasty and Doin’ the Thing showcase remarkable musical chemistry, supported by a solid rhythm section provided by Gene Taylor and Roy Brooks.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

Townes Van Zandt’s eighth studio album, released in 1978, from one of the most influential figures in country, folk, and Americana music, returns with a new analogue mastering on a limited edition blue vinyl — complete with a color insert featuring sleeve notes, a rare Townes Van Zandt interview, and the full lyrics.

This reissue celebrates the album’s enduring legacy and its importance as Townes’ debut release on Tomato Records – the label run by his long-time manager Kevin Eggers. Originally recorded at Nashville’s famed American Studios and produced by Chips Moman, Flyin’ Shoes features some of Van Zandt’s finest work, including standout tracks like the heartfelt ‘Loretta’, the haunting ‘No Place to Fall’ the mystical title track, and the standout ‘Rex’s Blues’. The album also introduces ‘Pueblo Waltz’, a song that, alongside others, solidified Van Zandt’s reputation as a master of blending poetic lyricism and melancholic storytelling. In addition to its timeless tracks, Flyin’ Shoes has a unique history. Indeed, the album includes material from a previously abandoned 1973 project, 7 Come 11, that would be released years later under the title The Nashville Sessions in 1993, also available on Charly Records. Many of the songs from that unfinished album were re-recorded for Flyin’ Shoes, and these fresh takes represent Van Zandt’s growth as an artist while staying true to the raw authenticity that fans have come to cherish

Die Saarbrücker Singer-Songwriterin Colletti, bekannt als Gastsängerin bei PASCOW, meldet sich mit "Cabin In The Woods" solo zurück. Die Single ist eines von zehn Liedern ihres Debütalbums "Anything That Burns", die sie - wie auch schon die 2022 erschienene EP "Searching For Former Solace" und die 2023 veröffentlichte Single "Weeki Wachee (ft. Bo)" - mit Marco Kallenborn aufnahm. Kallenborn, selbst als Solo-Künstler Citizen Tim auf Barhill Records unterwegs, übernahm auch erneut das Mixing und Mastering des Albums.

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

Eindrucksvolles Debütalbum der US-Power-Melodic-Metal-Formation Behölder! 'In The Temple Of The Tyrant' bietet 8 Tracks und vereint kolossale, imposanten Riffs, eindringliche, majestätische Melodien und kraftvollem Gesang, der von düster bis grandios reicht. Klingt wie Candlemass, Momento Mori, Solitude Aeturnus oder Sorcerer.

Music for dancefloors when the night turns uncanny.

Vyvyan is Bonar Bradberry’s solo project stripping club music to its core while expressing a deep love for dance music culture. His 2022 debut album, Y, balanced rough-edged percussion with warped melodies. "Waterslide EP" pushes this sound further with Gallegos stepping in to remix the monumental title track.

Bradberry is also known for his work as one half of the Leeds-based duo PBR Streetgang.

Calling Mattheis a pillar of Nous'klaer Audio would be an understatement. Founded in 2013, the label was at the time solely created to put out Mattheis' Isms EP. Now, twelve years on, we present his latest album: Waiting for the Silhouette. The forty minute LP full of dreamy techno bliss explorations starts out, and is glued throughout, with ethereal modulating synths. Dreamscapes fuse into scattered drums and shifting patterns briefly usher in changing phases. It's in these moments when the unworldly contours take form and are built upon by other emerging elements. Waiting for the silhouette is a record about things coming to life, outlines that start to appear and shapes evoking memories that could as well be premonitions. Minimalism and maximalism become indistinguishable on this album, through the trip in between. Artwork by Frederic Dumoulin. The record is cut inside-out and comes with a downloadcard.

The latest release in a new series from alt. folk trailblazers The Owl Service, 'Black Chapel Music part 3' sees the Essex-based collective once again drag traditional folk music into pastures new. On these two recordings The Owl Service venture into a kind of eighties goth/dream pop sound, heavy on airy synths, vintage drum machines, and modulated guitar tones.

The A side is a new take on a traditional folk ballad collected in their native Essex, while the AA side fuses original lyrics by late, great Brit-folk legend Peter Bellamy, set to music by the late and equally great German performance artist Klaus Nomi.

Guest vocalist Liz Overs (East Sussex-based folk singer formerly of Chalk Horse Music & Pocket Size) has just released her debut solo album 'Nightjar', recorded with guitarist Neill MacColl, which has received glowing reviews in Mojo, The Guardian and Americana UK among others, plus radio support from Mark Radcliffe (BBC Radio 2 Folk Show).

Standard weight black vinyl 7” in die-cut sleeve with postcard insert. 300 copies for the World.

Thirty Three & ffist das siebte Solo-Studioalbum von George Harrison, aufgenommen in seinem Haus in Friar Park in Oxfordshire und veröffentlicht n och i m s elben J ahr i m N ovember 1 976. E s w ar Harrisons erste Veröffentlichung b ei s einem P lattenlabel D ark H orse. B illboard s chrieb d amals: „Es ist e in heiteres, optimistisches Album mit Liebesliedern und heiteren Witzen, das vielleicht Georges fröhlichstes und kommerziellstes Gesamtpaket darstellt – mit den wenigsten hochtrabenden Posen – während seiner gesamten Solokarriere.“

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

TV Smith's first solo album reissued from the master tapes for the very first time. The Artwork has been professionally restored and packaged in deluxe gatefold gatefold sleeve with in depth liner notes by long-time fan and author Dave Thompson. Comes as a red vinyl pressing! January 1983 saw TV SMITH reunited with ex Advert Tim Cross and David Bowie's ex-guitarist Tim Renwick to record "Channel 5" in Wickham studios in Croydon. 3 weeks later the album was completed and scheduled for a June release. "War Fever" was earmarked as the first single but at the time the country was fighting a General Election with the card of the Falklands war victory played by the ruling Conservative Party, and as a result the single vanished without trace.

Warner Classics will release in May and June 2025 two separate LPs devoted to the legendary Martha Argerich, the first being a best of her Concertos recordings, the second a best of her Solo piano & Chamber music albums (a day after her 84th anniversary).

The term ‘living legend’ is genuinely apt to Martha Argerich, whose dazzling amalgam of virtuosity, insight, eclecticism, generosity and mystery makes her a pianist of unrivalled fascination. Argentinian-born, Viennese-trained, and winner of the 1965 Chopin Competition, she became a sometimes elusive figure whose every appearance and recording aroused eager anticipation.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

When we last heard from Bay Area producer DEAD PERRY, he was riding high on the critical success of "The Art Of Re-Animation" album. That album was a re-imagining of legendary Hieroglyphics crew emcee Casual's work from his "Big Head Science" album.

However on the forthcoming "Acoustic Shadows" album, as the title implies things get a bit dark. As he relays "when I made (The Art Of Reanimation) with Cas, I wanted to cater to the specific sound that Hieroglyphics has, but put my spin on it without making it too dark (though there are a couple of dark gems sprinkled throughout). I knew that my next album was going to be a solo LP and I wanted it to be something special. Dark and grimy has always been my style of beat making so I wanted to showcase that with this record."

However, the title also has a double meaning to the producer. "The term Acoustic Shadows comes from a Civil War phenomenon that refers to a sonic blind spot. Due to geographical obstructions disrupting sound waves you could think you are a great distance from the battlefield while you could already be in it. It also refers to my style keeping to the shadows and out of the limelight, when I only appear in photos wearing a mask, it's not because I'm on that post MF Doom craze, it's because I came from graffiti and graffiti artists let their art be their only face to the public."

That style is showcased throughout the forthcoming album, including his choice of collaborators include Casual, Daniel Son, Estee Nack, Al Divino, Raz Fresco, Ill Bill, Goretex, Hus Kingpin, Crimeapple, Planet Asia, Da Flyy Hooligan, Izrell, P-Dirt, J-Spliff and cuts from DJ Eclipse. Concepts also lent itself to the grime including the John Carpenter-esque synth laden "Call Me Snake" track, which inadvertently inspired the emcees. As DEAD PERRY relates "I give the beats a place-holder title until the track is done so this one was 'Die Kurt Russ.' P-Dirt chose to create the concept off the beat title. Crafting that song was a fun experience." It also has a full circle moment as DEAD PERRY and Casual expand their "White Crown" single from their previous project on this release enlisting Planet Asia to drop an additional Afro-Centric verse.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

After several solo-releases on the label, Dauw welcome back Taylor Deupree and The Humble Bee for their first collaborative album to date: »Re: Case Studies«.

While most collaborative albums are intentional from the start, this one almost never came to fruition and was born rather out of a fortunate coincidence. A few years ago, Taylor Deupree created a series of compositions entirely based on feedback loops, which nearly made their way out as solo work. However, while these abstract pieces felt complete, they also felt unfinished to the artist. After some discussions with the label, he decided to invite someone to bring them to life and finish what had been sitting in the drawer for a long time. Enter The Humble Bee. A few months later, Craig Tattersall sent his musical response. While the echoes of the original remain, »Re: Case Studies« stands entirely on its own and represents a full-fledged collaboration.

LA's Elbow Grease label takes a sharp left turn from dance floor-finessing singles to their first full-length
release via the elusive yet illustrious band KAMM, who return in extra fine form for their third and
presumably final album offering, following the sudden tragic death of core member Alland Byallo last
year. Surviving bandmates Marc Barrite aka Dave Aju, Kenneth Scott, and Marc Smith chose the
inspirational higher ground, finishing off what they had begun with Byallo prior to his passing, resulting in
this sublime musical love letter of an LP.
In keeping with the band’s broad influence canon, we are treated to a blend of sonic flavors from
across the genre spectrum with Barrite and Byallo’s jazz upbringings ringing true at the center, then
branching out through golden era hip-hop feels, phased-out psych funk, warm smokey soul, and of
course generous helpings of intricate electronic layers and innovative treatments, as all band members
have become notorious for in their respective solo bodies of work.
While highly personal by nature, including otherworldly cover art based on Byallo's last paintings, the
musical content contained on the album is also widely universal - from opener “Crystalline Dreams”
serpentine tones turned slo-mo funk bomb, to the triptych Bossa boom-bap of “No Deal”, the timely
political calls of uptempo jazz burner “Your Honor”, the intimate upright-led tribute tales of “Angels
Flight”, to the sleek electro rhythm changes of mid-set breather “How Long?”, a deeply felt take on our
mobile-reliant fate in “S.I.M.”, the expansively expressive depth of “Coordinates”, then closing it out with
the title track featuring a grand finale chorus of Byallo’s best friends and fam from around the world
joining in the “Let The Light In” chant, with as much uplifting intention as possible to capture on record.
A loving collective embrace and very welcome reminder to help lighten these darker days

Der Dresdner Komponist und Produzent Sven Helbig kreierte anlässlich des 80. Jahrestages des Endes des Zweiten Weltkriegs das Requiem A, das die Opfer des Krieges ehrt und ein tiefes Plädoyer für den Frieden darstellt. Requiem A vereint liturgische und neue Texte. Das ‘A’ im Titel steht für ‘Anfang’ und mahnt in poetischen Bildern zu Versöhnung und Neubeginn. „Aufbruch“, „Asche“ und „Atmen“ sind Schlüsselwörter in den Texten, die einen Weg aus der Trauer in das Leben suchen.

Die Uraufführung fand am 9. Februar 2025 in der Dresdner Kreuzkirche statt, aufgeführt vom Dresdner Kreuzchor, der Sächsischen Staatskapelle und dem gefeierten Bassbariton René Pape. Am 8. Mai, dem 80. Jahrestag des Ende des Zweiten Weltkrieges, wird das Werk auf dem Heldenplatz vor der Hofburg in Wien aufgeführt. Die Aufnahme erscheint am 9. Mai 2025 bei der Deutschen Grammophon. Dieses ergreifende Werk soll als universelle Botschaft der Erinnerung, der Versöhnung und des kulturellen Austauschs dienen.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.