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One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

"Sun Racket" is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos.

When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. "It sounded beautiful jumping around like that". Two-minute songs reappearing as twisted instrumentals or another song's bridge.

They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, "sit here and deal". "All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box.

Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more" - Kristin Hersh And so, they continue. Business unusual.

"A ground-breaking band who changed the face of alternative music rather than follow the rule book." MXDWN "Pioneers of the 80'/early 90's college rock sound" Pitchfork "One of America's finest guitar bands" - The Quietus.

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

Florian Sievers tut es erneut. Und zwar: Nicht das was wir erwarten. Nach dem zweiten Paradies-Album "Transit" vor zwei Jahren - viel rastloser und glitschiger als der Zenpop des Debüts "Goldene Zukunft" - wäre es jetzt zum Beispiel... das dritte Album. Doch während das im Labor weiter köchelt (Release 2025 Fragezeichen), führt Das Paradies mit "sammlung 2 | soft floor" seine nonchalante EP-Reihe zwischen seinen Alben fort. Dies wird die erste Veröffentlichung von Das Paradies auf dem von Florian Sievers mitgegründeten Label Krokant. Dort erscheint "sammlung 2 | soft floor" zusammen mit der "sammlung 1 | pause an der kurve in vektoria" frisch gepresst auf einer 12" Vinyl.

”Artificial Paradise” ist das sechste Studioalbum der GRAMMY®-nominierten Band OneRepublic, bestehend aus Singer/Songwriter und Leadsänger Ryan Tedder, den Gitarristen Zach Filkins und Drew Brown,
Keyboarder Brian Willett, Bassist und Cellist Brent Kutzle und Schlagzeuger Eddie Fisher. Als Band haben
sie weltweit über 16 Millionen Platten verkauft. ”Artifical Paradise” enthält die Platin-Single „I Ain’t Worried“, die bahnbrechende Single ‚I Don’t Wanna Wait‘ mit David Guetta und die beliebten Hits ‚West
Coast‘, ‚Sunshine‘ und viele mehr. Frontmann Ryan Tedder ist dreifacher Grammy-Preisträger und u.a.
auch für seine Songwriting-Arbeit mit Adele und Taylor Swift bekannt. Außerdem hat er große, weltweite
Hits für die Jonas Brothers, Ed Sheeran, Tate McRae, Miley Cyrus, 5SOS, OneDirection, John Mayer,
Maroon 5 und viele mehr geschrieben.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Having been ‘discovered’ working in Liverpool’s Probe
Records during the punk rock explosion of the late 1970s,
Pete Burns found himself fronting his own band,
Nightmares In Wax who mutated into the more familiar
Dead Or Alive, eventually bringing Pete into the UK pop
mainstream, and a star was born.
Bringing together two-self-released 1982 singles and a collection
of early versions of Hi-NRG tracks which would eventually find
their way onto the band’s debut album, ‘Let Them Drag My Soul
Away’ showcases the blossoming of one of the 80s pop scene’s
most colourful characters. Unapologetic, unfiltered, loud and
proud – Pete Burns singularly brought a punk rock mindset to the
pop paradigm, providing a much needed antidote to the sexless
Thatcherite stars beginning to dominate the UK pop charts
during the middle of the decade – this collection of recordings
captures something of that spirit and the energy of the driving
force behind it.
Pressed on deep red vinyl and housed in a cover photograph by
Dead Or Alive’s then manager Francesco Mellina, ‘Let Them
Drag My Soul Away’ presents a last glimpse at a pre-stardom
Pete, and a long overdue back story accompaniment for fans and
collectors alike.

Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".

Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.

Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.

Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.

Sound Like: Paradise Lost, Type O Negative

Dive into the abyss with Swedish Stillborn's latest masterpiece: "Netherworlds".

Following the monumental success of their previous album "Nocturnals", the band unleashes an even darker opus that pays homage to their cult classic "Necrospirituals" while carving out new realms of sonic exploration. With "Netherworlds", Stillborn propels their distinctive sound to new heights, crafting songs that are both hauntingly beautiful and crushingly heavy.

Experience the chilling atmospheres and gripping melodies as Stillborn takes you on a journey through the depths of the unknown. The production on "Netherworlds" has a sharper edge and more refined, ensuring that every riff, every chord, resonates with bone-shaking clarity.

Prepare to be mesmerized by the sinister allure of "Netherworlds". Embrace the darkness and join Stillborn on their relentless quest to redefine gothic metal. Don't miss out on this monumental release that will leave an indelible mark on the genre.

Sound Like: Paradise Lost, Type O Negative

Shrine is the 1986 debut solo album by the British soul vocalist Dee C. Lee. She enjoyed a prolific solo career in the mid-1980s in parallel to her role as vocalist in The Style Council. Dee enjoyed huge success with the '60s-styled ballad ""See The Day"", which reached #3 in late 1985. In addition to this hit, the album also contains ""Come Hell Or Waters High"". For the first time, Shrine is expanded with an additional bonus LP featuring 8 non-album tracks, including ""Wow Wow Mix"", ""Shrine (Club Mix)"", ""Yippee-Yi-Yay! (Dub Mix)"" and ""Don’t Do It Baby (Remix)"". Shrine (Expanded Edition) is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl and includes an insert.

Reissue der limitierten FEET EP "Walking Machine" aus 2021 auf dem Indie-Kultlabel Nice Swan, das in den letzten Jahren heiße junge Bands wie SPRINTS, English Teacher, Cowboyy, DEADLETTER, Jaws The Shark und eben FEET hervorbrachte. Die EP-Nachauflage erscheint parallel zum FEET Debütalbum "Make It Up" und ihrer Tour mit den Psychedelic Porn Crumpets.

"Enjoy The Ride Records in conjunction with Paramount Pictures proudly present Rolfe Kent's score to Election (Music From The Motion Picture).

Reese Witherspoon is Tracy Flick, a straight ""A"" go-getter who's determined to be president of Carver High's student body. But when popular teacher Jim McAllister (Matthew Broderick) observes the zealous political locomotive that is Tracy, he decides to derail her obsessive overachieving by recruiting an opposition candidate (Chris Klein) - with disastrous results! Here's a smart, witty, and hilarious jab at high school politics helmed by award-winning director Alexander Payne (The Holdovers, Sideways)."

The series third 7” presents Geneva based singer Jah Bast. ‘Far I Love’ is a chant to the Most High. The riddim and mix get as dread and terrible as Jah Bast message of love gets powerful. Version of the B side for all DJ to mash up the riddim inna dance!

You know it's a guarantee when we welcome back the legendary Breakbeat Junkie to represent the 14th installment of the Toxic Funk series that things will be all about the Party rocking Breaks!

The Breakbeat Junkie has been around since the early nu funk days as a solo producer and as part of the dynamic duo Second Hand Audio, who has dropped various classic releases on both BBP and the Ghetto Funk label.

Toxic Funk Vol. 14 features 2 golden funky cuts from the beat master, which will be sure to get the party rocking anywhere its dropped.

Lately The Breakbeat Junkie has been stable with his bootleg jams on Craig Charles Funk and Soul show on BBCand we know these cuts will go down perfect with the big jams played on this show.

Another timeless 7- inch donut that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Es ist 6 Jahre her, dass wir das letzte Mal von Adrienne Pauly gehört haben. 6 Jahre sind lang und kurz zugleich, die Zeit, die ihre Lieder brauchten, um zu reifen und zu reifen, um veröffentlicht zu werden, um uns angeboten zu werden. Dieses dritte Album ist ein persönliches Werk, in dem Adrienne sich uns mit Poesie anvertraut und uns in ihr Universum hineinzieht, das sofort identifizierbar und doch so ganz anders ist. Es ist ein Album, an dem die langjährigen Weggefährten Gaby Concato (Melissa Mars, Jacques Dutronc, Vanessa Paradis) und Axel Concato (PY JA MA) sowie die Seele der Stranglers, Jean-Jacques Burnel, mitwirken. Die Schauspielerin und Sängerin feierte ihren ersten musikalischen Erfolg 2006 mit ihrem Debütalbum, das von den Singles "La fille du prisunic" und vor allem "J'veux un mec" getragen wurde. Diese brachten ihr im selben Jahr eine Nominierung bei den Victoires de la Musique in den Kategorien "Album Revelation of the Year" und "Artist of the Year" ein. 2024 freut sich Kuroneko nun Neues der Künstlerin veröffentlichen zu können.

Year is 2020, in the middle of the pandemic outbreak, “En el fin del mundo, hasta el fin del mundo” (In the end of the world, until the end of the world) is the first production of the Chilean label EMA Records, including local and international artists, active in different musical fields (improv, post rock, electronica, ambient, etc).

The structure and artist selection of “En el fin del mundo, hasta el fin del mundo” has the intention of capturing/expressing the Chilean geography from a soundscape perspective, related to the country's remote geophysical location, submerged in a new gloomy reality, the pandemics. This little exercise was somehow the starting point for each artist to develop their tracks, without any particular disclaimer or artistic restriction. All tracks on the compilation have been previously unreleased by each project, then first came out digitally and now - finally - on vinyl.

The complete compilation (21 tracks) will be released on 3 separate vinyl albums. The first LP is featuring tracks by Pita, Abul Mogard, Pan American and others.

Krautige Cumbia der Zukunft trifft auf unverzerrte Gitarre! Bewusstseinserweiternd! Der in Bogotá lebende kolumbianische Komponist Eblis Alvarez, bekannt als Meridian Brothers, kreiert seit 1998 eine einzigartige Mischung aus psychedelischen Klängen. Mit seinem neuesten Projekt "Mi Latinoamérica Sufre" erkundet Alvarez das ungenutzte Potenzial der E-Gitarre in einem tropischen Latin-Kontext. Inspiriert von afrikanischen Highlife- und Soukous-Traditionen schafft Alvarez ein furchtloses Klangexperiment voller Erfindungsreichtum, Verspieltheit und Emotionen. Im Gegensatz zu typischen tropischen Gitarrenalben verzichtet dieses Album auf Verzerrung und Klischees und setzt stattdessen auf einen reinen, sauberen Ansatz. Mit komplizierten Kompositionen, die Cumbia, Champeta, Soukous, brasilianische Tropicalia und psychedelischen Underground-Rock mischen, huldigt Alvarez der goldenen Ära der kongolesischen Rumba, des ghanaischen Highlife und des nigerianischen Afrobeat. "Mi Latinoamérica Sufre" ist ein Egotrip, der eine humorvolle und zugleich introspektive Reise der Selbstfindung und Identität darstellt. Die Hauptfigur, Junior Maximiliano der Dritte, navigiert mit Hilfe psychedelischer Substanzen, politischer Philosophie und Folklore durch die Komplexität der Selbstfindung. Während er sich mit Nostalgie, Paranoia und geteiltem Leid auseinandersetzt, stellt Alvarez sein stimmliches Können unter Beweis und schafft ein akustisches Theater des Geistes. Begleitet von visuellen Erzählungen des kolumbianischen Künstlers Mateo Rivano, porträtiert das Album verschiedene psychologische Zustände von Desorientierung, Selbstmitleid, Erleuchtung und Optimismus. "Mi Latinoamérica Sufre" entpuppt sich als würdige und innovative Ergänzung der Konzeptalbum-Tradition und bietet eine unverwechselbare Mischung aus bittersüßen Aromen, die von Latinoamérica inspiriert sind.

Vengaboys is one of the most successful Eurodance acts in the world. With a string of global top 10 hits, including ‘Up & Down’, ‘Shalala Lala’, ‘We Like To Party’ and the UK No.1 singles ‘Boom, Boom’ Boom Boom!’ and ‘We’re Going To Ibiza’ they dominated the charts in the late 90’s and early 00’s. These songs have also been embraced by younger generations, with several global viral TikTok trends.

This brand new 14-track Greatest Hits compilation is pressed on transparent pink vinyl.

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.