Cerca:peter peter

Tom Esselle, staple of the South London music scene, hits his stride on Rhythm Section release Revolutions and Evolutions. Building on the success of his previous releases (Lou’s Groove on Rhythm Section’s Shouts 2021 compilation, Praise Bes EP on Wolf Music in 2022), his latest EP further showcases the breadth of his sound. Drawing on influences from across the house music spectrum and honing skills developed in the studio with Chaos In The CBD, Revolutions & Evolutions delivers a sound that looks boldly to the future while remaining firmly grounded in the classics.

The A-side is primed for peak dance floor action: Baddies features a mid-2000s RnB vocal that did serious damage when Bradley Zero played it at Circoloco last summer, while Plaything, a big-room tech-house banger, echoes Moon Harbour's tougher catalogue, or a skunked-out Gavin Herlihy.

The B-side is a slice of sunshine with One Of These Days, an uplifting daytime house track featuring a deft keys solo from Dave Koor (Albert’s Favourites, The Expansions, Modified Man). Harmonise rounds off the EP: a smoky, dreamy groover to warm up the party or lock it in during the early hours.

Tom has been producing music since 2010, patiently refining his sound. His 2015 debut, the choppy drum workout Until She Spoke on Wholemeal Music, became a quiet underground success played by luminaries like Ruf Dug and Gilles Peterson, and remains a staple in many a record bag to this day. His productions have also found their way into the collections of DJs from Moxie to Mr Scruff and Osunlade to DJ Harvey

Diese exklusive 4 LP Box ist ein wahres Juwel für alle Schlagerfans und Nostalgieliebhaber: Eine sorgfältig zusammengestellte Sammlung unvergesslicher Hits aus den 1950er und 1960er Jahren – die goldene Ära des deutschen Schlagers!

Erleben Sie noch einmal die Zeiten großer Gefühle, heiterer Melodien und legendärer Stimmen. Ob fröhliche Tanznummern oder romantische Evergreens – diese Box bietet eine abwechslungsreiche Reise in die Anfänge des modernen Schlagers. Sichern Sie sich ein Stück Musikgeschichte, solange der Vorrat reicht – und lassen Sie die unvergessliche Atmosphäre der Wirtschaftswunderjahre und frühen Beat-Zeit wieder aufleben

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: A Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Single Sided Repress!
We've watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention into their own hands, donning red berets - looking very much like a gang and calling themselves the Guardian Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn't dance music for flashy downtown clubs, it was the real uptown funk! With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some almost ethereal soul.' At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled to both the disco crowd and the bravado of the uptown b-boys.

Carrying on from recent archival releases from masters of Indian classical tradition such as Kamalesh Maitra and the Dagar Brothers, Black Truffle is pleased to present a previously unheard recording of a concert by Pakistani vocalist Salamat Ali Khan. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention.

This remarkable recording was captured by Michael Hönig (of krautrock legends Agitation Free) in concert at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974 (which also featured Nico, Tangerine Dream, and Roberto Laneri’s Prima Materia, among many others). Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag.

As Khan explains in his opening remarks, this performance of the rainy season Raag Megh is divided into three parts, each with its own tempo and rhythmic scheme (tala). The opening vilambit, in a twelve-beat tala, stretches out for over twenty minutes, lingering for a long time in a space of meditative calm, Khan lightly strumming the zither while exploring the lower end of his range in languorously extended notes. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium’s mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. This flows seamlessly into the following jhaptal, at a faster tempo in ten beats, which then makes way for the concluding teental, very fast in sixteen beats, which becomes a frantic improvisational exchange of daring rhythmic disruptions from the tabla, flowing harmonium melodies, and a stunning variety of vocal approaches from Khan, ranging from rapid-fire staccato consonants to guttural growls.

Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist Peter Pannke, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.

Music in the soul can be heard by the universe. This record is not considered a product, but rather a time stamp of the underground minimal house music culture of 2025. Thank you, Mother Nature, for providing the materials that allow humans to express their creativity. Mastered by: Rob Small. Graphics: Peter Koblinger

In "Everybody Loves the Sunshine" (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach that defines his unique style. Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of 70s Black music. Summertime soul classic! 180g vinyl.
In 1976, legendary musician and composer Roy Ayers released one of the most iconic albums of his career: "Everybody Loves the Sunshine." This album not only solidified Ayers as a key figure in the world of jazz-funk but also marked a milestone in soul music and contemporary jazz. It features a sophisticated blend of irresistible grooves, smooth melodies, and a unique sound that has endured over the years, becoming a reference for multiple generations of musicians and listeners.

By the mid-70s, Ayers had already established his reputation with his band, Roy Ayers Ubiquity, and his distinctive use of the vibraphone, which became his personal trademark. However, with this album, Ayers ventured into a smoother, more accessible sound, partly in response to the rise of disco music and the growing interest in more experimental sounds within the music scene. Throughout its ten tracks, Ayers managed to create a sonic atmosphere that evoked both the warmth of summer and the sophistication of jazz from that era, set against a backdrop of modern soul. The production was carried out by Ayers himself, along with his producer and friend, David R. Williams, and features the wonderful sound of Phillip Woo's Fender Rhodes and the powerful energy of the rest of the band, achieving an unmistakable authenticity and freshness. Some of its most well-known songs include the title track, ‘Everybody Loves the Sunshine,’ ‘The Golden Rod,’ and ‘The Third Eye,’ which quickly became classics of jazz-funk and soul. This album is crucial in Roy Ayers' career, as it demonstrates his ability to remain relevant and creative in an ever-changing music industry. Over the years, "Everybody Loves the Sunshine" has become a cult album, frequently featured in DJ sets by artists like Gilles Peterson, Theo Parrish, and Lefto. Summertime soul classic!

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

With over 2 decades of formal exploration and exhilarating abstraction Get On is, somewhat surprisingly, only the fourth solo Pita full length. Peter Rehberg has always been vouched for pushing the very limits of the technology du jour, be it software or in recent years a complex modular set. Rehberg’s motives are one of unbridled exploration often resulting in extreme and exhilarating audio works.

Having spearheaded the contemporary electronic sound with his uncompromising explorations of noise, rhythm and extreme computer music, he has also worked with numerous experimental musicians in collaboration. Rehberg stands in the wake of a sonic revolution, once fringe, which transformed over time into the sound of a generation of experimental geeks and club freaks worldwide.

Get On follows on from the 2016 release Get In. As with other titles in his ‘Get’ series we have an unwieldy blend of noise, abstraction, gnarled rhythm and blurred melody. Both analogue and digital tools are deployed as a means of expressing something outside of everyday electronics. ‘AMFM’ launches proceedings with some delightfully disorientating ricocheting electronics setting off a subversive sonic spectrum. ‘Frozen Jumper’ presents some ugly skittering electronics which rotate into exquisitely mangled forms before launching into an unsettling euphoria. The last piece ‘Motivation’ is a towering sensitive work, simultaneously haunted and emotionally moving. Get On marks another monumental work in the ongoing evolution from one of the ground zero pioneers of contemporary radical electronic music. As uncompromising as ever this is Pita in his prime. Emotion rung from the most twisted of frames.

‘New Music for the 6 String Guitar’ is the 7th studio album from Radnorshire based guitarist Toby Hay. His debut in 2017 ‘The Gathering’, and 2018’s, ‘The Longest Day’, were both nominated for the Welsh Music Prize. This new album is a follow up to 2019’s ‘New Music For The 12 String Guitar’. Since then, he has released two collaborative albums, 2023’s self-titled ‘Jim Ghedi & Toby Hay’ released on the legendary Topic label, and 2024’s ‘After a Pause’, with Aidan Thorne, released on his own, Cambrian Records.

Like it’s 12 string predecessor, the concept for the new record was dreamt up by state51. The idea was to ask Roger Bucknall of Fylde guitars to build a new custom instrument specifically for a guitarist to write and record music for.

The ‘Curlew’ custom 6 string is made from Macassar ebony and light-coloured cedar and is set up to play in Toby’s unique tunings. The album was recorded over three days in the Wood Room at Real World Studios. All tracks are live performances with no overdubs.

“It is a beautiful studio, my brother Tim engineered the session. It is a very honest album, just me, in a room, one guitar, a mixture of compositions and improvisations. We were invited to watch the football with Peter Gabriel and a few of his friends on the final evening, a memorable experience!”

The natural world is a recurring theme across these 12 tracks, with inspiration ranging from Hay’s time working for the Radnorshire Wildlife Trust, to his recent Masters in Music & The Environment from the University of the Highlands and Islands. Inspiration also comes from Hay’s connection to his local landscape, his home in the Cambrian Mountains, and his sheep dog Bear. But ultimately this is an album that explores the relationship between musician and instrument.

With the guitar being built by Roger Bucknall, the album mixed by Tchad Blake, and the photography by Julian Broad, this album is full of talented contributions from masters in their fields.

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Im »Mellow Mood« benannten, fünften Kapitel der Serie kehrt Oscar Peterson nach dem solistisch bestrittenen Vol. 4 zu seiner Triobesetzung mit Sam Jones (b) und Bob Durham (dr) zurück. Es ist ein Album, auf dem der Kanadier in einigen Stücken die Giganten des US-Jazz feiert. So startet er mit Duke Ellingtons »In A Mellotone«, das er variantenreich und mit überbordender Physis interpretiert.

Die Horace Silver-Komposition »Nica's Dream« leitet er aus lyrischer Contenace zu improvisatorischem Sprudeln, Gershwins »Summertime« spielt er in einer vom melancholischen Melos gänzlich befreiten, nach seinen eigenen Worten »kühnen« Fassung. Mit »On Green Dolphin Street« greift er ein Thema aus dem gleichnamigen Film auf, entfaltet seine tänzelnden Tastengänge über dem Bordun von Jones, der gegen Ende auch ein wunderbares Solo liefert. Mit den abschließenden Stücken umspannt er einen weiten zeitlichen Rahmen: »Sometimes I'm Happy« führt in die Unschuld der Zwanziger Jahre zurück, »Who Can I Turn To« hingegen stammt aus den Sechzigern. Peterson hat es bereits für sein Soloalbum eingespielt, hier wird es nach einem verblüffenden Tempowechsel im Triogefüge ausgearbeitet.

Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist. Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.

Auf dem abschließenden Volume der Serie »Exclusively For My Friends« setzt Oscar Peterson mit seinen Kollegen Sam Jones (b) und Bob Durham (dr) noch einmal sehr unterschiedliche Glanzpunkte. Das überschäumende, vorwärtstreibende Titelstück kann seine Wurzeln im Gospel nicht verleugnen, kontrastiert wird es mit der schlichten und doch so tiefsinnigen Ballade »Emily«. Mit der Jobim-Komposition »Quiet Nights« (im Original »Corcovado«) demonstriert das Trio, zu welchem Feingespür es bei der Adaption der Bossa Nova fähig ist.

Die ansonsten so träumerische Nummer wird hier mit rasant swingender Unbeschwertheit einer erstaunlichen Metamorphose unterzogen. Durch die Auswahl von »Sax No End« verbeugt sich Peterson vor dem europäischen Jazz: Die Komposition stammt vom belgischen Bigband-Leader Francy Boland und wird von Petersons mitreißendem, sehr muskulösem Spiel geradezu in Brand gesetzt. Zum Finale »When Lights Are Low« von Benny Carter: Über zehn Minuten gestaltet das Trio bedächtig und souverän diese versonnene Komposition, wobei Sam Jones mit seinen delikaten Begleitfiguren nochmals eine besondere Rolle zukommt.

High Roller Records präsentieren zum 10. Jahrestag von Frank Blackfires erstem Soloalbum "Back on Fire" eine remasterte Neuauflage mit neuem Artwork und zum ersten Mal auch eine Vinyl-Edition. Frank Blackfire als lebende Legende zu bezeichnen ist keine Übertreibung. Sein bahnbrechendes Gitarrenspiel bei den frühen Sodom und Kreator war für die Entwicklung des deutschen Thrash-Metal-Sounds maßgeblich. Während er nach der Jahrtausende in Brasilien lebte, gründete er die Band Mystic und nahm mit ihr zwei Demos auf, die den Grundstein für ein vollständiges Album legten, das allerdings lange auf sich warten ließ. "Es war eine Menge harter Arbeit, bis wir es veröffentlichten", sagt Blackfire rückblickend, während er tatsächlich an einem zweiten Soloalbum arbeitet. Die zehn Tracks von "Back on Fire" - darunter eine thrashige Interpretation von Henry Mancinis ‚Peter Gunn'-Titelmelodie als Intro und ein Gastauftritt von Sodom-Frontmann Tom Angelripper - zeichnen sich durch Franks charakteristische Gitarre und raue Stimme aus. Mit seinen etlichen Killer-Riffs in herausragenden Stücken wie ‚Victims of Society', ‚Warmonger' und ‚Valley of Suiciders' bleibt die Platte ein ein zeitloses, aber vergessenes Thrash-Juwel, das es wert ist, (wieder-)entdeckt zu werden.

High Roller Records präsentieren zum 10. Jahrestag von Frank Blackfires erstem Soloalbum "Back on Fire" eine remasterte Neuauflage mit neuem Artwork und zum ersten Mal auch eine Vinyl-Edition. Frank Blackfire als lebende Legende zu bezeichnen ist keine Übertreibung. Sein bahnbrechendes Gitarrenspiel bei den frühen Sodom und Kreator war für die Entwicklung des deutschen Thrash-Metal-Sounds maßgeblich. Während er nach der Jahrtausende in Brasilien lebte, gründete er die Band Mystic und nahm mit ihr zwei Demos auf, die den Grundstein für ein vollständiges Album legten, das allerdings lange auf sich warten ließ. "Es war eine Menge harter Arbeit, bis wir es veröffentlichten", sagt Blackfire rückblickend, während er tatsächlich an einem zweiten Soloalbum arbeitet. Die zehn Tracks von "Back on Fire" - darunter eine thrashige Interpretation von Henry Mancinis ‚Peter Gunn'-Titelmelodie als Intro und ein Gastauftritt von Sodom-Frontmann Tom Angelripper - zeichnen sich durch Franks charakteristische Gitarre und raue Stimme aus. Mit seinen etlichen Killer-Riffs in herausragenden Stücken wie ‚Victims of Society', ‚Warmonger' und ‚Valley of Suiciders' bleibt die Platte ein ein zeitloses, aber vergessenes Thrash-Juwel, das es wert ist, (wieder-)entdeckt zu werden.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

SoiSong ist das helle, atemberaubende und kurzlebige Projekt, das 2007 von Ivan Pavlov (CoH) und Peter ,Sleazy" Christopherson (von Coil) gegründet wurde. Das Duo kombinierte Pavlovs kompromisslos visuelle digitale Ästhetik mit Sleazys dekadenter, düsterer und skurriler Herangehensweise an die Kreation. Die beiden benannten das Projekt nach dem thailändischen Wort für `zwei' (Song) sowie nach den schäbigen Rotlichtvierteln ("düstere Soi / Gasse") von Bangkok. Gemeinsam entwickelten sie eine einzigartige, elegante, aber eher kryptische Musiksprache. Das Debütalbum "xAj3z" von SoiSong ist eine digitale Referenz an den Jazz: scheinbar akustische, überschäumende, Grenzen sprengende, digitale Unterhaltung, in der Lichtstrahlen und tropische Hitze mit Nullen und Einsen unterlegt sind. Das Album ist ein definierendes Statement und ein Wegweiser für die Möglichkeiten in der (damals) entstehenden Musiklandschaft der späten 2000er. Ohne den Wunsch, kommerziell zu sein, war SoiSong nicht an die Konventionen einer einfach zu definierenden Verschlagwortung verpflichtet, und in ihrem eigenen, ,neuen, noch nicht kategorisierbaren Genre", wobei "xAj3z" ein Meisterwerk ist. "xAj3z" mischt frei Musikstile und kombiniert verschiedene Ansätze des Musizierens: Künstliche Vokalisten werden von echten Drums begleitet, Jazz-Noir-Arrangements treffen auf die zarte Melodik der Südsee, und Computer werden warm und organisch zum Klingen gebracht. Das Album zeigt keine offensichtliche Genre-Definition und zielt darauf ab, mit dem Hörer auf höchster emotionaler Intensität zu kommunizieren, oft lyrisch, manchmal dunkel, manchmal amüsant und sogar erhebend.

SoiSong ist das helle, atemberaubende und kurzlebige Projekt, das 2007 von Ivan Pavlov (CoH) und Peter ,Sleazy" Christopherson (von Coil) gegründet wurde. Das Duo kombinierte Pavlovs kompromisslos visuelle digitale Ästhetik mit Sleazys dekadenter, düsterer und skurriler Herangehensweise an die Kreation. Die beiden benannten das Projekt nach dem thailändischen Wort für `zwei' (Song) sowie nach den schäbigen Rotlichtvierteln ("düstere Soi / Gasse") von Bangkok. Gemeinsam entwickelten sie eine einzigartige, elegante, aber eher kryptische Musiksprache. Das Debütalbum "xAj3z" von SoiSong ist eine digitale Referenz an den Jazz: scheinbar akustische, überschäumende, Grenzen sprengende, digitale Unterhaltung, in der Lichtstrahlen und tropische Hitze mit Nullen und Einsen unterlegt sind. Das Album ist ein definierendes Statement und ein Wegweiser für die Möglichkeiten in der (damals) entstehenden Musiklandschaft der späten 2000er. Ohne den Wunsch, kommerziell zu sein, war SoiSong nicht an die Konventionen einer einfach zu definierenden Verschlagwortung verpflichtet, und in ihrem eigenen, ,neuen, noch nicht kategorisierbaren Genre", wobei "xAj3z" ein Meisterwerk ist. "xAj3z" mischt frei Musikstile und kombiniert verschiedene Ansätze des Musizierens: Künstliche Vokalisten werden von echten Drums begleitet, Jazz-Noir-Arrangements treffen auf die zarte Melodik der Südsee, und Computer werden warm und organisch zum Klingen gebracht. Das Album zeigt keine offensichtliche Genre-Definition und zielt darauf ab, mit dem Hörer auf höchster emotionaler Intensität zu kommunizieren, oft lyrisch, manchmal dunkel, manchmal amüsant und sogar erhebend.

Die Neuaufl age von "Free Jazz Goes Underground" bringt das erste Studioalbum Udo Lindenbergs und seiner damaligen Band Free Orbit zurück. 1970 aufgenommen, fängt dieses Kult-Album die freigeistigen, politischen und visionären Botschaften der damaligen Generation ein. Es verbindet die musikalischen Strömungen der 60er – von Jazz, Rock und Soul bis hin zu sozialkritischen Texten – und spiegelt die rebellische Atmosphäre der Hippie-Zeit wider.
„Was wir ganz dringend brauchen, ist, dass diese gewaltige Revolutionsenergie, diese alle mitreißende Aufbruchsstimmung in ein neues Morgen,
genauso stark ins Massenbewusstsein kommt wie damals!“ (Udo Lindenberg)
Die Neuaufl age enthält neue Linernotes sowie eine freie Übersetzung der originalen Songtexte von Udo Lindenberg und Beatrice Reszat. Die limitierte Sonderedition erscheint als 2 LP (12“ und 10“ Vinyl) und als CD mit dem Originalalbum. In einer handnummerierten Aufl age von nur 1.999 Exemplaren enthält die Vinyledition zusätzlich drei Bonustracks von Udo Lindenbergs späterem Album Lindenberg.
Ein einzigartiges Zeitdokument, das die revolutionäre Energie der 60er Jahre in Texten und Musik von Udo Lindenberg und Frank St. Peter aufgreift – jetzt in hochwertiger, überarbeiteter Form endlich wieder erhältlich.

Musiker und Produzent Greg Surmacz aus Leeds veröffentlicht mit "Building Beyond The Sky" sein fünftes Album. Seine Musik kombiniert Jazz-Atmosphären mit elektronischen Sounds und wird von Trendsettern wie Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Jamz Supernova oder Moses Boyd unterstützt. Surmacz trat mit James Holden und auf Gilles Petersons "We Out Here"-Festival auf. Bislang erschienen von ihm die Albentrilogie "Timelines" (2021-2022) sowie die LP "What We Can Assume" (2023).

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.

THEE ALLYRGIC REACTION are a fuzz'n'Farfisa-powered 60's garage punk outfit from San Diego, CA USA! While they specialize in fuzz stompahs that will move your feet, they will also melt yer mynd with minor key psych madness! They are also leaders in the emerging "protest garage" scene, with songs that address the import topics of today's over aged teen scene!They have a maraca-breaking wyld live set, but also managed to sit still long enough to record their debut LP for Soundflat Records As every band does, they argued over the title for the LP, and finally settled on one that NO ONE likes, simply, "Thee Allyrgic Reaction"! All four lads grew up in the 80s Charmkin Scene, witnessing first-hand groups like the Unclaimed, The Primates, The Miracle Workers, The Tell- Tale Hearts, The Cynics, The Gruesome, Lyres, The Chesterfield Kings, The Fleshtones and The Brood! (and about a 100 more not named here!) The boys are THRILLED with their new LP on Soundflat, which was recorded over a two day period, and required nine California burritos, three pizzas, two cases of beer, and several cans of wine.

The record features 11 original compositions, as well as their own version of their favourite UNCLAIMED-song. One of the originals is an ode to Peter Maniette of the Crimson Shadows and Wylde Mammoths. So what do they sound like? They certainly pull from the farfisa'n'fuzz blasters of the past, but also employ some 12 string, harpsichord, harp and a few other surprises. They are a little folk, a little psych and LOT of garage punk! The group records at Earthling Studios in the San Diego area, which features an array of vintage gear, including an 8- track from Sunset Sound that was used on Forever Changes. That's how you say "MO-JO"!!!

A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech now arrives on Glitterbox Recordings with a fully realised artistic vision on his new album Everything Is Within You.

Encapsulating Ben’s appreciation of the power we all have within us to achieve joy and peace, as conveyed sonically by all the musicians involved, Everything Is Within You came together organically. His first full length solo LP since the acclaimed There’s More To Life Than This on Strictly Rhythm in 2011, Everything Is Within You showcases Ben’s artistic development as a songwriter, curator and producer as he steps into his role as producer and arranger, away from lead vocalist.

“This album is about speaking the truth. The truth from within. Luckily, I have been blessed to come across the paths of other artists that shared the same sentiment over the seas that dwell. These artists all feature heavily on this record. It isn’t about me or you. It’s about everything that is within.” – Ben Westbeech

Spotlighting featured artists such as Dames Brown (recorded by Moodymann in Detroit), RAHH, Karen Harding, DAVIE and Obi Franky, with co-production credits including Honey Dijon, Luke Solomon and Chris Penny, as well as Mousse T., the record was born out of a Glitterbox writing camp in London at Defected’s studios. The collection of records that were made that week became a catalyst for the full album, now arriving on Defected’s Glitterbox Recordings.

An artist with a rich musical history, from the release of his mature debut album Welcome to the Best Years of Your Life for Gilles Peterson’s Brownswood, to his chart-topping club records as Breach, and work as The Vision on Defected, the path to this new album has included periods of sobriety, self-work, spiritual exploration and the integration of a healthier outlook all round. Now based in Ibiza, the omnipresent energy of the magical island has permeated into the music on his new album, as well as the influence of his personal and spiritual growth.

Exploring a range of genres across the LP, from neo soul to house influences, the breadth of Ben’s musical knowledge is demonstrated throughout the eight tracks. From the blissed-out piano grooves of ‘Times Are Changing’, since remixed by house royalty Louie Vega and Josh Milan as Two Soul Fusion, to the uplifting ‘Do Me Right’ and the emotional soundscapes of ‘So Good To Me’, Everything Is Within You puts the emphasis on the guest vocalists. With exquisite live instrumentation and songwriting that give the record an evergreen feeling, this is a timely album that exudes a contagious, positive feeling throughout, something the world needs right now.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

Ein Album zum Schlafen und Wachen, zum Gehen und Fahren, zum Jagen und Fischen, zum Herumlungern vor einer Raststätte in der verwunschenen Tundra. In Fahrstühlen okay, zum Abendessen nicht so toll. Auf Caveman Wakes Up, dem neuen Album von Friendship und ihrem zweiten für Merge Records, wird die historisch weit gefasste Definition von Country-Musik noch weiter gefasst. Shambolische Gitarren werden durch Flötenpads ausgeglichen, trübe Poesie trifft auf eine Motown-Rhythmusgruppe, ein Song über Jerry Garcia und die First Lady Betty Ford wird mit einem Schlagzeugsolo ausgeblendet, als käme Talk Talk aus einem schmuddeligen Keller in Philadelphia und würde von James Tate gespielt. Der zerklüftete Bariton des Songwriters Dan Wriggins schneidet durch elf düstere, wirbelnde Country-Rock-Songs mit tiefgründiger lyrischer Substanz und Aufrichtigkeit. Wie ein Wecker, der am Rande eines Traums eingebaut ist, gehört "Caveman Wakes Up" gleichermaßen zum bewussten und zum unterbewussten Verstand, voller Hintergründe, durchdrungen von Referenzen und Experimenten, beiläufig und als düstere Warnung vorgetragen und vor allem der kreativen Seele der Musik gewidmet. Im Laufe der Jahre hat sich diese Hingabe ausgezahlt. Friendship ist zu einer Art umgekehrter Supergroup geworden, in der die Band selbst und jedes einzelne Mitglied im Zentrum einer zunehmend prominenten Szene junger Folk- und Country-Musiker und Songwriter steht. Der Schlagzeuger Michael Cormier O'Leary leitet das Instrumentalkollektiv Hour und betreibt zusammen mit dem Bassisten Jon Samuels das Label Dear Life Records, das Freunde und Kollegen beherbergt, die Friendship zu einem wichtigen Einfluss zählen, darunter MJ Lenderman, Florry, und Fust. (Samuels spielt auch die Leadgitarre bei MJ Lenderman and the Wind). Die Band 2nd Grade des Gitarristen Peter Gill ist ebenfalls aktiv und macht zahlreiche Aufnahmen. Wriggins begann mit dem Schreiben der Songs von "Caveman Wakes Up" auf einer verstimmten klassischen Gitarre von Lenderman und beendete es auf einem kaum gestimmten Klavier in einer Wohnung, die er mit G DeGroot von Sadurn teilte. Im Sommer 2023 hatte Wriggins gerade den Iowa Writers' Workshop verlassen, wo seine Liebe zur Poesie und sein Misstrauen gegenüber der akademischen Poesiewelt gleichzeitig wuchsen. Eine Beziehung ging in die Brüche, und Wriggins übernachtete mehrere Wochen in North Carolina im Haus von Lenderman und Karly Hartzman (von Wednesday ), wo er die ersten Demos von "Resident Evil", "All Over the World" und "Love Vape" aufnahm. Wriggins kehrte nach Philadelphia zurück, und die Band machte sich an die Arbeit, um neue Ideen zu entwickeln. Schließlich nahmen sie das Album in fünf Tagen mit Tontechniker Jeff Ziegler (Mary Lattimore, War On Drugs) auf, den Gesang mit Bradford Kreiger, dem Techniker von Love the Stranger. Orgel, Geige (Jason Calhoun) und Flöte (Adelyn Strei) wurden von Lucas Knapp in einer Kirche in West Philadelphia aufgenommen. Textlich bewegt sich "Caveman Wakes Up" auf vertrautem Friendship Terrain - das Heilige wird profaniert und das Profane geheiligt. "Caveman Wakes Up" zeigt Friendships besonderes Genie für visionäre Arrangements, die über Generationen hinweg dem Folk-Rock-Kanon von Neil Young, Joni Mitchell und Emmylou Harris ebenso verpflichtet sind wie Indie-Größen wie Yo La Tengo und den Merge-Labelkollegen Lambchop oder Zeitgenossen wie Lomelda und ML Buch. Mehrere der Songs verwenden Fade-Outs, die im Text von "Love Vape" scherzhaft erwähnt werden, und es gibt andere Elemente, die von Motown und 70er-Jahre-Balladen übernommen wurden: festgefahrene Schlagzeugmuster, Bassintervalle, gefühlvolle Streicherarrangements. Jede Referenz wird über das Genre hinausgeschoben, verwirbelt und wiederholt, zu etwas Neuem, das eindeutig zum Friendship-Sound gehört. Bei "Free Association", "Artex" und "Wildwood in January" ist der Groove so festgelegt, dass andere Klänge nahtlos kommen und gehen können: Mellotron-Flächen, Klavierwirbel und -stiche und klare Gitarrenmelodien, wimmelnde Texturen, die sich als Einheit tarnen. "Caveman Wakes Up" das bisher am weitesten fortgeschrittene Werk von Friendship, ein weiterer Beweis für die Hingabe und Sorgfalt der Band.

Based in São Paulo and formed in 2017, TaguaTaguais lead by songwriter and producer FelipePuperi. Felipe, having fronted space groove rock band WannabeJalvafor several years, has an extensive indie resume. Having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White. He's also been featured on KCRW, NY Times, Stereogum, Brooklyn Vegan and WFUV.

Tagua Tagua's 3rd full length LP and 3rd release on Wonderwheel following 2024's Todo Tempo EP and 2023's Tanto LP

Upcoming tour plans include SXSW and Lollapalooza Brasil in March 2025

Lead singleLado a Ladofeatures James Petralli frontman of the Austin, TX based rock band White Denim

White Denim were founded in 2008 and have shifted through genres like post-punk, soul, garage, and psychedelic rock and have released music on labels such as Bella Union, City Slang, and Downtown

2024 was a big year at radio as Tagua Tagua filmed and recorded a live sessions for NPR's World Cafe (US) and Gilles Peterson's Brownswood Basement on Worldwide FM (UK)

Embarked on a 10 date Brazilian tour in Spring of 2024 playing to capacity crowds each night in 400-500 cap rooms

Recent tour history includes two stints in the US for New Colossus Festival in NYC and SXSW March 2024 and November of 2024 in Miami, New York, and Philadelphia as well as a headline tour throughout Europe in September and October of 2024

Significant press coverage from publications like NPR Alt Latino, Remezcla, FIP, Bandcamp, and Sounds & Colours to name a few

Huge worldwide radio support from stations like KEXP, KCRW, KUTX (US) Inter, FIP, Nova (FR), RinseFM, Soho Radio, Worldwide FM (UK), 3RRR, 2SER, RTR (AU), RTP Antena 3, TSF Rádio Notícias, Rádio Oxigénio (PT) iCat, Radio 3 (ES) RBB Radioeins (DE) and many more

Rama Parwata and Adam Halliwell unite together with their love of the freer sides of jazz and improvised music, alla Peter Brötzmann and Ganelin Trio to the more funk laden music of Bitches Brew and Herbie Hancock"s Mwandishi. It"s when musicians find a synergy together, be it through sound conversations, be it through mouth conversation s, or be it through the love of what other musicians have said before them, then they can go forth and collaborate freely. As is the case for this duo. Rama and Adam play from different worlds but find a synergy amongst the humanity of sound.

Australia's left-field club renaissance keeps flowering, and Horatio Luna's cult 2020 debut Yes Doctor remains an essential root document. The LP welds dub-soaked bass pressure, broken-beat jack and smoky nu-jazz improv onto a house chassis—picture Moodymann deep cuts drifting through Dadawah's spiritual haze. Championed by Gilles Peterson after Luna appeared on Brownswood's Sunny Side Up compilation—where drummer Phil Stroud and synth maestro Dufresne also featured—the record was pieced together across 2019 during a run of late-night sessions while Hicks was living in the La Sape house. La Sape's brand-new 2025 pressing (cat. SAPE00825) uses freshly cut plates and presents the full ten-track programme on 140 g black vinyl. The package features subtle touch-ups to the jacket artwork and refreshed centre-label stickers while preserving the original aesthetic. "Yes Doctor is my coming-of-age—mixing every style I could think of into house, pushing aesthetic boundaries, making 'un-boxable' music," Luna says. File next to Theo Parrish and Yesterday's New Quintet: DJs will lock onto the title track's seven-minute bruk workout, while deeplistening customers will cherish the front-to-back journey in groove alchemy.

A faithful police dog and his human police officer owner are injured together on the job, triggering a harebrained but life-saving surgery that fuses the two of them together,

and Dog Man is born. DreamWorks Animation’s adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon is directed by Emmy winner Peter Hastings

(The Epic Tales of Captain Underpants, Kung Fu Panda: Legends of Awesomeness), and stars the voice talents of Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu,

Emmy nominee Stephen Root, Billy Boyd and Emmy and Golden Globe winner Ricky Gervais.



Dog Man composer Tom Howe has scored over 100 projects for film and television, including Ted Lasso, Shrinking, Daisy Jones and the Six, and The Great British Bake-Off.

“Because Dog Man doesn’t talk and I wanted to capture his high energy, I incorporated hand-clapping percussion, vocal layering of dog pants and mouth trumpets.

I recorded all of these mad mouth sounds myself in the studio. And as a contrast to Dog Man, the police chief and action cues are accompanied by wah-wah guitars, sax and afro flute.

It’s like Bullet meets Shaft, blending elements of Lalo Schifrin and Isaac Hayes. This thread of classic ̛60s and ̓70s crime thrillers is woven throughout the score.” Tom Howe

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.

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.

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)

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

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).

Dive into the enchanting world of Middle-earth with our compilation LP featuring the most iconic tracks from The Lord of the Rings - Themes. This stunning collection captures the heart and spirit of the epic saga, making it a must-have for fans and music lovers alike. The Lord of the Rings film trilogy, directed by Peter Jackson, is based on the classic novels by J.R.R. Tolkien with The Fellowship of the Ring (2001), The Two Towers (2002) and The Return of the King (2003).

HISINGEN TAXI RIDER is TOMMA INTET’s fourth album, but the first to be written entirely in Swedish. It tells the story of moving to Gothenburg and the transformative experience of new impressions and people. A tribute to adventure, the thrill in your stomach, and all those late nights. Taxi rides to raves and after-parties. Taxi rides home to loneliness. Taxi rides to love and taxi rides to anxiety.

With HISINGEN TAXI RIDER, TOMMA INTET continues on their distinctive path, refining their signature sound. Layered harmonies run like a red thread through an ever-evolving musical landscape—blending grit with angel dust.

Written and produced by Magnus Petersson at Rum 101. Produced, mixed, and mastered by Johan Holm at Studio Påtår.

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.

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

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.

Emma-Jean Thackray, the visionary producer, composer, and multi-instrumentalist, releases her highly anticipated second album, “Weirdo” on April 25th via Gilles Peterson’s celebrated label, Brownswood Recordings / Parlophone Records. Known for defying musical boundaries, Thackray's latest work is a deeply personal and utterly original exploration of selfhood, grief, and gratitude.

Drawing on an eclectic mix of influences—grunge, pop, soul, p-funk, and jazz— “Weirdo” is a triumphant celebration of survival and individuality. Written, performed, recorded, mixed, produced and arranged entirely by Thackray in her South London flat, the album stands as a testament to her extraordinary musicianship and fearless self-expression.

The first solo album from Keith Streng, the legendary guitarist of The Fleshtones, the greatest garage rock band in the world! Featuring 12 tracks that span from psychedelic rock to '70s rock, with a strong garage rock essence. For this special occasion, Keith has invited some prestigious artists to collaborate on the album. Two tracks feature The Limiñanas, with whom he will be sharing the stage as a guest guitarist on all their 2025 tour dates. Several tracks include Peter Buck and Scott McCaughey of R.E.M.. The French scene is also well represented, with the young prodigies Dynamite Shakers on one track and Tony Truant on another. And, of course, longtime collaborators Michael Giblin and Kurt Bloch from his side project The Split Squad. Adding a touch of magic, the Red Chuck Tabernacle Choir brings light to the stunning ballad "More Than Beautiful". Kurt Bloch (Fastbacks / Young Fresh Fellows / Presidents of the USA) also mastered the album. The "most hard-working man" Keith Streng will be on stage in France this June for several dates with his fabulous Fleshtones.

GEP are very excited to announce the release of ‘Dominion’, the longawaited new album from IQ.

Peter Nicholls: “Hot on the heels of ‘Resistance’ six years ago! Yes, it’s been
a long time coming (we couldn’t be accused of rushing these things!) but
we‘re confident this album is really strong and has been worth the wait. To
be releasing a new IQ album in our 44th year feels genuinely exciting”.

Mike Holmes: “We did actually write a lot more material for Dominion, but
this choice of songs (and the running order) feels like a cohesive album to
me. Even in this age of streaming individual songs I still approach a new
album with a ‘side one’ and ‘side two’ thing in my head and the selection and
placement of songs for Dominion just feels like a classic album should (I
know, I’m using ‘old people’ speak!).
The original intention was to have a second disc of other material but that
would have taken a lot longer to put together and we figured six years was
quite enough. It does mean that there’s already quite a bit of stuff ready for
the next one”.
With a 44-year history, IQ are widely regarded as one of the world’s most
highly respected progressive rock bands. 2025 sees the release of
‘Dominion’, IQ’s 13th studio album and one of which the band are justifiably
proud. The year will see them promoting the album by playing an
unprecedented number of live shows around the world, including UK,
Europe, Canada and the prestigious Cruise To The Edge in the USA.

Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Gold nugget vinyl, limited to 350 copies. Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Wie kann es sein, dass das 1969er Album „Off Centre“ als eines der gesuchtesten britischen Jazz-Alben gilt und nur für größere Summen den Besitzer wechselt, obwohl Frontman John Cameron kein namhafter Jazzmusiker ist?

Ganz einfach: Cameron ist einer der erfolgreichsten und vielseitigsten britischen Studiokünstler, hat Hits für Pop-Stars wie Donovan, Cilla Black und Hot Chocolate arrangiert und Musiken für bekannte Filme und TV-Serien komponiert. Tief im Herzen muss Cameron allerdings ein Jazzmusiker sein, das beweist sein Quartettalbum als Pianist zusammen mit Bassist Danny Thompson (Nick Drake, Kate Bush, Peter Gabriel), Saxofonist & Flötist Harold McNair (Quincy Jones, Blossom Dearie, Ginger Baker) und Drummer Tony Carr (Bryan Ferry, Joan Armatrading, Wings).

Das dynamisch swingende, groovende Album erlebt jetzt seine erste Vinyl-Wiederveröffentlichung, remastert in den Abbey Road Studios von den Original-Analogbändern. Eine großformatige Beilage präsentiert ein ausführliches neues Interview mit John Cameron.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

DEBUT 7" by Brighton-based female-fronted indiepop band! Amelia & The Housewives formed in May 2024 when Amelia met Lola at a Julie London/Peter & The Test Tube Babies tribute night at the Valley Social Centre and decided to form a band. With Tim on guitar, Dan on drums, and Will on bass they recorded a bunch of songs on the hottest day of the year. Sadly, Will left them at the start of 2025, but they are hoping Steve Housewive, stays a bit longer. The band's ambition is to play Eastbourne bandstand, find out if Puffins are real and form an Amelia & The Housewives tribute band. They are recording some more songs soon.

"Hook is a 1991 fantasy adventure film directed by Steven Spielberg, starring Robin Williams, Dustin Hoffman, Julia Roberts, Maggie Smith and Bob Hoskins. The soundtrack was composed and conducted by legendary film composer John Williams. The narrative follows a grown-up Peter Pan who has to return to Neverland after his children are abducted by his old nemesis, Captain Hook. Hook performed very well and eventually became nominated for five Academy Awards. Amongst these nominations was the Academy Award for 'Best Original Song', for the song ""When You're Alone"". Hook is available as a limited edition of 2000 individually numbered copies on translucent red coloured vinyl. The 2LP comes in a deluxe sleeve with leather laminate finish."

Web Web mit ihrem sechsten Album in sieben Jahren und mit einem neuen Touch. Mehr psychedelisch, mitunter krautiger als zuvor.

Dazu haben sich WEB WEB diesmal (wieder) in Originalbesetzung (ohne Max Herre) einen besonderen Gast ausgesucht: JJ Whitefield (The Poets Of Rhythm / Karl Hector & The Malcouns / Syrup), der den fantastischen Gitarrensound beisteuert. Seine Riffs sind manchmal funky wie bei den Poets Of Rhythm oder Syrup, oder psychedelischer wie bei Karl Hector & The Malcouns oder seinen vielen Live- und Studioaufnahmen mit Embryo. Die Soundfarbe seiner Gitarre gibt dem Album den Schub in die wunderbare Atmosphäre spaciger Jazz-Kraut Bands der Siebziger. Das Konzept des Albums sollte das exakte Gegenteil zum vorigen WEB MAX Album (WEB MAX II) darstellen: Wieder zurück zu den (WEB WEB-) Wurzeln, mit spontanen, improvisierten Stücken, Fragmenten, Ideen, die größtmögliche Freiheit und Live Spirit bedeuten. Und genauso unvorhersehbar und improvisiert war auch die Idee, JJ Whitefield mit ins Boot zu holen: Einen Tag vor der Session dachte sich Roberto Di Gioia: "JJ und ich leben seit jeher in München. Wir sind uns aber leider nie wirklich über den Weg gelaufen. Ich bin ein großer Bewunderer seiner Kunst, seiner Musik, seiner Art zu spielen. Er ist so inspirierend, weil er keine Kompromisse eingeht. Er spielt auf seine so eigene Art und Weise, er ist keine Kopie von irgendwem und irgendwas."

Die 14 Kompositionen entstanden an zwei Tagen, aufgenommen von Jan Krause (Beanfield) in München. Die energetische Live-Session ging über zweimal 10 Stunden, und alle - Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, Percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (Drums, Percussion, Fender Rhodes), Tony Lakatos (Tenorsaxophon, Querflöte) - waren bis ins Mark "on fire". Dabei wechselten die Musiker die Instrumente, um einen vollkommen anderen Gesamtklang zu erzeugen: Kaphengst am Fender Rhodes klingt anders als Roberto, sein Spiel hat einen anderen harmonischen Aufbau, und Roberto am Bass kennt man von zahlreichen Max Herre Aufnahmen, oder von Till Brönners Album "Till Brönner", und natürlich auch bei dem von ihm produzierten "Let Yourself Be Loved" von Joy Denalane, das auf Motown Records erschienen ist.

Released in late 2012, Odes was the fourth studio album from The Flowers of Hell. It is a covers record and the first release from the group to feature vocals and verse-chorus-verse song structures. Never available on vinyl until now. Greg Jarvis, front man of The Flowers of Hell, has created something very special; the artwork features a die cut outer sleeve, revealing the printed inner sleeve and when removed, revealing more artwork on the inside of the 300gsm outer sleeve. The music has been remastered for LP by Odes co-producer Peter Moore.Pressed in a red 180g heavyweight vinyl, the whole package is stickered and poly bagged, a real show stopper!

Here comes a very special production from East Germany of the early 70s!
One of the TOP Soul-Jazz & Beat combos in the country led by bassist and singer HORST KRÜGER,
recorded two previously unreleased, outrageously good titles here in the newly formed septet format.
"Ich will die Zeit nicht bereuen" is probably by far one of the most crispy produced German-language soul beat numbers that existed in the GDR at that time! From the pen of Ralf Petersen, the then head of Berliner Rundfunk personally, no pure high-class hit was recorded here, but hard-hitting, rocking beat.
It was not without reason that the choice of the head of broadcasting fell on the recently formed Horst Krüger Septet, which also gave the contemporary jazzy sound a perfect touch through an intensified brass section from 1970 on.
The title "Sonderbar" is exactly what its title promises, peculiar and extraordinary. A feat that was created as such in 1972. This somewhat sweeter SoulJazz vocal piece had a concrete idea, which composers Dieter Kopf, Horst Krüger and Franz Bartzsch as a musical arranger as well as Jens Gerlach in the musical free spirit of the hippiesque era. A through the stylistic device of Repetito in the text
dominant repetition, which is complicated in the context of the ever-evolving theme about feelings and love Groove of bass, guitar, drums and organ theme is reflected, redefined and constantly found again, simply masterfully. An interlude with a flute solo and a groovy dreamy Hammond organ solo at the end of the title, envelops the verses very contemporary.
Horst Krüger on bass guitar and his wife Gerti Möller with her outstandingly distinctive and powerful voice on the microphone.
A must for every fan of early beat, rock and soul!

Pressed on smoky blue vinyl. 1971 classic album with new analogue mastering. Released on the Upsetter label, celebrating the groundbreaking collaboration between Bob Marley and The Wailers and Lee 'Scratch' Perry

The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Released in Jamaica in 1971, Soul Revolution Part II is the follow-up to Bob Marley and the Wailers' 1970 debut album Soul Rebels. Going from strength to strength on the material they recorded for Lee Perry, this 12-tracker constitutes another crop of exceptional early-roots reggae anthems. Some of the songs are among the more widely lauded efforts in the repertoire of Bob Marley, Peter Tosh and Bunny Wailer. 'Don't Rock My Boat', 'Duppy Conqueror', 'Sun Is Shining' are about the most acclaimed of them and sound better than ever on this newly remastered edition using vintage analogue gear. Recorded at the famed Randy's Studio (also known as Studio 17) located at 17 North Parade in Kingston, Jamaica, this is the second full-length collaboration (and last!) between Bob Marley and the Wailers and producer Lee 'Scratch' Perry!

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

South Londons’ indomitable Medlar delivers an ambitious new album

The long-time underground favourite has collaborated with the likes of Dele Sosimi, Rebekah Reid, Deevoenay, Finn Peters, Sam Virdie, Afla Sackey and Arnau Obiols on an album that finds him taking his production to new levels.
From roots playing illegal raves in the South West to building up a cultured catalogue that bounces between house and garage, Medlar has long been part of the underground conversation. He has dropped a previous album and many innovative remixes and edits for the likes of Billy Cobham and Shirley Lites, worked in the studio and on stage with Afro legend Dele Sosimi and most recently released an album under his own name that collected myriad different sonic sketches from the past 15 years.

Islands is an altogether different proposition that comes after establishing himself as a mix engineer and producer of other people's music. In that time, Medlar has honed his skills, learnt new tricks and grown more able to express himself in sound. The result is an album that explores a more electronic palette inspired by '80s fusion sounds whilst maintaining a loose, organic flow through his use of live instrumentation. “The idea for the LP was for a collection of music which could sit alone as club tracks, but would work equally well as part of a whole. The name Islands came from this, as there's some connecting ideas but the tracks sit independently in their own little sonic worlds. I took a lot of inspiration from early 80’s electronic music produced during early years of MIDI technology… proto house, jazz fusion, electronic disco and experimental ambient. I wanted to juxtapose some of these methods with more contemporary production and make something that's ultimately quite fun!” says Medlar of the record which could easily soundtrack a summer road trip.

Across 11 tracks, he blends old-school techniques like a fusion of live instruments, FM synthesis and MIDI triggered vocal samples with more contemporary touches such as punchy, club-friendly drums and dub inspired, speaker-wobbling low end. The result is less reliant on samples than his previous works and makes for a perfect blend of retro authenticity and future freshness.

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- SCORE BY JOHN DEBNEY
- CONTAINS A 8-PAGE BOOKLET
- LIMITED 15TH ANNIVERSARY EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Passion Of The Christ (2004), composed by John Debney, is the original score for Mel Gibson's controversial film The Passion Of The Christ. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards.

The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney has used the Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar.

Debney's soundtrack is an interesting and highly recommended work. It will offer those who choose to encounter it a far-reaching and deeply affective listening experience that is as aesthetically beautiful and unsetting as it is evocatively familiar.

Available as a limited 15th anniversary edition of 500 individually numbered copies on transparent red vinyl.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

Finally after all those years, Dutch producer Peter Aarsman presents the re-issue of his iconic peak-time tracks called Entangled. Originally released on Deviate in 1995, this 13 minute techno trip caused mayhem on dancefloors across the world. Peter's love for early Detroit techno in can be heard in the beautiful Res*lute. Warm strings, deep basslines and a repetitive synth theme provide for a stunning track which was used by Carl Craig in his selection for the influential DJ Kicks series. Res*lute also comes in a rawer house remix by Frame Of Mind label head Gerd.

Limitierte Neuauflage auf goldfarbenem Vinyl samt Bonus-7" zur Feier des 10. Jubiläums dieses grossartigen Albums von Deutschlands bestem Funk-Ensemble. Elf filmreife Deep-Funk-Instrumentals, gefeierte B-Boy-Breaks und Dancefloor-Killer-Vocals von The Mighty Mocambos und ihren Featuregästen. Mit von der Partie sind Filmkomponist Peter Thomas, HipHop-Pate Afrika Bambaataa, die Rap-Legenden Charlie Funk aka Afrika Islam (Rocksteady Crew) und Donald D (von Ice-Ts Rhyme Syndicate), desweiteren Nichola Richards, Shawn Lee, DeRobert (vom Nashville-Label GED Soul), die Zulu Nation MCs Deejay Snoop und DJ Hektek sowie Orgel-Genie Guillaume Metenier.

Bryan Beller's (Joe Satriani, Aristocrats, Dethklok) epic progressive double concept 2019 album feat. 26 all-star musicians now on Blue Swirl 2LP in gatefold jacket available! Bassist/composer Bryan Beller (The Aristocrats, Joe Satriani, Dethklok, Steve Vai) presents a sweeping, epic-scale modern progressive double concept album that asks the question: When the storm comes for us, the big one after which things will not be the same, who are we and what do we become in those defining moments? What do we keep, and what do we let go? "Scenes From The Flood" employs an all-star cast of 26 musicians to explore themes of ambition and loss, intentionality and reality, hope and disillusionment. It uses every second of its 18-song, 88-minute running order to tell an emotionally consuming and unforgettable musical story. Produced and composed by Bryan Beller (except "Angles & Exits," composed by Janet Feder), mixed and mastered by Forrester Savell. "Scenes From The Flood" is performed by: Christopher Allis, Bryan Beller, Nili Brosh, Paul Cartwright, Darran Charles, Julian Coryell, Mike Dawes, Janet Feder, Guthrie Govan, Ray Hearne, Gene Hoglan, Mike Keneally, Jamie Kime, Fred Kron, Teddy Kumpel, Jake Howsam Lowe, Evan Mazunik, Nate Morton, Rick Musallam, Mike Olekshy, Griff Peters, John Petrucci, Matt Rohde, Joe Satriani, Rishabh Seen, Joe Travers, Leah Zeger.

Die in Kyoto geborene und heute in Berlin lebende Midori Hirano schafft minimalistische, ätherische Musik, in der akustisches Klavier nahtlos mit elektronischen Texturen verschmilzt. In Anlehnung an Ryuichi Sakamotos spätere Werke (Async, 12) erforscht, dekonstruiert und erfindet Hirano den traditionellen Rahmen der klassischen Musik neu und verwandelt jede Klaviernote in eine introspektive und immersive Reise. Unter ihrem Pseudonym Mimicof produziert sie auch elektronischere, Ambient Techno/IDM-orientierte Werke. Es war daher fast unvermeidlich, dass Midori eines Tages mit Ivan Pavlov zusammentreffen würde. Der russische Künstler, der heute in Frankreich lebt, ist eine Schlüsselfigur der experimentellen elektronischen Musik der letzten 30 Jahre. Als ehemaliger Akustikingenieur der russischen Marine ist COH ein Freigeist mit chirurgischer Präzision. In den späten 1990er Jahren trat er mit avantgardistischem, präzisem Post-Techno hervor, bevor er sich mit Glitch beschäftigte und später akustische und Ambient-Sounds in seine Klangskulpturen einbaute. Seine frühere Zusammenarbeit mit Peter Christopherson (COIL), Cosey Fanni Tutti und Abul Mogard (COH Meets Abul Mogard) sowie Veröffentlichungen auf renommierten Labels wie Raster-Noton und Editions Mego unterstreichen sowohl seinen Einfluss auf die elektronische Avantgarde als auch seine bemerkenswerte Fähigkeit zur Kollaboration. Mit Sudden Fruit liefern COH und Midori Hirano ein immersives und chimärisches Werk ab. Vom ersten Track an, ,Wave to Wave", spürt man das empfindliche Gleichgewicht zwischen dem Organischen und dem Digitalen, dem Fließen der Natur und der Poesie, die es verkörpert.

Did you miss out on getting “For Your Lungs Only” and “I Lied My Face Off?” Well, now you can get those songs and more on this semi-discography of Alkaline Trio. This record has both out of print EPs, their first 7", and songs from various compilations. It's a must-have for any Trio fan!!

Lion_and the mean ecstasy of "You've Got A Woman," the B-side to their sole release_comprise a rare burst of psychedelic-Western soul from two names best known for Dutch progressive rock and new wave. Drummer Peter de Leeuwe, departing from the symphonic leanings of Dutch prog-fixtures Ekseption, penned it in 1975, layering syncopated explosions of hand-claps, vibraslap and slick drumwork with neutron-star density, with super-producer Hans van Hemert nearly bursting Glenn Robles' vocals through the fore. The "Shoes Subtle Edit" provides exactly that, gently teasing the organ- and requinto-hinted contours of the track to better suit the treasure within. Chicago-based septet Whitney have brought some attention to "You've Got A Woman" with a recent cover, and the faith with which they recreate much of the original instrumentation proves the extent of Lion's accomplishment.

Presenting an official reissue of Coke’s audacious, engrossing self-titled album from 1972, originally released on Manuel J. Mato’s collectible Sound Triangle Records imprint. It’s a heavy hit of Miami Latin-funk, dosed up with psychedelic garage rock and gritty soul excellence, making for an intoxicating blend of styles and genres on this highly sought-after LP.

Predominately sung in English, Coke’s only album under this moniker is a sumptuous melting pot of influences, tied together with bright funk drumming, flavourful organs and zesty horns. With a garage band attitude and sensibility, the lineup consisted of Paul Garcia on guitar, Ariel Hernandez on bass, Ruben Perez on drums, Jose Rubio on the keys, a host of guest horn players and Peter Fernandez on vocals, whose tone and delivery was often mistaken for that of a woman.

Produced by Mato, the record and band were well-received in Miami and Southern Florida at the time. Due to a lack of promotion outside of Florida and the threat of a lawsuit from the Coca-Cola corporation for usage of their name, the band fell into relative obscurity, becoming Opus following the dispute.

They say the cream always rises to the top though, with Coke being rediscovered by diggers and collectors searching for a rare groove. One of the standout cuts on the album 'Na Na' was recently featured on the soundtrack to the Netflix drama 'Griselda' (a biopic of Miami/Cuban crime boss Griselda Blanco). Other highlights include the crooner-jazz-rock ‘Got to Touch Your Face’, the psych ballad 'You Turn Me On' with a guitar line reminiscent of The Doors, and the Latin-rock groover, 'Te Amo Mas'.

Coke is a sensational crossover record, that draws from a sea of different influences. Fans of early Santana, garage-pysch, Nu Yorican and Latin-funk productions should all investigate this cherished album - it will have something for you.

The Trzaska, Haker Flaten, Nilsen Love trio played a concert tour in Poland in March 2024. A combination of one of the most famous sections of the world"s intuitive jazz (e.g. The Thing) and one of the most famous representatives of the domestic improvised music scene, film music composer and saxophonist Mikolaj Trzaska. The Haker Falten and Nielssen Love section are the basis of many important world bands, known as Atomic, Fire!, The Thing, David Maray or Peter Brötzmann. The Krakow concert was recorded and we present it to you in these 3 parts.

Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.

Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.

Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.

Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.

Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.

Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.

INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.

ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.

PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon

MACROCOSM is BALTHVS' first LP.

The name implies the diverse nature of the music, the substantial genre blending throughout, and the general psychedelic vibe of the songs.

It's a cross-continental trip across time, styles, languages, and rhythms.

In just five years, BALTHVS has carved out a unique space in the global music scene, emerging as Colombia’s most prominent alternative international act. Blending psychedelic grooves with hypnotic funk, the band has captivated audiences across three continents, performing in 56 cities throughout 19 countries. Their ever-expanding reach is backed by over 45 million streams, 10,000 vinyl records sold, and a relentless touring schedule that has seen them grace stages at premier festivals such as Austin City Limits, Outside Lands, Electric Forest, and SXSW Sydney. As three-time SXSW alumni, they’ve cemented their presence in Austin’s thriving music circuit while remaining a staple at Colombia’s top festivals, including Rock al Parque and Estéreo Picnic. With critically acclaimed releases and appearances on influential platforms like KEXP, Gilles Peterson’s Worldwide Café, and the BBC, BALTHVS continues to redefine modern psychedelic music with a sound that is both immersive and irresistibly groovy.

Black Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

Petrol Green Vinyl

“Sometimes They Come Back” is not just the title of a horror movie based on a macabre tale by Stephen King, it is also a summary of what happened to UK death etal veterans BENEDICTION, yet you might ke to add a “better than ever before”. While never officially disbanded, 2020’s Scriptures, the group’s eighth studio album achieved what is usually not an easy feat. It connected well with classics like Transcend the Rubicon (1993) and its immediate and memorable songwriting, the heavy-as-a-brick Grind Bastard (1998), and also saw legendary vocalist Dave Ingram return with his merciless roar and knack for morbid, twisted lyrics. After two albums with Dave Hunt on vocals, Scriptures was BENEDICTION’s first record in over a decade impressing with aggressive up-tempo attacks like ‘Iterations of I’ and ‘Rabid Carnality’ or the neck-breaking mid-tempo barrage of ‘Stormcrow’, songs that became live staples alongside ‘evergreens’ such as ‘I Bow to None’, ‘Magnificat’, ‘Subconscious Terror’ or ‘Vision in the Shroud’ in no time. With Scriptures, BENEDICTION even almost cracked Germany’s top ten by entering at a phenomenal #11 of the Official German Charts showing that the death metal veterans founded 1989 in Birmingham, England, offered an extremely well received sonic catharsis when due to the pandemic, people were locked down and pissed off.
When the shroud of Covid-19 lifted, the quintet finally could start to promote the album onstage with numerous festival gigs including Summer Breeze (DE), Copenhell (DK), Mystic Festival (PL), UK Deathfest, Alcatraz (BE), Party.San (DE), Obscene Extreme (CZ), Eindhoven Metal Meeting (NL) and Rock Hard (DE) to name but a few, played triumphant shows in South and Middle America as well as in their home country and all over Europe.
Kicking in the door without further warning, fast paced opener ‘A Carrion Harvest’ that mounts in a vicious Slayer-style break, starts with Ingram growling ‘Brace for impact, go!’ giving an unmistakable hint at what to expect during the following 47 minutes and 11 songs. With tremolo riffs and hammering grooves in spades, tracks like ‘Engines of War’, ‘Genesis Chamber’, ‘Crawling over Corpses’, ‘In the Dread of the Night’, and ‘Psychosister’ show a remarkable consistency and Scott Atkins, who produced the record at Grindstone Studio once again, ensures with a crisp and massive sound that the aforementioned impact leaves no bone unshattered. Garnered with artwork by Wolven Claws Artist, Ravage Of Empires continues BENEDICTION’s flawless discography on Premier League level and promises to become one of 2025’s undisputable old school death metal highlights!
With their brilliant new record in tow, founding members and guitarists Darren Brookes and Peter Rew, longtime vocalist Dave Ingram, drummer Giovanni Durst, and Nik Sampson (bass) will travel far and wide once more. Already confirmed are the Tales of the Triple Death Tour with Jungle Rot and Master kicking off on album release date as well as confirmed appearances at Wacken Open Air and Maryland Deathfest. More to be announced soon!

The Passion of the Christ is a 2004 biblical drama film by Mel Gibson with music composed by John Debney. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards. The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not one has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney worked together with Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar. The Passion of the Christ is available as a limited edition of 750 numbered copies on gold coloured vinyl and includes a 4-page booklet.

With a growing international reputation for championing forward-thinking artists in the contemporary jazz space, Denmark"s April Records proudly presents the third album from instrumental collective Andorra. Their most ambitious undertaking yet, the audio-visual release invites audiences to fully immerse themselves in the energetic grooves, lyrical melodies, and colorful modern production that define their sound. Andorra"s eponymous 2021 debut reunited five friends who met at the Funen Music Conservatory and went on to work across a range of disciplines, from film music and orchestral work to large ensembles and chamber jazz. Realising their long-held desire to explore their collective creative potential, the ensemble describes their sound as "modern vintage", bringing together the nostalgic warmth of analog synthesis, present-day digital audio manipulation techniques, and jazz musicianship steeped in tradition. Taking a decisive step to perfect the production of their music, the quintet recorded at Lundgaard Studios - one of Denmark"s most prestigious studios - and placed the responsibility of mixing in the hands of their own synth-guru Peter Moller, whose deep understanding of the band"s sound made him best suited for the role. Taking a step back from the dark, brooding music often associated with the Nordic countries, "III" is a playful, high-energy, deep pocket collection of seven original pieces that are unapologetic in their grooving, in-your-face attitude. Driving complex drum parts, shimmering guitar textures, squelching synth pads, thick old-school bass tones, and lush timbres from Mads La Cour"s horns deliver catchy and danceable hooks as easily as they do spacious explorations of texture and vivid harmony. The entire album has been shaped into a concert film directed by photographer Jesper Van, set to premiere at select cinemas across Denmark - soon to be available online - offering global listeners a comprehensive experience of Andorra"s creative vision.