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Brand New is an American rock band from Long Island, New York that formed in 2000. The band is made up of four members: Jesse Lacey, Vincent Accardi, Garrett Tierney, and Brian Lane. They began their journey to success by performing at local clubs and venues, which made them popular in the underground scene. Since breaking onto the scene, the rock band has released numerous hit singles. To this day, they continue to tour around the world while performing in music festivals and for sold-out shows.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

more eaze is the moniker of Brooklyn-based composer, orchestrator, and multi-instrumentalist, mari maurice. A renowned collaborator both in performance and on recordings, maurice"s own work is a fantasia, a reflection of her curious and explorative musical mind, encompassing entire spectrums of sound from a wide sonic pallet of electro-acoustic textures, folk traditions, and pop forms that pirouette into fully realized ecosystems. sentence structure in the country is a definitive statement of the matchless quality of more eaze"s skill as player and musical thinker. The album relishes the ecstatic in performance and collaboration with an inviting wit and incisive compositions, imbuing tenderness, frustration, and joy into each passage. sentence structure in the country is a collection of compositions, each beautifully realized, self-contained worlds. maurice"s dexterous, tasteful arranging lays bare her influences and obsessive fascinations with remarkable congruency while foregoing any sense of indulgence. Her music holds a density not only in the lush compositions and embellishing flourishes, but also for those moments of spare, minimalist beauty. sentence structure in the country is a textural marvel, a mosaic of ethereal electronics and loamy acoustics sculpted around deeply moving, enduring songs.

Mahjong Room is the second album Cameron Lew released under the artist name Ginger Root which explores his coming of age and discovery of his own signature sound; self coined as Aggressive Elevator Soul. Self Produced and Performed, this album marked the beginning of Ginger Roots' rise in popularity outside of his Huntington Beach hometown. Lew was still in film school at the time of recording and releasing Mahjong Room. His attention was equally focused on the music videos that were made for singles `Two Step', `Call it Home', `Jeanie', `Mahjong Room', and `Ohio'. Becoming a signature of Ginger Root releases, the video treatments of songs were humor-filled and directed and produced by Lew himself. Catching the attention of other touring indie acts Ginger Root spent most of the fall of 2018 on tour with artists Khrunagbin, Duran Jones & The Indications, The Marias, and Omar Apollo.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Die globalen Pop-Superstars BTS veröffentlichen ihr mit Spannung erwartetes fünftes Album ARIRANG
– die erste Gruppenveröffentlichung seit drei Jahren und neun Monaten. Das Album gibt an, in welche
Richtung die Gruppe künftig gehen wird, wobei jedes Mitglied tief in den kreativen Prozess eingebunden
st.
Das Album „ARIRANG“ ist auf LP und CD erhältlich.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

El Calefóns 1985er LP "Salir Del Agujero" ist ein seltenes Juwel. Das in Zürich selbstproduzierte und in Eigenregie veröffentlichte Album stammt von einer der wenigen südamerikanischen Bands, die sich zu der Zeit in Europa aufhielten. Gegründet von den Argentiniern Coqui Reca (Komponist, Sänger, Multiinstrumentalist) und Pablo Miguez (Gitarre), bestanden El Calefón aus argentinischen und brasilianischen Musikern, die ursprünglich als Touristen gekommen waren, aber ohne offizielle Genehmigung als Immigranten blieben. Ihre Musik schöpfte aus den vielfältigen indigenen Stilen ihrer beiden Heimatländer und verschmolz sie mit den internationalen Klängen von Rock, Jazz und Pop. Das anspruchsvoll-originelle Album hat auch nach 40 Jahren nichts von seiner Frische eingebüßt und verströmt tropische Wärme und Lebensfreude – ein Zeugnis der unbeschwerten musikalischen Freiheit einer wechselvollen Musikära.

Ten years after their last collaboration, Jacques Duvall and Benjamin Schoos return with Plein Sommeil, a duo album that is at once melancholic, ironic, and tender—a poetic mirror of the fatigue of the modern world.

The legendary lyricist for Lio, Chamfort, and Daho meets the indie pop producer and sonic adventurer of Freaksville, in a generational union as improbable as it is natural.
Between Brussels and Paris, they weave songs about slowness, worn-out love, and resistance through gentleness.

Blending original compositions and delicate covers (The Kinks, Higelin, Daho), the album evokes a sensual and lucid refuge amid the overheating of everyday life.
Recorded with Bertrand Burgalat, The Loved Drones, and lush string arrangements, Plein Sommeil embraces a handcrafted, timeless aesthetic.

Its motto: “Slow business” — a manifesto against the speed and emptiness of contemporary times.

Each song, balancing irony and elegance, celebrates fragility and humanity.

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

Formed in 1987 by Fruitbat and Jim Bob, Carter The Unstoppable Sex Machine burst onto the scene with their signature style of punk-pop infused with samples, drum machines, and social commentary. Join Jim Bob and Fruitbat, as they take a retrospective look back at the complete Carter U.S.M. singles, from 1988 to 1997.

First released in 1995, 'Straw Donkey' is an essential introduction to Carter The Unstoppable Sex Machine, featuring the U.K. Top 20 singles 'The Only Living Boy In New Cross', 'After The Watershed (Early Learning The Hard Way)', 'Rubbish', and 'Lean On Me I Won't Fall Over', along with classics such as 'Sheriff Fatman', 'Anytime Anyplace Anywhere' and 'Bloodsport For All'.

Spanning dance and indie movements since their formation in Liverpool at the end of the last millennium, Ladytron have earned a unique position by carving out new sonic and conceptual space, and refusing to abide by formula or trend. In the early 2000s, the fiercely individual group were placed at the forefront of the so-called electro-clash scene (which now enjoys another revival), but with time, they came to appreciate the pop cultural moment that they had reluctantly become part of. The new album follows a period of renewed cultural presence for the band. Their 2002 single "Seventeen" unexpectedly went viral on TikTok, introducing Ladytron's sound to a new generation and amassing hundreds of thousands of fan- made clips. Their legacy was further acknowledged recently with "Destroy Everything You Touch," one of their most celebrated tracks, featured in the GRAMMY- nominated original Motion Picture Soundtrack of cult movie Saltburn, reaffirming Ladytron's enduring appeal

LP (inkl. Downloadcode & Poster)
Release: 20.03.2026

"Gschnas" ist das vierte Voodoo Jürgens-Album.
Drei Jahre nach dem Meisterwerk "Wie die Noch noch jung wor" meldet er sich darauf als Popstar wider Willen zurück. Letztes Jahr gewann er für die Hauptrolle in Adrian Goigingers Kinohit "Rickerl" den österreichischen Filmpreis als bester Hauptdarsteller. Für die Alben davor gab es reihenweise Amadeus Awards, sprich Austro-Grammys und all seine Touren im gesamten deutschsprachigen Raum sind regelmäßig ausverkauft.
Nun war es Zeit für eine neue Standortbestimmung. Das Biotop "Beisl" war gestern. Gerade weil die zahlreichen Voodoo-Epigonen damit seit Jahren so gern haussieren gehen. Jetzt geht's um die weite Welt die da draußen wartet. Und die kleine da drinnen: die in der eigenen Seele. In Text und Sound geht es auf "Gschnas" für Voodoo um die eigene Autonomie, die Wiedergeburt der Inspiration, das freistrampeln von der typisch österreichischen Enge die einen nach unten drückt. Kurzum: es geht um alles. Mit welcher Energie er und seine on fire agierende Band dieses Husarenstück von einem Album reiten, mit welcher Spielfreude und welchem Selbstvertrauen hier ein Künstler neu denkt ohne dabei von sich erschlossenes aufzugeben und sich dabei selbst revitalisiert. Bist du (österreichisch für: nicht übel)! Dazu seine besten Melodien, seine wahrhaftigsten Texte, seine dringlichsten Performances, und eine Wolfgang Lehman (AKA Möstl)-Produktion, die für alle Involvierten nach Magnum Opus riecht. Das kann was. Und nicht nur das. Ein Album aus Zweifel geboren, für das es am Ende Faschingskrapfen regnet. Ein Album als Ereignis, in einer Zeit die sich selbst vergessen hat. Voodoo Magie die wirkt.

- For all fans of the Wamono series!

- All tracks selected by DJ Yoshizawa Dynamite. Includes the first ever vinyl release of The Peanuts' "Ohara Bushi" track, originally released only on tape in 1970.

- Fully licensed King Records masters.

- Mastering and lacquer cut by Jukka Sarapaa at Timmion Cutting Lab, Helsinki, Finland.

- 180g heavy vinyl pressing, reverse board jacket.

- Artwork by Nicolas Kerembellec (Nker).

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of Wamono music, Yoshizawa has published in 2015 the now-classic Wamono A to Z records guide book, which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. He has also selected a large part of the music in our highly acclaimed Wamono compilations.

For this brand new chapter in the series, Yoshizawa explores King Records' legendary catalog and unearths exceptional, rare and unknown musical gems. King Records has been releasing music since 1931 and is one of the most prestigious labels in Japan. Traditional Japanese music, known as "Minyo", are ancient songs once sung by fishermen, coal miners and sumo wrestlers. They are reimagined here with vibrant afro latin, rock, rare groove and funky arrangements in this killer selection of music released on King between 1963 and 1979. Also worth mentioning is the track Ohara Bushi by The Peanuts, which was released only on tape in 1970 and is now available for the first time ever on vinyl format.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the fifties in Japan!

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180GWALP08 - Manufactured and distributed by 180g.

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.