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

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

The debut album from Mexican duo Destino Sonido, namely electronic music veteran Juan Soto and rising vocal talent Labibe, mixes up disco swagger, upright funk attitude, synthpop flavours and just the tastiest smidge of pop instinct. 'Seduccion Galactica' has more than a touch of Vince Clarke's magic but rich simplicity about it, while closing tune 'Oscuridad' (You Man remix) adds an epic feel to proceedings, while simultaneously keeping them shiny and approachable. Dan Solo makes two appearances, Krofon pops in to lend a hand on 'Amandote' and Monsieur Von Pratt remixes 'Playa, Sol Y Amor' into a robo-disco banger. Following nobody's rules, it's an awful lots of fun from start to finish.

The saga continues with the powerful soundtrack to Vikings Season 3. Composed by Emmy Award-winner Trevor Morris, the score evolves with the growing scale and emotional weight of the series. Season 3 takes viewers deeper into Ragnar's journey, from political ambitions to personal sacrifice, and the music reflects this with rich orchestration, ambient electronics, and haunting Nordic textures. This edition also features musical contributions from Einar Selvik (Wardruna) and Steve Tavaglione, whose unique elements lend an ancient layer to the score. Vikings (Music From Season Three) is available as a limited edition of 750 numbered copies on white coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

Nobody 2 is the sequel to the 2021 action-packed blockbuster film starring Bob Odenkirk, Connie Nielsen, Christopher Lloyd and Colin Hanks. amongst others The soundtrack for the film was composed by Emmy-nominated filmcomposer Dominic Lewis (Bullet Train, The King's Man, Karate Kid: Legends) and features two cover songs. The first one is a cover by José James of the classic 1962 song "The Good Life". The song was originally sung in French by Sacha Distel, but became more popular when released in English by Tony Bennett. The other cover is performed by American rock musician Des Rocs of "Ring of Fire", written by June Carter and Merle Kilgore and popularized by Johnny Cash. Nobody 2 is available as a limited edition on turquoise coloured vinyl and includes an insert.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint.

Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops.

While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery.

'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar.

Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.

After years of friendship and sound fragmentation, Felipe Valenzuela and Federico Molinari have succeeded in capturing and distilling their unique musical perspective into a single frame.Throughout this process, these two minds from across the Andes have developed numerous productions with a broad, multidirectional genre range.This release features four tracks, each with its own distinct identity. The A1 track, FORCED TO THE SCALES, which lends its name to the EP, blends elements of Spanish classical music with a futuristic edge, seamlessly adapting to various moments within a set.The second track on side A, RAPS TIGHT, is an experiment born from the same session, where a subtle sensitivity is expressed through a a slow beat, enveloped in a harmonious world.On side B, 503 emerges from a different creative process, combining two divergent paths that naturally intersect, resulting in a track full of energy and dynamism.The EP closes with DEAD MAN, a one-shot recording that, through its raw spontaneity, encapsulates the conclusion of a fragmented journey within a frame full of versatility.

Whitney K returns with 'Bubble', his first album for Fire Records and follow-up to 2022's acclaimed 'Hard To Be A God'. Whitney K continue his migrant mind games, summoning up a series of intriguing characters, littered with everyday foibles and fantasies. Along the way, he pens a journal of possibilities as he travels further into transient America, touching on everything from bar room chatter, rumour and distortion to misinformation, daydreams, misunderstanding and self-realisation; with anecdotes lifted from the paperback in his back pocket and his half-forgotten past. 'Bubble' is a 13-part cerebral mystery that unravels on songs that bring to mind the gruff sentimentality of the late Kris Kristoferson, Lennon's 'Jealous Guy', Eels at their most troubled and the American Gothic sketches of David Ackles; the perfect soundtrack for a Raymond Carver book club. Recorded in Montreal, it's self-produced by band members Josh Boguski and Michael Halls at their home studio. This stripped back release is Whitney K's most raw yet refined work to date-an honest, sonically paradoxical collection that finds fresh possibilities in the familiar shapes of rock, pop, and folk with the same unfiltered energy and poetic gravity we have come to expect from this modern-day troubadour whose descriptive storytelling is filled with sketchy characters and rudimentary comment. RIYL Bill Callahan, Silver Jews, Leonard Cohen, Lou Reed, Cate LeBon, Kurt Vile, Wilco, MJ Lenderman, Waxahatchee, Cass McCombs, Giant Sand...

Singer-songwriter and cult anti-folk troubadour Stanley Brinks returns with Happy New Year, a 10-song collection of lo-fi gems recorded in Berlin. Happy New Year is a warm and celebratory record. Over simple rhythms and minimalist arrangements, Brinks delivers lyrics that oscillate between surreal humour, earnest wisdom, and playful melancholy. Happy New Year features contributions from longtime collaborator Clemence Freschard, plus appearances from Jyoti Sekhawat, Monica Kremidi, Rachel Lipson, Irma Ignataviciute, and Elisa Aseva, weaving together voices from across Brinks' musical community. Their harmonies lend the songs a communal intimacy. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he'd become a full time singer-songwriter - Andre' Herman Düne - as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded considerably more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. The vinyl is of silvery color.

Born as Diana Reches, Diane Denoir made her debut as a singer in 1966, backed by Eduardo Mateo on guitar. Influenced by Françoise Hardy and Astrud Gilberto, along with her own unique style, she performed a special blend of chanson française, bossa nova (sung in Portuguese, English, and French), and jazz. By then, Mateo was already a well-known guitarist in the Uruguayan music scene and a sought-after arranger. He was also beginning to establish himself as an incredible songwriter, connecting different musical universes in unique ways. The two formed a fruitful artistic partnership that lasted until the early seventies. This album, originally released in 1998 on CD, is a compilation of various unreleased recordings from different sources (concerts, radio and TV recordings, homemade tapes) made between 1966 and 1968. It is a unique document that showcases their incredible musicianship and creativity in their early years. The duo swings from bossa nova classics like "The Girl from Ipanema" to the rhythm and blues of "Fever," including chanson française standards like "Le lendemain" and "La Dernière Valse." The album also features earlier versions of the three best-known Mateo songs performed by Diane: "Y hoy te vi," "Esa tristeza," and "Mejor me voy," all of which were inspired by Diane. Inéditas unveils a new dimension of South American music from an unforgettable era.

Emerging from the shadows of a small apartment in Chicago’s South Side Pilsen neighborhood in 1999, Winterlight was produced and mixed by Daniel Thompson over the course of three years, from 1999 to 2002. It’s an intimate and evocative album that captures a pivotal chapter in Thompson’s life and echoes the spirit of a formative era in the underground music scene.
Thompson’s journey began in the heat of Houston, Texas, where his love for sound quickly became an obsession. By the late ’90s, he was among the first DJs in Houston to champion the sound of Chicago house, often driving long distances from Texas to Chicago in search of records, inspiration, and connection. These trips—equal parts pilgrimage and education—eventually led him to relocate to Chicago, where his artistic vision would fully take shape. Winterlight is the direct result of that move. Crafted over several years, the album embodies a raw, hands-on approach to production, built from analog synths, outboard gear, and hours of meticulous layering. Thompson leaned on tools like the Kurzweil K2000, SE-1, Juno-106, and classic processors such as the DP4 and TC Electronic units, shaping each track with
care and intention.
Blending atmospheric textures with hypnotic rhythm and subtle experimental flourishes, Winterlight captures the sound of an artist deeply engaged with his tools and surroundings. His extensive vinyl collection—over 3,000 records—served as both palette and inspiration, with carefully chosen samples lending further depth and narrative to the music. Now set for release across all digital platforms and as a limited double 12" vinyl edition through Berlin’s Word & Sound, Winterlight invites listeners into a soundscape that is both immersive and personal. More than just an album, it is a sonic document of a moment in time—rich in tone, memory, and intent. For those willing to listen deeply, Winterlight offers a rare window into the underground spirit of the early 2000s and the inner world of a producer finding his voice.

Comet Dust Red Vinyl. Jason Molina war ein Künstler, der nicht gerne zurückblickte. Während seines gesamten Lebens und seiner Karriere als Singer-Songwriter trieb ihn ein rastloser und sich ständig weiterentwickelnder kreativer Impuls voran, der seinen Fokus auf das Wesentliche richtete. Seine unermüdliche Kreativität und Arbeitsmoral trugen Früchte. In seinem kurzen Leben erreichte Molina das, wonach die meisten Musiker streben: einen Sound, der sofort wiedererkennbar ist, sich aber selten wiederholt. Von den Ufern des Eriesees in seiner Heimatstadt Lorain, Ohio, bis hin zu internationalen Bühnen mit seinen Bands Songs: Ohia und Magnolia Electric Co. spielte Molina sein umfangreiches Repertoire an geheimnisvollen, romantischen, stürmischen und monumentalen Songs, die gleichzeitig innovativ und in der amerikanischen Tradition verwurzelt waren. Er tüftelte ständig an seinem Sound, seinem Image, seiner Band und seinem Zuhause, um seine Muse zu befriedigen. Ein Tenor-Gitarre spielender Außenseiter. Ein liebeskranker Lo-Fi-Indie-Rocker. Ein trauriger Slowcore-Barde. Ein Pionier des Roots-Rock des 21. Jahrhunderts. Ein kanonischer Songwriter des Mittleren Westens. Jason Molina hat seine kreative Flagge in all diesen Bereichen gehisst - um seinen Anspruch zu markieren, um zu zeigen, wie weit er gekommen war, und um eine Spur wertvoller Talismane zu hinterlassen. Mit ,I Will Swim to You: A Tribute to Jason Molina" - benannt nach einer Zeile aus Molinas Song ,Lioness" - würdigen Run For Cover Records und eine Gruppe befreundeter Künstler den bleibenden Einfluss des Songwriters. Die Compilation mit Molina-Covers wurde von einigen der visionärsten Singer-Songwritern der Gegenwart eingespielt, darunter MJ Lenderman, Hand Habits, Horse Jumper of Love, Sun June und viele mehr, und enthält einzigartige Interpretationen von Molina-Fan-Favoriten und weniger bekannten Stücken aus seinen Soloalben und weniger bekannten EPs. Das Ergebnis ist eine unverwechselbare Liebeserklärung, eine oft atemberaubende Gesamtdarbietung generationenübergreifender Talente, die einem der begabtesten, aber unterschätzten amerikanischen Songwriter Tribut zollen.

Celebrate the 20th anniversary of one of hip-hop’s most iconic albums with Jeezy’s TM:101 Live, a once-in-a-lifetime reimagining of Let’s Get It: Thug Motivation 101, now backed by a full live orchestra.
Originally released in 2005, TM:101 didn’t just introduce Jeezy to the world; it immortalized trap music, debuting at #1 on the Billboard Hip-Hop and R&B charts and #2 on the Billboard 200. Widely hailed as a critical and cultural classic, the album became the blueprint for a generation of street anthems and dominance.
Now, Jeezy elevates his legacy with an epic live performance, merging raw lyrics with rich orchestral arrangements lending to a new level of sonic depth. Featuring stunning live renditions of tracks like “Soul Survivor,” "Go Crazy,” “My Hood" and “Trap or Die,” this release captures the emotion, scale and storytelling that defined a movement.

Wodda is the latest new school talent to step up to Burnski's faultless Pilot label. He hails from the South of England and has been making some sweet movers of late, but this one is his best yet. 'Have We Met Before?' is a kinetic collision of turbocharged breaks, spaced out synths and crisp tech with old school bass and sci-fi motifs, making it a vibe-fuelled party starter. 'Go Getter' has a darker low end with more punchy breaks, scratches, warped stabs and vocals and an air of intergalactic rave. The Reflex Blue remix is just as kinetic but doused in balmy pads that lend it a headier late-night soul with irresistible pitched-up vocal hooks.

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”