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Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

Laura Jane Grace, Emmy-nominierte Musikerin, Autorin, Aktivistin und Against Me!-Gründerin/Songwriterin meldet sich mit ihrem dritten Studioalbum "Laura Jane Grace In The Trauma Tropes – Adventure Club" zurück – ein kraftvolles neues Statement mit einigen ihrer intensivsten und anregendsten Songs. Aufgenommen in Athen (GR), enthält es sensationelle Features externer Kollaborateure, bekannt als "The Trauma Tropes", darunter Graces Frau Paris Campbell (vocals) sowie die Athener Musiker Jacopo Fokas (bass) und Orestis Lagadinos (drums). Auf dem Keytrack "Your God (God's Dick)" schmettern sie die wohl hymnischsten Texte in Graces Historie, mit einem an Queens Power-Pop erinnernden A-cappella-Intro. In "Wearing Black" kritisiert Grace die Kommerzialisierung und Polizeipräsenz bei Pride-Veranstaltungen und stellt dabei ihren charakteristischen Punk-Ethos und ihre raue, unverhohlene Haltung voll zur Schau. Grace arbeitete mit Künstlern wie Miley Cyrus, Joan Jett und Weezer zusammen, trat auf Festivals wie Coachella, Reading & Leeds Festival oder Lollapalooza auf, erhielt einen Emmy-Nominierung für ihre Arbeit an der AOL-Serie "True Trans" und platzierte sich mit ihrer Autobiografie "Tranny: Confessions Of Punk Rock's Most Infamous Anarchist Sellout" auf der Billboard-Liste der 100 besten Musikbücher aller Zeiten.

Neapolitan composer, producer, and keyboardist Giorgio Lopez sets sail on Berlin-based label Cosmic Romance with his “Sud des Îles”. Navigating between 80s-inspired grooves, French boogie, and sun-kissed atmospheres, the record unfolds like a musical travelogue, following fictional skipper Georges Taty and his crew of musicians aboard the sailboat “Sud des Îles”, caught between racing waves, late-night jams, and dockside dreams.

From the whirling groove of "Voyager Sans Bouger" to the breezy atmosphere of "Toujours Distante", the eight tracks on Sud des Îles invite listeners to drift away in rhythm and reverie through a songwriting that is both infectious and evocative. Stories of escapes (real or imagined), romantic illusions, and nostalgia-tinted euphoria weave together, propelled by Giorgio Lopez’s arrangements and distinctive keyboard work, as well as by the well-crafted production, carried out together with Executive Producer and label owner Ed Longo.

Featuring lead vocals by Stella, Master Phil, Amanda Roldan, and Bernardino Femminielli, together with the “équipage de Sud des Îles” itself - a tight-knit ensemble of acclaimed musicians from Berlin and Naples – “Sud des Îles” is an invitation to ride the waves to a neon-lit night on a faraway island: no passport required.

Past Due Records is thrilled to announce the reissue of 'You Make It Harder,' a long-lost gem from the 1980s NYC dance music scene, originally released as a 7 inch single for the WBLS Budweiser Showdown under the name Contreras / Sokolov / Milgrom. This rare boogie funk record, known only to a select few aficionados, is now available for the first time as a 12 Inch single, featuring four additional unreleased tracks that perfectly capture the Ray Contreras Band’s multicultural, synth-driven funk. The release includes a full sleeve and the story of the band’s journey, from winning the legendary WBLS Budweiser Showdown to their near-miss at the national finals.

A long-lost masterpiece of Yugoslavian jazz-funk and disco finally returns! Originally released in 1979 on the iconic Jugoton label, YU Disko Expres by Igor Savin and Orkestar Stanka Selaka is a rare gem—an electrifying fusion of jazz, funk, electronic music, and traditional folk elements. Decades ahead of its time, this album remains a strikingly modern and danceable exploration of sound, seamlessly blending synthesizers with tight horn arrangements and deep, infectious grooves.
Igor Savin, one of Croatia’s most respected composers and pioneers of electronic music, was a driving force in blending contemporary jazz with emerging electronic sounds. A classically trained musician with a deep love for jazz, he left a lasting mark on the region’s music scene, working across film, TV, and avant-garde composition.
Backed by an all-star ensemble featuring some of Yugoslavia’s finest musicians—trumpeter Stanko Selak, bassist Miljenko Prohaska, drummer Silvije Glojnarić, saxophonist Stjepan Mihaljinec, and more—YU Disko Expres delivers an unparalleled groove that has remained a collector’s favorite for decades.
For the first time ever, this sought-after album gets an official reissue, fully remastered from the original tapes. DJs, hip-hop producers, and groove aficionados take note: YU Disko Expres is back, sounding fresher than ever. Don’t miss your chance to own a piece of Yugoslavian music history!

Blues-rock titan Joe Bonamassa is back with Breakthrough, his powerful new studio album dropping July 18th.

Produced by longtime collaborator Kevin Shirley (Iron Maiden, The Black Crowes, Journey) and co-written with Grammy-winner Tom Hambridge (Buddy Guy, ZZ Top, Lynyrd Skynyrd), Breakthrough captures Bonamassa at the height of his creative powers. Expanding his signature sound while staying true to the deep blues roots that launched his storied career, the album promises raw emotion, blistering guitar work, and fresh sonic twists.

With over 50 albums to his name and an unprecedented 28 #1 Billboard Blues Albums, Bonamassa proves yet again that he's not just keeping the blues alive--he's driving it into the future.

* In April the European tour starts.
* Joe Bonamassa has sold well over 4 million records worldwide and has had 20+ #1 Billboard Blues Albums
* Joe Bonamassa has been featured on the cover of virtually every guitar magazine multiple times. His name is notorious among guitarists not only for being a virtuoso, but also for his incredible collection of vintage guitars, gear and memorabilia.

Tracks: Breakthrough / Trigger Finger / I'll Take The Blame / Drive By The Exit Sign / Broken Record / Shake This Ground / Still Walking With Me / Life After Dark / You Don't Own Me / Pain's On Me

Celebrating the 20th anniversary of their self-titled iconic debut – the UK’s best-selling album of 2004 – Scissor Sisters release a brand-new Limited Edition 2LP.

Taking the world by storm with their eccentric style, high energy, and feel-good lyrics, it’s no surprise that this album, originally released on February 2nd, 2004, catapulted the band to international success. Since then, the album has sold nearly 4 million copies globally, has 300 million streams to date and won ‘Best International Album’ at the 2005 BRIT Awards.

This 20th Anniversary expanded 2LP features hit singles ‘Laura’, ‘Comfortably Numb’, ‘Take Your Mama’, ‘Mary’ and ‘Filthy / Gorgeous’ alongside a plethora of b-sides and rarities. The 3CD also includes a bonus remixes disc.

For the fourth release on her celebrated record label Uppers and Downers, Dr.Rubinstein returns to the producer's seat with Take This Pill, a new 3-track EP that showcases the dynamic, ever-widening range of her signature acid sound. Lacing lively dancefloor cuts with a dose of personal storytelling and a playful yet honest take on mental health, Take This Pill delivers on Rubi's distinct ability to honor classic rave sensibilities while also always imparting her own unique twist.

The title track journeys from dark, acid-laced electro breaks into a shimmering wash of euphoric synths, energized along the way by drumrolls, hoovers, and a vocal refrain repeatedly voicing the Doctor's prescription: "Take this pill!" More than just a nod to classic XTC bangers, "Take This Pill" explores the emotional spectrum of neurodivergence and the pharmaceutical pathways many embark upon on a quest to "fit in," mirroring the lived experience of internal struggle giving way to external composure.

Things shift up a few gears on track two, the aptly-titled "No Brainer," a relentlessly energetic, no-nonsense stomper designed with the soul purpose of making you move. The track features sidewinding Goa-tinged acid lines swirling through a hard trance kick scape adorned by with soaring strings and shimmering cymbal rolls.

The EP concludes with a gorgeous, melodic rave-infused cut that shows a more tender, reflective side of Rubinstein's repertoire. Referencing one of Rubi's favorite tunes, The KLF's iconic "3 AM Eternal," diaphenous ambient vocals soar over a melancholic acid ballad that, never to be taken too seriously, is punctuated by humorous woops and cheeky rave whistles.
With Take This Pill, Dr. Rubinstein invites listeners into her world-one where vulnerability, humor, and acid rave euphoria collide. A perfect addition to her label's growing catalog, Take This Pill upholds the mission of Uppers and Downers: to collect and circulate timeless, tried-and-true tunes that celebrate the uplifting, affirmative power of rave music.

Auf "At Tubby's" spielt Dougie Poole Live-Versionen seiner beliebtesten Songs in einem Veranstaltungsort, der von Musikern für seine Intimität und Akustik sowie für seine außergewöhnliche Behandlung von tourenden Musikern geliebt wird. Dieses Set war wie geschaffen für die Veröffentlichung als Live-Album, da es ein besonderer Abend für die Band war. Einer dieser Abende, an denen die Musik, das Publikum und der Raum zusammenkommen. Das Album wurde direkt am Mischpult aufgenommen, wobei Dougie selbst nur minimale Nachbearbeitungen vornahm. Dougies Live-Band auf "At Tubby's" besteht aus Mike Etten an der elektrischen Gitarre und Connor ,Catfish" Gallaher an der Pedal Steel. Beim ersten Song des Abends, ,Los Angeles", ergänzen Ettens klassische Country-Licks und Catfishs hochfliegende Slide-Linien perfekt Dougies beeindruckende akustische Arbeit und seinen goldenen Bariton. Man merkt, dass die drei schon seit Jahren zusammen spielen und in dieser Formation straßentauglich sind. Sie nehmen sich einiger von Dougies beliebtesten Songs an, von Rave-Up's (,Beth David Cemetery" & ,Vaping on the Job") bis hin zu Country-Balladen (,Must Be in There Somewhere", ,Don't You Think I'm Funny Anymore") und allen Punkten dazwischen. Es gibt hier einige Stücke, die für Fans von Dougies letzten Alben neu sein könnten. ,Toshiba Sky" ist eine einmalige digitale Single aus dem Jahr 2020 und ,Wild Motion` ist ein Stück, das Dougie für Drugdealer aus L.A. geschrieben hat, die es für ihr 2020er Album Raw Honey aufgenommen haben. Bei "At Tubby's" wurde auch eine neue Komposition von Dougie aufgenommen, ,Heaven Sent an Angel", die das Set mit einer herzlichen Note abschließt. "At Tubby's" entführt den Zuhörer an einen anderen Ort und in eine andere Zeit und ist für alte und neue Fans ein spannendes Erlebnis.

"Crack" ist radikale Reduktion - Für das zweite Album hat die Berliner Band alle Differenzen und Summen weggestrichen und im Proberaum ein Punk-Album eingespielt, das keine weiteren Genrebezeichnungen braucht. DIY wird hier nicht als Gimmick, sondern als alternativlose Notwendigkeit verstanden - "Crack" entstand ohne Studio, ohne Produzent und ohne Ahnung. SEXBEAT interpretiert Punk geschichtsbewusst mit weitgefächerten Einflüssen, die von Oblivians über Suicide bis hin zu Hot Snakes reichen. Klanglich orientiert man sich am 90er-Jahre-Sound des Dischord-Katalogs: Bass und Drums drücken nach vorne, Gitarre und Gesang kotzen sich dazwischen aus. Die Songs klingen mal stark fragmentiert und mechanisch, mal detailliert ausgearbeitet, aber immer direkt und unverblümt. Textlich geht es um alles, was nervt: kaputte Politik, kaputte Gesellschaft und all die kleinen kaputten Dinge in einem selbst. Referenzen reichen von Gordon Solie Motherf**ers ("Give them a dirty floor for a stage. A five bucks show and I'm stoked for days") bis zu George Orwell ("Four legs good, two legs bad"*) - und am Ende muss sogar Grammy-Preisträger Beck herhalten, denn über allem steht: "You make me wanna try crack".

Stix Records, a sub-label of Favorite Recordings, is back with "Disco Reggae Vol. 6", continuing the much-loved series that kicked off over a decade ago.

Born in Jamaica, Reggae has always shared deep roots with Soul, Funk, R&B, and Pop from the US, and the island’s musicians have long mastered the art of reimagining iconic songs through their unique lens. With the Disco Reggae series, Stix Records proudly continues that tradition, serving up fresh reggae reinterpretations of timeless classics across various genres.
This sixth edition expands the selection with tributes to legendary artists like Roy Ayers, Patrice Rushen, Cymande, The Isley Brothers, Ramsey Lewis and Earth, Wind & Fire, to name just a few.

All covers on this volume were carefully curated by Charles Maurice, ensuring a cohesive and inspired selection throughout.
At the controls, it’s the same crew of friends as usual ; Taggy Matcher, Soul Sugar aka Booker Gee, and Mato, and this time, Mystic Jungle joins the gang with a killer Roy Ayers cover.

Get ready for a feel-good ride, perfect for dancing under the stars, cruising with the windows down, or just vibing with friends.

Purple vinyl, limited to 150 copies. Born from the murky industrial depths of Birmingham, UK, Margarita Witch Cult's self-titled debut studio album is a tour-de-force in classic metal, hard rock, doom, and mind-melting psych. A thunderous drum fill propels you into opener 'Diabolical Influence'- a lurching behemoth of a tune that makes easy bedfellows of crushing stoner riffs, Latin incantations, and a simply humongous chorus. The pace quickens with the frantic 'Death Lurks at Every Turn'- a hair-raising thrasher of breakneck snare rolls and unruly guitar solos. 'The Witchfinder Comes' only furthers the sense of foreboding, as tales of torture and pleas for exile fall on the ever-deafening ears of the listener. 'Be My Witch' comes in hot and heavy as a grungy ode to the forbidden, and the blistering 'Annihilation' concludes side A with speed-freak ferocity. The more adventurous and immersive side B is kick-started with 'Theme From Cyclops' - the deft chops of all 3 members being undeniable as we gallop into the ambitious, face-melting journey that is 'Lord Of The Flies'-a belting doom groover that culminates in a classic guitar & bass dual to rival even the most virtuosic of axe-wielders. As we near the end of our perilous sonic expedition, 'Aradia' serves up an instrumental serving of pure downtuned filth, with sleazy swagger and tasteful shredding that give extra provenance to its author's deep bag of tricks. The killer blow comes in the shape of the simply savage 'Sacrifice'- an unholy exhibition of undeniable force. The duality of the track makes for an experience that leaves our sweet listener reeling- the bludgeoning weight of its monstrous main-riff giving way to razor-sharp verses and a tripped-out, mind-bending psych jam- only to come crashing back to crushing reality as the final, fatal notes ring out. With their debut LP, Margarita Witch Cult have crafted a timeless, merciless beast- one that will chew you up and spit you out, yet somehow keep you crawling back for more.

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025

Dirty Dynamite is the seventeenth studio album from Swiss melodic hard rock/heavy metal band Krokus.

Well received by critics, partly due to the surprising element of their Beatles cover of “Help”.
The band origins from the seventies, and have since sold over 15 million records, toured the world and received gold and platinum discs in the US and Canada. The legendary English journalist Malcolm Dome quite rightly said:

“If you look at the long-term output of this band, Krokus is clearly one of the best hard rock bands of the last 40 years”.

Dirty Dynamite is available as a limited edition of 666 numbered copies on silver coloured vinyl and includes an insert with lyrics

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time shnatures exemplify her forays into angular indie rock more now than ever before, especially on her debut Bayonet Records single "Wakare no Kotoba"-its wide-interval arpeggios in odd meters being some of the most technically difficult guitar work Mei has ever implemented in her songwriting. Translated to "parting words" in English, the self-described "anti-love song" serves as a farewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Ravi, Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

»The Death of Me« ist das zweite Studioalbum der Metalcore-Band aus Sydney/Australien. In Australien kam es bis aus Platz 3 der Albumcharts, in Deutschland auf Rang 39. Metal1.info über das Album: »Ein absolutes Muss für jeden Metalcore-Fan«

»The Death of Me« ist das zweite Studioalbum der australischen Metalcore-Band Polaris. Die Band produzierte und und nahm es in Mollybook Beach NSW mit Lance Prenc und Scottie Simpson auf, und es wurde von Carson Slovak und Grant McFarland (Atrium Audio) in den Think Loud Studios, PA, USA, abgemischt. Das Album wurde im Februar 2020 unter Resist Records und SharpTone Records und SharpTone Records veröffentlicht und nominiert für einen ARIA Award für das beste Hard Rock- oder Heavy Metal-Album.

Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich / Germany, he has been living and working in Vienna / Austria as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016). The Harbour of the Broken Hearted (THOTBH) can be a state of mind, ramshackle but transcendent. Oscillating between the repetitive pulses of electronic music and organ-orchestrated minimalism, Bruch throws out comforting loops of sound just like fishing nets, that suck you into his stories unwaveringly. His evocative and unadorned vocal style adds to Bruch's depth, soul and sincerity. Drifting and driven amidst uplifting gloom. At times, solemnly striding against foggy and dogmatic black-and-white-thinking, rearing up in opulent resistance, then again just hopelessly beautiful and achingly wistful. Occasionally, Bruch's laid-back observations can also end in a wild ride. By introducing The Crusher, Bruch enters the harbour with full sails of self-reflexion - and we realize, sometimes it's all just about having to endure yourself. Or_ is it all about love? In the end, each and every of THOTBH's songs turns out to have a cathartic quality. Bruch's THOTBH might not be a safe space, but it accepts us as we are. With our doubts, our own frailties and our shortcomings. No need for embarrassment within the fragile. No need for shame and fear in expression. No need to shy away from creating something beautiful. You better learn to spell ,Sehnsucht" - as it turns out to be the everlasting keyword!

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

… oder Beastie Boys…oder Robert DeNiro…oder Banksy…oder Sportfreunde Stiller – klein anfangen und
dann mal schauen, was draus wird. Es wurde – zwar nicht wie alle erwähnten Künstler, aber der Weg
ist ja eventuell noch nicht vorbei für die Sportfreunde, die bei ihrem ersten Studioalbum auf vier Jahre
Liedansammlung zurückgreifen konnten. In Spanien mit und bei Uwe Hoffmann (Die Ärzte…) turbulente
Wochen verbracht, um in die Wunderwelt der Produktion eingeweiht zu werden. Daraus entstand eine
vorwärtsdrängende Musikplatte, die das zukünftige Spektrum der Sportfreunde definieren sollte. Zwischen
„Hockey (Feld)“ und „Fast wie von selbst“ liegen Punksongs, Balladen, verspielter Dadaismus, Neugier auf
Energie und tiefe Emotion. Sie schwebten damals auf Wolke sieben und waren auf Ochsentouren, auf den
10-Meter-Brettern (Video „Wellenreiten“), auf dem Mond (Video „Fast wie von selbst“), in Fernsehstudios
(Mit ihnen wuchsen und an ihnen verzweifelten MTV und VIVA), in Kochstudios (Video „Heimatlied“),
bouncten mit der Meute und Hans Rosendahl bei „Spitze“ um die Wette und sie klauten dem FC Bayern
die Meisterschale im Video zu „Wunderbaren Jahren“, dem Lied, das ihre erste musikalische Errungenschaft war und nach fast 30-Jahren immer noch deren Bandmotto darstellt. Denn, was soll denn noch
kommen? Außer eventuell ein Duett mit Mike D. und Ad Rock von Beastie Boys, ein Kurzfilm mit Robert
DeNiro, ein Mauerkunstwerk in New York mit Banksy oder eine Übernahme des königlichen Fußballclubs
Real Madrid…die wunderbaren Jahre sind noch nicht vorbei.
Auf dieser LP sind erstmalig auch die Lieder ”Rocket Radio”, ”Wir müssen gewinnen” und ”Money Mark”
enthalten, die es bisher nur auf der CD gab.
Nun kommt das Ganze in weiß daher, damit Nachzügler die reine Shellac-Weste bestellen können. Let´s
surf it!
180gr + weißes Vinyl, bedrucktes Beiblatt mit jeder Menge exklusiven Fotos von damals!

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.

We’re proud to present the first-ever official reissue of Les Nkenda — a rare and genre-blending spiritual gem from 1982, originally released in the Republic of Congo by the Cercle Biblique Évangélique (C.B.E.) of Pointe-Noire and produced by Adam Julien Koubemba on the small Adamsol Record Edition label. Pressed in extremely limited quantities and virtually impossible to find for decades, Les Nkenda has become a “holy grail” among collectors of African music. Fully remastered from the original tapes, it returns on vinyl for the first time since its initial release. More than a reissue, this is a revelation — a powerful fusion of gospel, psychedelic groove, folk, soulful funk, and Afro-Latin rhythms. Recorded in Pointe-Noire, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures. Both hypnotic and deeply emotional, Les Nkenda is music made without compromise — once lost, now revived for a new generation of collectors, diggers, and seekers of the extraordinary.

Discos Fantástico presents: Los Shapis – The Electric Pulse of Peruvian Chicha In 1980s Peru, during a time of crisis and mass migration, chicha music emerged as a joyful, rebellious sound from the people. A fusion of Andean cumbia, huayno, and psychedelic rock, the genre found its most iconic expression in Los Shapis. With electric guitars, emotionally charged lyrics, and rainbow-colored outfits inspired by Incan symbolism, they reshaped Peru’s popular music landscape. Discos Fantástico proudly presents an exclusive compilation of their best singles—restored and remastered for vinyl. A vital tribute to one of the most colorful and revolutionary movements in Latin American music history.

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

Italian Death Doom Metallers Larvae recently released their latest EP of putrid music. Now Me Saco Un Ojo is giving this cult cut of morbidity the vinyl treatment.
Filling the air with that cult atmosphere of Italian horror with a short introduction, fans of the macabre will be bewitched. This soon gives way to fetidly grisly riffs that spew forth slowly with a grotesque soundscape atop primitive drums and with vomitous vocals adding further disgust to the mix. Undeniably some of the most grotesque Death Metal you will hear, crawling like maggots under rotten flesh. Aside from mastering a repulsive atmosphere, Larvae will be noticed for having a unique take on the genre, while keeping it old school, sounding like no other band you’ve heard before. These short bursts of decay-spraying terror will surely entice the sickest freaks among you while the rest will be haunted by some estranged nightmares…
Make sure you do not miss this demo’s vinyl reissue so it can rot your collection from the inside out!

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

2025 is a special Britpop anniversary year, and Swansea Sound are keen to celebrate this summer’s coming together of every single music-lover in the UK with the release of their new single Oasis v Blur.
The song probably sounds more like The Fall getting into bed with The Sweet, but that’s just the way it turned out.
The B side, Pacio’r Fan, is about a journey back to a remembered teenage time, when idealism still burned and the world was full of potential. It is a wistful song, but it’s hopeful too: the idealistic flame is still there if you seek it out.
The release date of Oasis v Blur coincides with Swansea Sound’s live performance at the reasonably-priced Skep Wax Weekender, alongside label-mates including Sassyhiya, The Gentle Spring, Jeanines and Heavenly.
Swansea Sound have released two albums, several singles and have recorded live radio sessions for BBC6Music and WFMU (New York). They are Hue Williams and Amelia Fletcher (who both sang in The Pooh Sticks), Rob Pursey (in Heavenly with Amelia), Bob Collins (of The Dentists), Ian Button (The Night Mail, Papernut Cambridge, Death In Vegas ) and artist Catrin James (The Loves).

CHRISTMAS & NEW ORLEANS Louis Armstrong set standards in jazz with both the trumpet and his extraordinary voice, influencing all generations to come. Armstrong loved the Christmas season, the festive spirit and Santa Claus. This joy is reflected in his Christmas recordings. With his dazzling trumpet solos and distinctive, raspy and unique voice, Armstrong‘s Christmas songs continue to enrich music selections for the holiday to this day. Complemented by outstanding Christmas songs by his companions Ella Fitzgerald, Nat King Cole, Frank Sinatra, Dinah Washington, Les Brown, Dean Martin, Louis Jordan, Peggy Lee and The Dukes of Dixieland, Christmas becomes COOL YULE!

MR. CHRISTMAS In the beginning there was White Christmas and the Christmas albums of Bing Crosby. Everything else came after and can hardly compete with that success. Bing Crosby‘s sig- nature song White Christmas is still the best-selling single of all time, with 50 million units sold. The song, composed by Irving Berlin, first appeared in Crosby‘s film Holiday Inn. The composition won the Oscar for Best Original Song at the 15th Academy Awards. The song was so successful that it topped the charts again year after year, 16 times in the USA alone. The same goes for Crosby‘s Christmas albums. The records, which have been repeated over the past 70 years, have accompanied many generations and have become an integral part of Christmas. Christmas without Bing Crosby, without White Christmas would be something like doing without a Christmas tree, mulled wine or presents. So let‘s rather not try it!

40th Anniversary Edition

"RATT exploded on to the national scene in 1984 with the release of ‘Out Of The Cellar.’ Featuring an undeniable hook and legendary music video, lead single “Round And Round” hit #12 on the Billboard Hot 100, while ‘Out Of The Cellar’ reached #7 on the Billboard Top 200 and was certified triple platinum. Two more charting singles followed with “Back For More” and “Wanted Man”. RATT started the tour as an opening act, but by the end of the tour had climbed to arena headliner.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD with Lenticular Cover, and Limited Edition Red and Black Splatter vinyl with Lenticular cover with a Neon Orange 7"" single"

The fourth release on ALT, the sub label of Cartulis Music, sees the return of AV1, the freshly formed French duo composed of Chris Carrier and Le Loup. Following the success of Waves + Plants Pt. 1 (ALT004.1), the pair now delivers the highly anticipated second chapter, pushing the boundaries of their sonic exploration

AV1 is the result of a deep-rooted connection between two of the most respected names in the Parisian underground scene. Chris Carrier, a prolific producer and DJ since the late ‘90s, has carved out a legacy with his unmistakable approach to house and techno. Le Loup, equally revered for his refined touch and forward-thinking productions, brings his own signature style to the table. Together, they craft an electrifying synergy built on a shared love for acid, deep grooves, and classicist house/techno foundations.

Waves + Plants Pt. 2 (ALT004.2) expands on the energy of the first release, offering a fivetrack journey through a diverse soundscape. Blurring the lines between trance, techno, breaks, and experimental sounds, the EP showcases AV1’s ability to merge different sonic textures into a cohesive, cutting-edge release. From hypnotic acid sequences to raw drum programming and ethereal atmospheres, each track presents a unique side of their creative vision.

This latest installment solidifies AV1’s place as a standout project in contemporary electronic music and reaffirms ALT’s commitment to releasing forward-thinking, genre-defying sounds.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Repress!

Following their acclaimed debut Spirits, New Zealand"s boundary-pushing jazz collective The Circling Sun return with their sophomore LP Orbits - a deeply layered fusion of spiritual jazz, analog electronics, and percussive groove. Where Spirits explored 1960s influences, Orbits shifts into the mid-"70s, drawing inspiration from Rahsaan Roland Kirk, Yusef Lateef"s Atlantic era, and the Brazilian jazz of Azymuth and Airto Moreira. The ensemble blends arpeggiating Prophet synths and modular electronics with acoustic instrumentation: saxophone, upright piano, vintage drums, and hand-played percussion. Tracks move seamlessly between danceable Afro-Cubanrhythms and expansive, ambient jazz meditations - with layered vocals and choral textures guiding the listener through an interstellar sonic journey. Lush yet accessible, Orbits appeals to both deep jazz heads and fans of ambient, soulful instrumental music.

Im Sommer 1968 traf sich der 18-jährige Genesis P-Orridge (damals Neil Andrew Megson) mit Freunden in einem bescheidenen Dachgeschoss, um mit Klängen zu experimentieren. Das Ergebnis war "Early Worm", eine Sammlung von Aufnahmen, die die aufkeimende Kreativität eines Künstlers einfing, der später eine Schlüsselfigur der Avantgarde-Musik werden sollte. Diese Sessions, die 1969 auf ein einziges Acetat gepresst wurden, zeigen eine furchtlose Erforschung von Geräuschen, Improvisationen und Tonbandexperimenten, die Einflüsse von Psychedelia, Fluxus, John Cage und Beatnik Bohemia widerspiegeln. "Early Worm" ist ein Zeugnis für P-Orridges frühes Engagement, musikalische Grenzen zu überschreiten. Die rohen und ungefilterten Klanglandschaften des Albums bieten dem Hörer einen seltenen Einblick in die Gründungsmomente, die schließlich zur Gründung von COUM Transmissions, Throbbing Gristle und Psychic TV führen sollten. Remastered und in einer limitierten Vinyl-Pressung, mit Linernotes geschrieben von Genesis Breyer P-Orridge, die den Zeitgeist des UK Undergrounds der späten 60er Jahre in Erinnerung rufen. "If nothing else, (Early Worm) revealed that P-Orridge's approach to music was defiantly left-field from the start: noise, improvisations and tape experiments that sounded a little like a more chaotic version psychedelic folkies the Incredible String Band." . The Guardian

Five years after their groundbreaking debut "Klucz" (hailed as the best Polish hip-hop album of 2004), the Warsaw-based crew Wilku, Bilon, and Żary returned with another hard-hitting project – "Droga", originally released on April 15, 2009.
Now, 16 years later, this cult classic is returning for the first time ever on vinyl – in a special collector’s edition!

"Droga" features a lineup of guest artists who, at the time, formed the backbone of the Polish hip-hop scene, including Peja, Lukasyno, Firma, Fandango Gang, Juras, Bas Tajpan, Ras Luta, Dixon 37, and Diil Gang.
The members of Hemp Gru explain the meaning behind the album title:
“The first album was the 'Key' that opened the door. Now, beyond that door, lies the Road – hence the title of the second album.”
The album earned Gold Record status – twice – and is now regarded as one of the foundational releases of Polish street hip-hop.
Vinyl Edition Includes:
• 2 vinyl records (vinyl mastering by DJ 600V) in a gatefold sleeve
• 1 fold-out double-sided poster (60 cm x 30 cm)
• 1 double-sided insert (30 cm x 30 cm)
• 2 exclusive instrumentals: Droga and W Hemp Armii
A must-have for fans and collectors of Polish hip-hop history.

Martin Scorsese ist einer der wichtigsten Filmregisseure der New-Hollywood-Ära. Dank Filmen wie »Taxi Driver« (1976), »Raging Bull« (1980), »The Wolf of Wallstreet« (1986), »Goodfellas« (1990), »Casino« (1995) und »The Irishman« (2019).

Außerdem erhielt Scorsese zahlreiche Auszeichnungen, darunter einen Academy Award, vier BAFTA Awards, drei Emmy Awards, einen Grammy Award und drei Golden Globe Awards. Hier sind Songs von Dean Martin, Frank Sinatra über Ella Fitzgerald, Dinah Washington, sowie Howlin Wolf und John Lee Hooker vertreten. Auf dem vorliegenden Soundtrack-Album sind somit 21 Stücke aus der Filmmusik der erfolgreichsten Scorseses Film-Meisterwerke enthalten.








h Walk on the wild side part 1 (1962) from casino & the color of money








h Walk on the wild side [part 1] (1962) from casino & the color of money








[h] Walk on the wild side [part 1] (1962) from casino & the color of money








[h] A8 | Walk on the wild side [part 1] (1962) from casino & the color of money

Trust in 6 was a one-off project by Torsten Stenzel, produced in collaboration with André Fischer (Recall IV, Technoline, Scope) and Lars Janzik (Scrot). Their sole release, “Life in Ecstasy”, came out in 1991 on Techno Drome International, a sub-label of ZYX Records, and earned a spot on the first volume of the legendary Techno Trax compilation series. The track fuses techno and EBM with a dark, driving energy-layering classic trance arpeggios, eerie pizzicato samples, and haunting, hypnotic vocals into a standout piece of early '90s electronic music.


Limited edition of 300 copies on black vinyl and 200 copies on clear vinyl, including both original mixes, the renowned Digital Mix (also known as Razormaid Mix), and a radio edit.


The undisputed king of Disco House Purple Disco Machine returns to his club roots with retro-inspired release ‘Ghost Town’ ft. Rertosonix. Fresh off reworking the Hurts classic ‘Wonderful Life’ and delivering a huge remix for ‘Born Again’ (Lisa ft. Doja Cat & RAYE), the Dresden-born producer is once again ready to conquer the dancefloor with his signature sound. Tailor-made for that insatiable desire to dance, it’s a release engineered for movement, locking straight into the pulse of late-night energy and crowd euphoria. As such, the track is unsurprisingly becoming a favourite in Purple Disco Machine’s sets already, where dates in Mexico, the USA, and Spain have left the dancefloors anything but a ‘Ghost Town’. Armed with a dancefloor weapon, Purple Disco Machine drops the release early for DJs on Beatport.

A master of channelling the nostalgia of dance music’s beginnings and blending it with a modern-day flair, Purple Disco Machine has expertly crafted a record reminiscent of throwback disco cuts. The soulful vocals come courtesy of Retrosonix, successful songwriters who have come together to specialise in retro disco vocals that ingeniously feel straight from the archives. You’ll be sonically transported back to a time when disco was heard on every corner. Tactfully letting the powerful hooks and provocative lyricism lead the rhythm for the tune, Purple Disco Machine’s iconic groove-driven beats and mesmerising synths lay the foundation for a dancefloor classic. Crafting breakdowns dripping with funk, the disco maestro builds to a crescendo that will undoubtedly be a crowd pleaser for his many shows in 2025.

On the release, Purple Disco Machine said: “While a number of my recent records have referenced the more electronic 80s disco sound, I never lost the love for the classic funky disco of the 70s - which in many ways was the original blueprint - and so it has been equally inspiring and enjoyable to work with this palette again. I'm hoping that the listeners are as haunted (in a good way…) by Ghost Town as I am !”