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Berlin-based duo TRAINING team up with bassist Ruth Goller for their new album ‘threads to knot’. Frenetic free-jazz is sitting next to post-rock riffs and looming microtonal atmospheres.
The record was written in a truly collaborative effort, adapting the concept of ‘cadavre exquis’, the popular drawing game: One person would start writing a few notes before passing it on to the next, revealing only the very last note, with which the composition continues.
TRAINING is comprised of drummer Max Andrzejewski and sax player Johannes Schleiermacher, whose last album ‘Three Seconds’ saw them collaborate with Deerhoof guitarist John Dieterich.
Ruth Goller, who has been hailed by the Guardian for her 'thunderous bass-guitar hooks' has made waves this year with the release of her second album 'Skyllumina'. She’s also known as a live performer with Kit Downes, Alabaster de Plume, Melt Yourself Down among others.

"Adult Swing" is the first full album as KCT (aka Karel Cuelenaere from Black Flower, John Ghost and Ping O.D and is immediately one that will put the trio firmly on the map.



Karel Cuelenaere, in the wake of Black Flower, John Ghost and Ping O.D. has gained numerous compliments from the international press. Louder Than War (UK) talks about his "incredible keyboard virtuosity" and OOR (NL) labels him as a "descendant of Keith Emerson". The Standaard (Belgium praises his "decisive contribution to the sound" of the aforementioned bands.
While Karel is now mainly perceived as a keyboardist within the prog-, rock- and hybrid jazz scene, with KCT - abbreviation of Karel Cuelenaere Trio - he resolutely opts for the grand piano. He is assisted by double bass and drums, respectively performed by Cyrille Obermüller and Gert-Jan Dreessen, both highly respected musicians in the Belgian jazz scene.
The trio is stylistically anchored in the Belgian jazz tradition, building on the work of Aka Moon, Octurn and Jozef Dumoulin, among others, and incorporates the atmosphere of 'saudade', a kind of melancholy that Karel got to know on a tour in Brazil and recognizes in the recordings of pianist Keith Jarrett during the 60s.

"Adult Swing" is the first full album as KCT and is immediately one that will put the trio firmly on the map.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Turbostaat - Role Model für eine ganze Generation deutschsprachiger Post-Punk-Bands - feiert das 25-jährige Bandbestehen mit der Wiederveröffentlichung ihres Katalogs über das bandeigene Label 18Null9. 'Vormann Leiss', mit dem 2007 die enge Zusammenarbeit mit Stammproduzent Moses Schneider begann, erscheint auf 180g schwerem Vinyl mit großem Textheft im Orginal-Artwork.

- Ltd LP: (180g, inkl. Textheft im 7" Format)

In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.

25 years ago, this record sprang on the scene— a record holding a voice impossible to draw comparison to, and lyrics and stories alien to anything that resonated from The Opry’s stage beforehand. Mary was the first openly queer person to play The Opry, and for us at KRS, this record encapsulates things new, exciting, bold, while being an absolute standout to what the realm of Americana has to offer. This is an authentic American experience, cliches weren’t needed. Mary is a legend. This record will always feel new, exciting, and bold.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

Rubblebucket’s new album explores one particular year from the band’s past known as the Year Of The Banana. Frontwoman Kalmia Traver has a personal practice of naming each year since 2011. However, in 2015 (Year Of The Banana) Kalmia’s romantic relationship with Rubblebucket co-founder Alex Toth fell apart, and that year was spent peeling off psychological layers in search of the sweetness that would allow the friendship, and the band, to continue. “People get obsessed with the albums that were never finished because the band couldn’t stay together,” Kalmia says. “But Year Of The Banana is the album that did get finished.” So Rubblebucket is celebrating 15 years as a band with a record about the year it almost ended. Rubblebucket is still a through-and-through art rock dance band, virtuosic experimental musicians with a pop sensibility along the lines of Talking Heads, Prince, or Kate Bush. But there’s nothing retro about Rubblebucket’s sound; they’re mixing electronics with real instruments, especially horn sections (Alex plays trumpet, Kalmia sax) and they feel at home in the same universe as Caroline Polachek, SZA, or Chappell Roan. Listening to Year Of The Banana, it’s impossible to overlook how joyful it is, how full of hope. The album speaks to the power of transforming and adapting relationships in a time when the world needs it most. The album has a transforming effect, inspiring us to face ourselves and radically keep loving each other, assuring us that the unpredictable process has potential to feel as free and sweet as peeling a banana on the dance floor.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Originally released following Deep Purple’s split in 1976, David Coverdale’s first two solo albums will be available on vinyl for Rocktober 2024, newly remixed and presented as Whitesnake records. Featuring future Whitesnake lead guitarist Micky Moody, and produced by Deep Purple’s Roger Glover, these long out of print albums are a key part of the David Coverdale and Whitesnake story.

Dave Stewart & The Spiritual Cowboys is the self-titled debut album by the English rock and pop band released in 1990.

The band was formed by David A. Stewart who is known for being part of the British pop duo Eurythmics.

Dave Stewart & The Spiritual Cowboys is available as a limited edition of 1000 numbered copies on gold coloured vinyl and includes an insert with lyrics.

Honest is the second album by the English rock and pop band Dave Stewart and the Spiritual Cowboys released in 1991.

The bandmembers on this album include Chris Bostock from JoBox-ers, Jonathan Perkins, Olle Romo and Nan Vernon,

but also include Martin Chambers from the band The Pretenders and John Turnbull from Ian Dury and The Blockheads.

Honest is available as a limited edition of 750 numbered copies on translucent magenta coloured vinyl and includes an insert with lyrics.

Tonic is an American rock band, formed by Jeff Russo and Emerson Hart in 1993. Sugar is their second studio album, includes the charting singles "Knock Down Walls" and "You Wanted More".

It was released in 1999. The track "You Wanted More" was also included in the coming-of-age teen comedy American Pie.

Sugar is available on vinyl for the first time and includes an insert with song lyrics.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Toy Tonics sublabel Kryptox comes with a new album by Greekharpist SISSI RADA. "Demeter in Aexone" is a 45" pure soloimprovisation on harp. Using no post production techniques and nooverdubs, the album was recorded one afternoon in her studio inVoula, Athens, overlooking the ancient demos of "Aexone". It is atribute to the ancient myth of Persephone, the daughter of thegoddess Demeter, to whom the Eleusinian Mysteries were dedicated.

„Misfits“ ist das siebzehnte Studioalbum von The Kinks, das im Mai 1978 veröffentlicht wurde. Die
Aufnahmen begannen im Juli 1977 im KONK-Studio der Band in London und etablierten weiterhin die
Mainstream-Rockrichtung, die 1977 mit Sleepwalker eingeführt wurde. Das Album markierte eine Zeit
bedeutender personeller Veränderungen: Der langjährige Bassist John Dalton verließ die Band nach der
Veröffentlichung von Sleepwalker, ist aber immer noch auf mehreren Stücken zu hören, die während dieser
Aufnahmen entstanden. Er wurde nur für ein Album durch Andy Pyle ersetzt. Das Album war auch das
letzte, auf dem der Pianist John Gosling zu hören war.
Die Singles und herausragenden Stücke – „Misfits“, „Rock ’n’ Roll Fantasy“, „Live Life“ und „In a Foreign
Land“ – behandeln Themen wie Entfremdung, Widerstandskraft und die Kämpfe des Alltags. Kritiker
lobten das introspektive und oft ergreifende Songwriting und die Texte und erkannten das Album als eines
der nachdenklichsten und persönlichsten Werke der Band an.
Misfits nimmt in der Diskographie der Kinks einen wichtigen Platz ein und zeigt ihre anhaltende Relevanz
und Anpassungsfähigkeit in der sich verändernden Musiklandschaft der späten 1970er Jahre. Das Album
wurde von allen Original-¼-Zoll-Bändern neu gemastert.

Psychoderelict wurde von Pete Townshend geschrieben und produziert. Einige Charaktere und Themen,
die in diesem Werk vorgestellt werden, wurden in Townshends späterem Werk The Boy Who Heard Music
weitergeführt, das erstmals auf dem elften Studioalbum Endless Wire (2006) der Who vorgestellt und dann
als Rockmusical adaptiert wurde.
Diese Version ist ohne Dialog und wurde zum ersten Mal auf Vinyl veröffentlicht.
Psychoderelict ist Townshends sechstes und bisher letztes Solo-Studioalbum.
Diese schwarze Vinylversion wurde von Miles Showell in den Abbey Road Studios mit einer Half-SpeedMastering-Technik erstellt, die einen hervorragenden Vinylschnitt erzeugt.