Cerca:run x

Reissued 1974 album. The Birmingham Metal gods' debut LP, originally released in 1974 by Guil Records, now has the addition of the 'Diamonds And Rust' single as a bonus track to give a total of 11 cuts that show the early years of this internationally successful five piece.

2xLP gatefold jacket (recorded in Side A, B, C, and no music recorded in back side of Side D)

Soundtracks including the scores used in the film, including the main theme “The Promise of the World” sung by Chieko Baisho who is a voice actress of the main character, Sophie.

2026 Repress

Since its inception in 2016, Cornucopia has been a musical project synonymous with creativity and depth. The name itself, rooted in ancient mythology, symbolizes abundance and prosperity. Today, it evokes the same spirit- a metaphorical horn overflowing with ideas and innovation. This ethos emerges in the latest release, the fifth offering from the new label run by Guy J.

The music is a testament to artistic richness and a celebration of sonic exploration.
The release opens with Remember Me, a mellow yet groove-infused track tailor-made for sunset moments by the sea. Built on hypnotic layers, it evolves into an atmospheric journey that blends joy, subtle ecstasy, and vibrant energy. In an age of musical hyperproduction, Remember Me is a reason alone to celebrate Cornucopia's return. Yet,it is only the beginning; the unexpected euphoria unfolds as the release progresses.

Seasoned partygoers often categorize tracks by their vibe-some are designed for the night, while others are for the early hours. The title track, Early Morning, is an ode to the latter, crafted to accompany the most dedicated dancers as they greet the dawn. Driven by uplifting arpeggios, the track radiates unfiltered positivity, eliciting smiles and a deep connection among those on the dance floor. Already road-tested in DJ sets, this euphoric anthem has been hailed as a secret weapon of underground music, delivering pure joy with every beat.

Released by the Early Morning label, it is a fitting finale to this remarkable collection. With its undeniable potential to become a future classic, Cornucopia's latest offering is an experience that lingers long after the final note.

2026 Repress

Dam Swindle's new 'Backyard Galaxy' EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The 'Backyard Galaxy' EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track 'Backyard Galaxy' is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of 'Rhythm Baby'. The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut 'What you give', which reminds us of Dam Swindle's remix of Cinthie's Heist hit 'Won't U take me' with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: Once a househead, always a househead.

As always, enjoy the music and play it loud!

Much love,
Heist HQ

Two worlds collide in the third release from the downtempo dedicated, Truffle101. Based out of Brighton UK, Acid Chaz shares a melting pot of sounds, wandering between Trip Hop and Dub, whilst Argentinian born and raised Keny G handles things on the flip side. Warm and charming sounds from this producer on the rise. Six cuts for the slower days.

With a GRAMMY nomination and years of touring experience, this female- forward string band releases a career- defining album with Magic Accident . Longtime supporters of women in roots music, Della Mae teamed up with producer Alison Brown for this new release, their first on Nashville-based Compass Records. Magic Accident showcases the band's range of talents, from Americana songs that evoke early Chicks to energetic bluegrass and dreamy indie folk-inspired tunes.

The band's vocal power and instrumental skill shine throughout this mostly original collection, with standout tracks including "Out Run 'Em," written by guitarist Avril Smith and featuring champion fiddler and band founder Kimber Ludiker, "Lifeline," sung by bassist Vickie Vaughn, and the title track, written and sung by Celia Woodsmith. Guest artists on the project include Mary Bragg (vocals) and Jen Gunderman (accordion), with Brown playing banjo and guitar throughout. Since forming in Boston in 2010, Della Mae has proved to the roots music world that an all-women band is no novelty. Their 2013 Rounder Records release, This World Oft Can Be, earned them their first GRAMMY nomination for Best Bluegrass Album. That same year, the International Bluegrass Music Association named them Emerging Artist of the Year. Della Mae has performed in over 30 countries on behalf of the U.S. State Department. They are favorites on the roots music circuit, where their highenergy performances always get audiences on their feet, inspired by the power of their music and message. Available on turquoise coloured vinyl with 4-page folder and digipak CD editions

"‘Hydra’ is the sixth studio album by Dutch symphonic metal band Within Temptation. It was originally released on January 31, 2014 in Europe and on February 4, 2014 in North America. The album contains guest appearances by singer Howard Jones (ex-Killswitch Engage), rapper Xzibit, metal vocalist Tarja Turunen (ex-Nightwish) and alternative rock singer Dave Pirner (Soul Asylum). It was the first album by Within Temptation to be recorded with three guitarists, with Stefan Helleblad making his Within Temptation studio debut on ‘Hydra’ since his addition to the band shortly after the release of ‘The Unforgiving’ in 2011. ‘Hydra’ is also the first Within Temptation album to feature Robert Westerholt's growling techniques since the band's debut album, ‘Enter’ in 1997. The band wanted it to be a real Within Temptation record, but heavier, more musically challenging, pushing borders and frontiers with new elements and influences, and at the same time bring back more from their early metal roots “... A bit like the past and future at the same time"" – as stated by the band.

The album title refers to the great variation in musical genres, the band improves on with each new release. Guitarist Robert Westerholt adds: ""Hydra is a perfect title for our new album, because like the monster itself, the record represents the many different sides of our music"". According to the ancient Greek mythology, the Hydra was a giant multi-headed serpent that, for each severed head, sprang forth two more in their place. This new Expanded Edition comes with 8 bonus tracks, never released on vinyl before.

Rote splatter Vinyl. Nach über 16 Monaten ohne frische Musik sind KAFFKIEZ zurück und kündigen direkt ein neues Album für den 30.01.2026 an. Noch vor 5 Jahren waren die Shows dieser Band nur von Freunden & Verwandten besucht. Mittlerweile finden die Familientreffen der Rosenheimer Bande in großen Hallen statt und die ansteckende Leichtigkeit der Band verbindet weit über ihre Musik hinaus. Wie die Nachbarsjungs, mit denen man immer noch gerne eine Runde um den Block dreht, stehen KAFFKIEZ für eine durchdringende Befreiung von Alltagslasten und ein Augenzwinkern, das die Sorgen auf morgen vertagt. Die Jungs der Band machen klar, um was es ihnen geht. WIR. Ein Album das Zusammenhalt und Gemeinschaft durch und über die Musik hinaus manifestiert. Eine Einladung an alle Fans von lebenshungrigen Gefühlen, langen Sommerabenden und treibender Leichtigkeit. Wer schon länger Teil der KAFFKIEZ Family ist, wird sich über die gut bekannten und unaufhaltsam nach vorne marschierenden Rhythmen & die schrammelnden Gitarren direkt abgeholt fühlen. Doch der Sound des kommenden & dritten Studioalbums der Band hat an Druck und Kraft gewonnen. Elemente wie Bläser und Synths strecken die Hände in neue Richtungen aus ohne zu vergessen, wo sie herkommen. Ein Familienausflug der Extraklasse.

Als Blackwater Holylight vor drei Jahren ihre Heimatstadt Portland, Oregon, verließen, war es ihr Ziel, der Tristesse des pazifischen Nordwestens und dem beruhigenden Komfort des Vertrauten zu entfliehen. Mit dem Ziel, das sonnigere Klima von Los Angeles zu genießen, fand sich die Band nicht nur in einer wärmeren Umgebung wieder, sondern auch in einer völlig neuen Landschaft - einer ohne Arbeitsplätze, langjährige Freundeskreise und die bequeme Zuflucht alter Gewohnheiten. Und genau hier, unbelastet von der Zufriedenheit der Sicherheit, begann Blackwater Holylight fleißig an ihrem vierten Album ,Not Here Not Gone" zu arbeiten. Wie schon ihre früheren Werke beschäftigt sich ,Not Here Not Gone" mit der Dualität von Licht und Dunkelheit - bedrohliche Riffs bilden das Fundament für betörende Melodien, dichte Wände aus Shoegaze-Gitarren paaren sich mit luftig-leichten Synthesizern, und schwere Themen werden durch sirenenhafte Gesänge vermittelt. Im Laufe des Albums verspürt der Zuhörer mal ein Gefühl der Stärke, mal ein Gefühl der Verletzlichkeit. Wie Schlagzeugerin Eliese Dorsay es beschreibt: ,In einigen Songs sind wir die Raubtiere, in anderen die Beute." Die Gegenüberstellung von Selbstvertrauen und Unsicherheit ist nirgendwo so deutlich zu spüren wie bei einer lebensverändernden Entscheidung, was vielleicht erklärt, warum der Umzug der Band ihr Studium der Kontraste auf ,Not Here Not Gone" zu neuen Höhenflügen intensiviert hat . ,Not Here Not Gone" wurde im Sonic Ranch außerhalb von El Paso, Texas, von Sonny Diperri (Narrow Head, DIIV, Emma Ruth Rundle) aufgenommen, wodurch die Band erneut ihre Komfortzone verlassen und sich an einem Ort isolieren konnte, an dem sie sich ausschließlich auf ihre Kunst konzentrieren konnte. Das Ergebnis ist das Kronjuwel von Blackwater Holylights Diskografie - eine reichhaltige und eindringliche Studie in tonalen Hell-Dunkel-Kontrasten, in der das Licht seinen Weg aus den Schatten findet.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

"Ballad of a Small Player" ist eine der großen Veröffentlichungen von Netflix im Jahr 2025. Der Film mit Colin Farrell erzählt die Geschichte von Brendan Reilly, einem in Ungnade gefallenen irischen Finanzier, der sich als der aristokratische "Lord Doyle" ausgibt und in Macau lebt, nachdem er vor seinen Finanzverbrechen im Vereinigten Königreich geflohen ist. Reilly wechselt zwischen Hotels und Kasinos, während seine Abhängigkeit von Alkohol und Glücksspiel wächst.

Die Musik für diesen Film wurde von Volker Bertelmann komponiert, einem der bekanntesten zeitgenössischen Filmkomponisten. Nach "Conclave" und "All Quiet on the Western Front" ist dies die dritte Zusammenarbeit zwischen dem Komponisten und dem Regisseur Edward Berger. Bertelmann verleiht dem Film eine angespannte, paranoide Atmosphäre, die die Welt von Brendan Reilly perfekt einfängt.

"Ballad of a Small Player" ist auf Translucent Red Vinyl erhältlich und enthält eine Beilage.

Joe Morgan's "Basement Session" has the trademark Wackie's sound, deep and deeper. Its got great lyrics about the runnings of NYC basement sessions in the 1970's, a wicked dub to match, and a tough rhythm laid by the Reckless Breed band. Released on the "Bullwackie" label using the stock font and layout of one of NYC's long-shuttered pressing plants, according to Mr. Barnes this one was released "right before I got my logo."

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

"Ranking Dread In Dub, originally released, on the Silver Camel UK label run by the late Tony Gorman, in 1982 is back in the shops with a completely remastered version that highlights the musical production of this classic album. The rhythm’s are provided by The Roots Radics and Sly & Robbie, with the tracks mixed at King Tubby’s. It also come back with the iconic artwork by Rod Vass."

2026 Restocked!

If you've been following the Payfone story over the last 13 years, you'll know that Phil Passera and Jimmy Day's long-running collaborative project has specialised in one-off musical morsels - sublime songs cooked up in cahoots with all manner of guest musicians and vocalists. Never ones to rest on their laurels, Day and Passera have now delivered a full six-track tasting menu in the shape of Lunch, their hotly anticipated debut album.

Recorded over an 18-month period at Passera's Barcelona studio and Day's studio in Brighton, Lunch is an unsurprisingly assured and musically detailed affair that's entirely made up of previously unheard songs. Unlike acid-flecked recent single 'Volt To Volt', which delivered a tweaked take on late 1980s house music, the album's six tracks showcase the trademark sound the duo has been developing since first joining forces 13 years ago.

Trawl back through Passera and Day's high-quality catalogue, which includes outings on Leng, Golf Channel Recordings and Defected as well as their own OTIS imprint, and that distinctive musical recipe becomes clear. Rooted in their love of classic drum machines and their trusty JUNO-60 synthesiser, the Payfone sound combines equal amounts of electronic and organic instrumentation, warm and inviting downtempo and mid-tempo grooves, and pertinent and thoughtful lyrics delivered with panache by an impressive roll call of guest vocalists.

Lunch, then, is a standalone sonic statement - an initially vinyl only album on their own OTIS imprint - that continues this impressive lineage. Like all Passera and Day's collaborative work, it is free of samples, with the pair preferring to create their own sounds from scratch. Opener 'Movin' On', featuring the honeyed vocals of former XL Recordings artist Willis Earl Beal AKA Nobody and slap-bass from Jo Gabriel Harris (who also features on three other songs across the album), is a deep and effortlessly evocative mid-tempo delight that perfectly sets the tone for what's to come.

Brooklyn-born April Pittman and Russian/Armenian vocalist Zara Kian lend their talents to woozy, sun-baked shuffler 'Paperman' before regular Payfone collaborator Ludmilla Rodriguez headlines 'Joan of Arc', a veritable Mediterranean breeze rich in tumbling analogue synth synths, elastic bass and tumbling guitar solos. Those yearning for a touch of lightly disco-flecked dancefloor heat will savour 'Spend The Night', where Los Angeles singer Collette Tibbetts AKA Carmella The Balls, accompanied by virtuoso keys courtesy of Parisian pianist Gabriel Cazes, rises above a sweet, melodious, dub disco-adjacent backing track. In contrast, 'Pamela' is low-slung and hypnotic, with 'Sofian' vocalist Barbara Alcindor ushering us through a deep, heady groove-scape.

Fittingly, Passera and Day round off Lunch via a vibrant and potent sweet treat, 'Pony Bar'. Headed up by the J.J Cale-esque lead vocals of man of mystery Leon Lace, the pedal steel-sporting song joins the dots between dusty Americana, kaleidoscopic Balearic beats and lilting, slow-motion disco. Like the rest of the album, you'll be thinking about it long after you've washed down the last few musical mouthfuls.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!