quête:s records

Deafheaven have shared details of their new album Lonely People With Power - set for release March 28th via their new label home, Roadrunner Records alongside releasing the first single from the record ‘Magnolia’.

Recorded with producer Justin Meldal-Johnsen St. Vincent, M83, Lonely People With Power follows Deafheaven’s 2021 studio album, Infinite Granite, which saw the GRAMMY-nominated band charting new ground and expanding stylistic boundaries. On Lonely People With Power, Deafheaven again confound expectations, piling element on element, and towering towards the sky with their most ambitious release yet. Tracked at EastWest Studios, Lonely People With Power includes additional vocal contributions from Jae Matthews of Boy Harsher and Paul Banks of Interpol.
The band return to the UK in June to play Manchester’s acclaimed Outbreak Fest.

Der gefeierte Komponist (A Scanner Darkly, Before Midnight, Hit Man) und musikalische Außenseiter Graham Reynolds veröffentlicht sein erstes Soloalbum für Fire Records. Gepresst auf limitiertem lila/weißem Splatter-Vinyl in einem Deluxe Die Cut Mountain Sleeve. Eine sozio-geografische Reise entlang der Sierra im Kopf. Der herausragende Titeltrack "Mountain (Part 1)" ist voll von romantischen orchestralen Schwüngen, die das Bild einer weiten Landschaft heraufbeschwören, die von einem einzelnen Gipfel unterbrochen wird, während "...Part 2" einen zerklüfteteren Weg einschlägt, der einen kantigen Bergrücken überquert, bevor er sich in einem Hermann-esken Hitchcock-Stück festigt. "Mt. Monadnock" in New Hampshire wird namentlich erwähnt, während der "Enchanted Rock" (ein donnerndes, an die Einstürzenden Neubauten erinnerndes Wiedererwachen der Sinne, das von Grahams charakteristischer dröhnender Orchestertrommel begleitet wird) etwas außerhalb von Austin, Texas, steht, wo Reynolds seit über 30 Jahren zu Hause ist. Das Album wurde von Reynolds komponiert und eingespielt, mit Beiträgen vieler seiner musikalischen Freunde. Produziert und abgemischt wurde es von geheimnisvollen englischen Duo PeterTalisman. Das Album birgt einige Überraschungen, Austin-Nachbar Jad Fair (Half Japanese) taucht mit Backing Vocals auf, ebenso die italienische Chanteuse Marta del Grandi, deren beschwörende Worte auf "Linger In Silence" das exquisite siebenminütige "Prophet Harmonic" wieder zum Leben erwecken. ,Dieses Album ist sehr persönlich. Es beginnt mit Monadnock, dem ersten Berg, den ich je bestiegen habe, oben in Neuengland. Die erste Seite endet mit dem Enchanted Rock, dem ersten Berg, den ich in meiner Wahlheimat Texas bestiegen habe. Und obwohl ich schon mein ganzes Leben lang Musik veröffentlicht habe, ist dies das erste Mal, dass ich für etwas Eigenes, das nicht an einen Film oder ein anderes Medium gebunden ist, echte Labelunterstützung bekomme. In gewisser Weise ist es also mein erstes echtes Soloalbum", so Graham Reynolds.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Six years removed from their last release, Seattle’s Great Grandpa return with Patience, Moonbeam - an ambitious and deeply moving new album that almost didn’t happen. A decade of making music together was put on pause while each of the band’s were called indifferent directions. But as with any good relationship built on mutual love, trust, and a mountain of shared history, the quintet reunited, scrapped most ideas of songs they had put together, and started fresh to work on what would become their best album to date, due out in March on Run For Cover Records. Whereas 2019’s Four of Arrows mostly came together in the pressure cooker atmosphere of the studio with the help of an outside producer, Patience, Moonbeam emerged slowly through a generous demoing process. With fewer constraints and more control, the band had the opportunity to experiment and take their time, leading to a collection that feels and sounds more fully, confidently, themselves. Built on an “open door policy” for writing and recording, Patience, Moonbeam is the result of how seamlessly all five members contributed to the creation of the album. The result is a record that swings like a pendulum from heavy to tender, playful to weighty, painting a sonic illustration of the pains and pleasures of being alive across eleven songs. What could suffer from a kitchen-sink approach instead comes together brilliantly, a testament to the band’s musical and spiritual connection. With Patience, Moonbeam, Great Grandpa has crafted a triumphant document of what happens when your collaborators become your chosen family.

Collection of 12 Blaze tracks compiled from home, studio and intimate live recordings between 1976 - 1988, this 'Best of Blaze' compilation features Blaze's renditions of songs since covered by Merle Haggard, Willie Nelson, Lyle Lovett and John Prine. Culled from posthumous CDs released by Lost Art Records and Fat Possum.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

Rock and Rock roots, deep down under You'd better believe it! The roots of Australian rockers AC/DC lie in the whirlwind of original fifties rock and roll.
In the early days the group would cut their teeth on the club circuit with a live set that would include a handful of band originals,a few Rolling Stones numbers plus many crowd pleasing Rock and Roll classics.
The Sydney club and bar scene was rough so you had to get the punters on your side.
With their original singer Dave Evans at the helm the group who play residencies at the likes of the New Hampton Court Hotel in Sydney entertaining with their own brand of loud guitar takes of 'Carol' and 'Bye Bye Johnny'by Chuck Berry,'Tutti Frutti'by Little Richard,as well as rocking standards like 'Shake,rattle and roll' and 'Blue Suede Shoes'.
Cranking out cover versions didn't die even when the group composed more original material,a version of 'School Days' by Chuck Berry would appear on their second album' TNT',whilst 'Baby Please Don't Go' would be pulled from their original 1975 debut album'High Voltage' and issued as a single in America.
These roots are the reason that AC/DC have become one of the best loved bands on the planet who never fail to deliver the goods everytime.......

The Doors Californian kings of psychedelic-blues rock not only stood heads and shoulders above the peace and love hippy explosion of the sixties, but they were also proud to wear their influences on their sleeves by forwarding to the future by reconstructing the past.
The early live shows of the band performed in 1967 at the likes of the legendary Matrix Club in San Francisco would feature the group playing two sets, both featuring a mix of band originals and Blues covers done The Doors way.
Material such as 'I'm a King Bee' by Slim Harpo,'Who do you Love' by Bo Diddley,'Money (Thats what I want)' by Barrett Strong (a song that would stay in the live set for the duration of the bands life) and at The Winterland Ballroom over the Christmas festivites'Mannish Boy' by Muddy Waters were rolled out to an adoring local fanbase.
The classic 'Backdoor Man' by Howlin Wolf would also find a place on the group's debut album.
With all of the members of The Doors being long time blues fans more material was being worked up during rehearsals and added to the live shows along with new songs from The Doors forthcoming albums.
The Doors walked it like they talked it and sadly we will never see the likes of them again...a wonderful mixture of Blues and Psychedelic rock,they proved that in order to meet the future you must never forget the past..NO LIMITS,NO LAWS.................

The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding, the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian 60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between people where desires, feelings and loss hangs in the air, resolute and unresolved.

The 2 Tone sound was a great period in the aftermath of Punk and included influences taken from Jamaican Ska.

Mal-One had already worked on some Two Tone collages and had them put aside for some future project. He thought it would be fun to record some tracks related to these images and sounds. The first track he recorded was an instrumental track in the style of Harry J All Stars ‘Liquidator’ which he called ‘Rude Boy Shuffle’. Initially to be put out as a stand alone track on some reggae label of some sort. He had a poem already which he called ‘Two Tone Story’, so put that on top of the ‘Ska Train Is Back In Town’ rhythm which he had put together for another song of that name. Finally ‘Rude Boys and Rude Girls Listen Up! ‘came together.

Adding to this a couple of dub mixes and we have a 6 track 12”. Mal-One thought the artwork worked better on a 12” format.

Hope you enjoy the outcome.

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Released in 1957, Thelonious Himself is a solo album by Thelonious Monk. The only exception to this is the final track “Monk’s Mood”, where he is joined by John Coltrane and Wilbur Ware. The album was Monk’s fourth on Riverside and was given a coveted 5 stars by DownBeat magazine. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Letters from the Atlantic displays a seamless blend of jazz, house, indie, funk, R&B, soul, bossa nova, and more. The band elevates to a new level of sophistication with their genre defying approach, while featuring numerous female guest artists: Yaya Bey, Melanie Charles, Leanor Wolf, Mia Gladstone, Victoria Victoria, along with Nicholas Payton and Neal Francis. With the new album, the band ventures closer to a indie vibe, rather than the hip-hop style displayed on Solar Music (2023). The Richmond, Virginia based collective consists of friends and bandmates Corey Fonville (drums), Andrew Randazzo (bass), Morgan Burrs (guitar), Marcus “Tennishu” Tenney (trumpet, saxophone, vocals) and Devonne “DJ Harrison” Harris (multi-instrumentalist), who make music that is as diverse as their own varied tastes and backgrounds.



Butcher Brown has a storied touring history having played many of the world biggest and most prestigious festivals including Afropunk, Pitchfork Festival, Monterey Jazz, and more have toured with the likes of Pink Siifu, Tom Misch, Galactic, Lettuce, and Kamasi Washington. In support of Letters From the Atlantic, Butcher Brown has plotted headline tour dates across North America in spring of 2025 followed by an extended European festival tour this summer.

Das zwölfte Studioalbum von Arch Enemy, "Blood Dynasty", ist ein wütendes und unerbittliches Meisterwerk, das einige der härtesten und dynamischsten Arbeiten der Band bis dato bietet. Beginnend mit dem bösartigen Titeltrack ist das Album ein energiegeladener Angriff, der die Band auf dem Höhepunkt ihrer Macht zeigt. Zu den herausragenden Tracks gehören das rasante "Dream Stealer", das mit epischer Größe aufwartet, und "Illuminate The Path", eine hymnische Kraft mit einer intensiven, neuen Dynamik. Das knarzende, mittelschnelle "Don't Look Down" treibt den melodischen Death Metal zu schwindelerregenden Höhen, während "The Pendulum" mit einer Intensität aufwartet, die einem den Schädel zerbersten lässt.Das von Jens Bogren produzierte "Blood Dynasty" besticht durch kolossale Soundlandschaften, die eine detailverliebte Produktion mit rauem Metal verbinden und es zu einem der stärksten Alben von Arch Enemy machen. Egal, ob man ein eingefleischter Fan ist oder ihren Sound zum ersten Mal entdeckt, dieses Album bietet die unerbittliche Energie, Präzision und Brutalität, die Arch Enemy zu einer Legende gemacht haben.

Das zwölfte Studioalbum von Arch Enemy, "Blood Dynasty", ist ein wütendes und unerbittliches Meisterwerk, das einige der härtesten und dynamischsten Arbeiten der Band bis dato bietet. Beginnend mit dem bösartigen Titeltrack ist das Album ein energiegeladener Angriff, der die Band auf dem Höhepunkt ihrer Macht zeigt. Zu den herausragenden Tracks gehören das rasante "Dream Stealer", das mit epischer Größe aufwartet, und "Illuminate The Path", eine hymnische Kraft mit einer intensiven, neuen Dynamik. Das knarzende, mittelschnelle "Don't Look Down" treibt den melodischen Death Metal zu schwindelerregenden Höhen, während "The Pendulum" mit einer Intensität aufwartet, die einem den Schädel zerbersten lässt.Das von Jens Bogren produzierte "Blood Dynasty" besticht durch kolossale Soundlandschaften, die eine detailverliebte Produktion mit rauem Metal verbinden und es zu einem der stärksten Alben von Arch Enemy machen. Egal, ob man ein eingefleischter Fan ist oder ihren Sound zum ersten Mal entdeckt, dieses Album bietet die unerbittliche Energie, Präzision und Brutalität, die Arch Enemy zu einer Legende gemacht haben.

Sicksense (Metalband aus Phoenix, Arizona) nimmt seine NuMetal-Einfl üsse und verwandelt sie in ein Hydra-Monster, in dem sich die Köpfe von Metalcore, Progressive Metal und Power Metal zu einem modernen, extrem gelungenen Experiment vereinen. Insbesondere das Wechselspiel der beiden Sänger*innen der Band Vicky Psarakis (ex-THE AGONIST) und Robby J. Fonts (STUCK MOJO) macht Spass und sorgt schnell für hohen Wiedererkennungswert. Das Debütalbum von Sicksense,

On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.

Following their acclaimed debut album The Shedding of Skin (2022), the formation has deepened their relationship through numerous live jams, intense touring and story sharing, pushing both their skills and the boundaries of the project. For its successor, État Coupable, this growth has been enriched by various collaborations, including one with Lebanese-Canadian producer Radwan Ghazi Moumneh (Jerusalem in My Heart).

The first single, Freedom, Asshole, features live drums by Spooky-J from Nihiloxica. With lead vocalist Saif singing, 'I envy you because you can close your eyes, you can choose,' the track addresses those who need to be addressed in the Western world, resulting in a gutwrenching piece of raw electronica that delves into the very definition of freedom. Alongside the launch of the record , the single will be released on Bandcamp and other streaming platforms on Wednesday, January 29.

A series of live dates have been announced including gigs at Ment Festival (SL), Rewire (NL), Donau Festival (AT) and dunk!festival (BE) among others.

Belgian multidisciplinary artist and long time collaborator of the project, Youniss Ahamad, has shared a that embodies unease through distorted images, a black-and-white palette, and abstract bird loops.

“For me ‘Freedom, Asshole’ is about fighting for freedom even when everything seems bleak”
– Youniss Ahamad

Inspired by the foothills of the Sierra de Guadarrama mountains north-west of Madrid, his home since August 2022, Milo Fitzpatrick presents "Sierra Tracks" the new album from his expansive, cinematic, chamber-jazz project Vega Trails. Having cut 2022"s beautifully resonant debut album "Tremors in the Static" as a duo, alongside saxophonist Jordan Smart (Mammal Hands and Sunda Arc), Milo now substantially expands upon that blueprint with his follow-up, "Sierra Tracks", which, as the title suggests, was conceived at his new home in central Spain and adds piano, vibraphone and strings to the mix. The beautiful Spanish countryside offered inspiration too.

Containing a ltd 12" 300gsm artwork print! Inspired by the foothills of the Sierra de Guadarrama mountains north-west of Madrid, his home since August 2022, Milo Fitzpatrick presents "Sierra Tracks" the new album from his expansive, cinematic, chamber-jazz project Vega Trails. Having cut 2022"s beautifully resonant debut album "Tremors in the Static" as a duo, alongside saxophonist Jordan Smart (Mammal Hands and Sunda Arc), Milo now substantially expands upon that blueprint with his follow-up, "Sierra Tracks", which, as the title suggests, was conceived at his new home in central Spain and adds piano, vibraphone and strings to the mix. The beautiful Spanish countryside offered inspiration too.

Sechs Jahre nach ihrer letzten Veröffentlichung melden sich Seattles Great Grandpa mit "Patience, Moonbeam" zurück - ein ehrgeiziges und tief bewegendes neues Album, das beinahe nicht zustande gekommen wäre. Ein Jahrzehnt des gemeinsamen Musizierens wpausierte, während die Bandmitglieder sich in verschiedene Richtungen entfernten Aber wie bei jeder guten Beziehung, die auf gegenseitiger Liebe, Vertrauen und einer gemeinsamen Geschichte aufbaut, fand das Quintett wieder zusammen, verwarf die meisten Ideen für Songs, die sie zusammengestellt hatten, und begannen die Arbeit an ihrem bisher besten Album. "Patience, Moonbeam" entstand langsam durch einen großzügigen Demoing-Prozess. Mit weniger Zwängen und mehr Kontrolle hatte die Band die Möglichkeit, zu experimentieren und sich Zeit zu nehmen. Das Ergebnis ist eine Sammlung, die sich selbstbewusst und vollständig anfühlt und anhört. "Patience" basiert auf einer ,Politik der offenen Tür" beim Schreiben und Aufnehmen, "Moonbeam" ist das Ergebnis der nahtlosen Zusammenarbeit aller fünf Mitglieder, die zur Entstehung des Albums beigetragen haben. Das Ergebnis ist eine Platte, die wie ein Pendel von schwer bis zart, von verspielt bis gewichtig schwingt und eine klangliche Illustration der Schmerzen und Freuden des Lebens in elf Songs. Was unter dem Ansatz einer Küchenschüssel leiden könnte kommt stattdessen brillant zusammen, ein Beweis für die musikalische und spirituelle Verbindung der Band. Mit "Patience, Moonbeam", hat Great Grandpa ein triumphales Dokument darüber, was passiert, wenn deine Mitmusiker zu deiner gewählten Familie werden.

Sechs Jahre nach ihrer letzten Veröffentlichung melden sich Seattles Great Grandpa mit "Patience, Moonbeam" zurück - ein ehrgeiziges und tief bewegendes neues Album, das beinahe nicht zustande gekommen wäre. Ein Jahrzehnt des gemeinsamen Musizierens wpausierte, während die Bandmitglieder sich in verschiedene Richtungen entfernten Aber wie bei jeder guten Beziehung, die auf gegenseitiger Liebe, Vertrauen und einer gemeinsamen Geschichte aufbaut, fand das Quintett wieder zusammen, verwarf die meisten Ideen für Songs, die sie zusammengestellt hatten, und begannen die Arbeit an ihrem bisher besten Album. "Patience, Moonbeam" entstand langsam durch einen großzügigen Demoing-Prozess. Mit weniger Zwängen und mehr Kontrolle hatte die Band die Möglichkeit, zu experimentieren und sich Zeit zu nehmen. Das Ergebnis ist eine Sammlung, die sich selbstbewusst und vollständig anfühlt und anhört. "Patience" basiert auf einer ,Politik der offenen Tür" beim Schreiben und Aufnehmen, "Moonbeam" ist das Ergebnis der nahtlosen Zusammenarbeit aller fünf Mitglieder, die zur Entstehung des Albums beigetragen haben. Das Ergebnis ist eine Platte, die wie ein Pendel von schwer bis zart, von verspielt bis gewichtig schwingt und eine klangliche Illustration der Schmerzen und Freuden des Lebens in elf Songs. Was unter dem Ansatz einer Küchenschüssel leiden könnte kommt stattdessen brillant zusammen, ein Beweis für die musikalische und spirituelle Verbindung der Band. Mit "Patience, Moonbeam", hat Great Grandpa ein triumphales Dokument darüber, was passiert, wenn deine Mitmusiker zu deiner gewählten Familie werden.

Ultra-Rare Old School Hip Hop!

As featured on the fourth volume of Tramp's "Santa's Funk & Soul Christmas Party" compilation series, it was high time to put it out on a good old 45! Here you have it. Be quick - limited press!

L'Été meurtrier is a French drama film directed by Jean Becker, based on the novel of the same name by Sébastien Japrisot, released in 1983. The film was a box office success and won four César Awards, including Best Screenplay and Best Actress. Georges Delerue composed the music for this drama by Jean Becker, who returned to directing 17 years after Tendre voyou.

‘LIVE. SHIFT. DREAM.’ : three words for a first EP that invites you to embrace existence, shift gears when opportunities arise and keep your hopes and ambitions alive. That's what PAMELA is all about: electric energy, raw momentum, urgency. There's no time to get bogged down, it's all there in front of us, so let's make the most of it.



In this EP, each track is a facet of themselves, a distillation of their influences and raw energy. ‘Focused’ opens like an adrenalin rush, oscillating between desire and loss of control. ‘G.R.E.A.T.’ ? An explosive Britpop anthem, celebrating individuality with saturated synths and a heady riff. ‘IDNTKNWYT’ invites you to let go and dance without restraint. Then there's ‘Lover's Potion’, which reveals a softer, more intimate side, with a retro, hushed voice that's transporting.



And that's not all: ‘Full Sentimental’ is a powerful confession, where nostalgia becomes an outlet, while ‘Put out the Fire’ burns with urgency and sounds the alarm about the current climate situation.



Co-produced with Pierre Cheguillaume (who also produced Zaho de Sagazan), their tracks oscillate between LCD Soundsystem, The Cure, and Soulwax, blending into dance music tinged with indie rock and britpop. Showcasing their full power live, PAMELA will perform at La Maroquinerie (Paris) in March, after supporting Zaho de Sagazan on her Arena tour.



‘LIVE. SHIFT. DREAM.’ is more than just a start for PAMELA: it's an invitation to feel, to vibrate, and never stop.

* A highly in-demand gem from east London’s King General and Bush Chemists, originally dating from1996 gets a welcome re-issue.

* The original Conscious Sounds 7” has been out of press from almost 30 years,

* This welcome repress is backed with a previously unreleased dub version.

Experience two iconic pop anthems like never before—reimagined in smooth, feel-good reggae!

Side A: Justin Bieber's Baby gets a laid-back, island-style makeover, bringing fresh warmth to the beloved hit.

Side B: Miley Cyrus' Party in the U.S.A. transforms into a breezy reggae groove, perfect for any vibe.

This special 7-inch release delivers pure reggae magic, blending nostalgia with irresistible rhythms. A must-have for music lovers!

Awesome City Club's early classic, which will celebrate its 10th anniversary in 2025, is now available on 7"!

A1 "Konnyadake Machigaijanai Kotoni Shiteageru" a duet of male and female vocalists singing the delicate and bittersweet lyrics of a sweet and sad one-night stand, is an addictive and much-talked-about song. B2 "Don't Think, Feel," released as the album's lead track, is another fan favorite with a sound that takes the high road of contemporary city pop.

Following the success of their Mercury-nominated debut album, Vehicles & Animals, Athlete reached new heights with Tourist, featuring the massive hit singles "Wires" and "Half Light". The album was both a critical and commercial triumph, climbing charts around the world and earning a #1 spot on the UK album chart. An evocative blend of atmospheric melodies and heartfelt lyricism, Tourist is rich in emotional depth and sonic grandeur. With its lush instrumentation, anthemic choruses, and tender moments of introspection, Tourist captures Athlete at their most expansive and vulnerable. A 2LP vinyl version is also available. Long out of print on vinyl (and now highly collectable), this special edition celebrates the album's 20th anniversary with new remastering by Phil Kinrade at AIR Mastering. Pressed on 140g black vinyl and housed in a gatefold sleeve with printed inner sleeves and an obi strip

Following the success of their Mercury-nominated debut album, Vehicles & Animals, Athlete reached new heights with Tourist, featuring the massive hit singles "Wires" and "Half Light". The album was both a critical and commercial triumph, climbing charts around the world and earning a #1 spot on the UK album chart. An evocative blend of atmospheric melodies and heartfelt lyricism, Tourist is rich in emotional depth and sonic grandeur. With its lush instrumentation, anthemic choruses, and tender moments of introspection, Tourist captures Athlete at their most expansive and vulnerable. A 2LP vinyl version is also available. Long out of print on vinyl (and now highly collectable), this special edition celebrates the album's 20th anniversary with new remastering by Phil Kinrade at AIR Mastering. Pressed on 140g black vinyl and housed in a gatefold sleeve with printed inner sleeves and an obi strip

Stone Foundation return with their 11th studio album. Collaborative as ever, the band's first LP in 3 years boats appearances from a diverse range of soul artists from Omar and Laville to J.P. Bimeni and regular collaborator Mick Talbot (The Style Council). Following a year celebrating their 25th anniversary as a band with a major compilation release alongside a summer touring with Grace Jones and Paul Weller, Stone Foundation's sights are now firmly fixed on the future. Join them as the sound of small town soul transforms itself once again.

Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.

"Music For Roads is a new immersive instrumental collaboration between Finnish psychedelic indie folk group Tuomo & Markus and jazz trumpet virtuoso Verneri Pohjola. It's a cross cultural collaboration between Nordic jazz and indie folk/Americana players, who created a unique, cinematic soundscape. They brought in some established guests in the studio, inc. NYC guitar legend Marc Ribot and French saxophone player Sylvain Rifflet. The inspiration for these tracks came from the many tours these Finnish musicians have had in America over the years. American landscape, history, Americana culture and the current political turmoil created a common thread for these tracks. The title for the album is a nod to Brian Eno’s Music For Airports. All the immersive tracks were captured live in the studio onto 2” tape and mixed in 7.1.4. format back onto magnetic tape, making it the world’s first fully analog Dolby Atmos master. The musicians used the immersive format in a creative way to enhance the music and arrangements."

Produced by A Great Big Pile of Leaves and recorded primarily at their home studio, new album Pono was mixed by touring guitarist Matthew Weber at Gradwell House Recording and mastered by Dave Downham (Beach Slang, Into It. Over It.). With eight years between releases, the band recalls how the recording process of Pono felt like they were making their first record, adding 'we worked at our own pace with no preconceived notion of what it needed to be.'

Gyasi is a glam-rock triumph. – ROLLING STONE. This album is fu**ing BRILLIANT! – GOLDMINE. A party-hearty pretty boy who can rock as hard as you need him to. – CLASSIC ROCK. Groove and fizz with all the melodic energy of the ‘70s great. – SHINDIG! Born in the wilderness of a West Virginia holler and now making his mark in Nashville, Gyasi (yes, that's his actual name) is a dazzling singer, guitarist, and songwriter who is breathing fresh life into rock n' roll through his exciting blend of glitter and glam.

GN offers a bevy of tales, laments, and triumphs, which recount near-tragedies by the train tracks, crippling episodes of loneliness, remembrances of a deceased family pet with freezer burn, and on and on. The songs shift and breathe as worlds all their own, tied together by the group's self-proclaimed 'post-country' sound, which combines moments of distortion and a DIY aesthetic with a devotion to simple songwriting and ties to the Americana sounds of years past.

The Spring is quickly approaching, and the R&C boys are always ready for it, back in the game with a new chapter of their magical reworks.

“Stars” is a new tailored-shape of the very successful Italian song ‘Figli Delle Stelle’, now revisited with a groovy electro funk mood - dancefloor oriented.

On the flip, “Brillantina” brings back to those magical times of a classical musical anthem, re-imagined into a slow-funk cut, filled with solid spacey & balearic synths.

Stardust !

Auf seinem neuen Album präsentiert der britische Multiinstrumentalist und Grammy-Gewinner Kaidi Tatham eine zukunftsorientierte und abwechslungsreiche Mischung aus eklektisch-elektronischem Jazz, in der Genres und Grenzen mit intergalaktischer Energie überschritten werden. Der heute in Belfast lebende Tatham ist seit Jahrzehnten eine innovative Kraft der britischen Black Music. Von den Anfängen als Broken Beat-Pionier (Bugz In The Attic) bis zum heutigen Keyplayer für DJ Jazzy Jeffs PLAYlist-Projekt inspirierte er weltweit Künstlerkollegen von Madlib bis Gilles Peterson und arbeitete u.a. mit Amy Winehouse, Mulatu Astatke, Soul II Soul, Leroy Burgess, Nubya Garcia, Slum Village, The Herbaliser und Marcos Valle zusammen. Als Featuregast dabei ist der fantastische MC Uhmeer (Jazzy Jeffs Sohn).

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Some record crates deserve a sub-category called 'play it again, Sam'. tracks that spin on the turntables without a push. Funk Kraut, Zombie Zombie's second LP on Born Bad, is of this kind. This well-proportioned classic is a fine example of the style the trio has been embodying: instrumental for synths and drums music played live. This time it was a quick affair, recorded by Laurent Deboisgisson in the studio of Cheveu's singer. A pretty straightforward job, and a far cry from their previous concept album. Let us praise Krikor Kouchian's mix: drums have been resampled with some restraint, and that Linn Drum kick lightens up the overall mix. It marks a notable evolution in the band's sound, and adds some dynamic. The album kicks off with 'No cruise control', a big bad sedan that effortlessly eats up the distance at 120 BPM. Kraut as can be, with a twist. And as far as funk goes, it's not Bootsy Collins, but there's a whiff. Space is structured by synth patterns, for optimized drumming : forward, straight and fluid, top-notch suspension (Cosmic Neman / Dr Scho?nberg take care of business on drums). They treat themselves to a diversion via Darmstadt to take some musique concrete on board : mechanical birds chirp, the odd atonal piano here and there. Nerds will appreciate liner notes detailing the equipment used : about twenty synths and they still describe it as minimal. With 'Densite?', we've just passed a polyphonic milestone: outright chords ! Long, suspended pads, pierced only by fat claps. Clapping hands are not far off. The band shows it has mastered concise pop formats. That same vibe can be found in 'Jungle the Jungle', paradoxical tune, catchy and moody at once. You'll get some brass riffs in 'Helix', which takes off on a synth moving from one speaker to another to herald the crash of syncopated drums to come.Zombie Zombie sounds ready to write themes for niche TV series.'Aurillac Accident' documents a haphazard soundcheck which, once in the studio, became a bitter ballad, breaking apart into dubby gravy. Live with two drummers performing, this aspect showcases in 'Snare Attack' and 'Double Z', with its jogging hi-hats and creepy little toy piano motifs. Cardio levels are high on 'Dodorian', perfect track for depraved spinning classes, with its moving filter, disco arpeggios and flashes of synthetic brass. 'Magnavox Odyssey', a nostalgic but bouncy synth lasagna, brings this album to a majestic close. The cover by Dddixie sets the tone with its 'Motorik Vibes & Stereo Grooves' sticker. Motorik, absolutely, it's autobahn time for 45 minutes. And when it comes to stereo grooving, the acoustic image is as wide as the canyons of Mars. DO NOT MISS THIS ALBUM (or the previous Vae Vobis)!

"Elme" ist eine dieser Platten bei der Verzweiflung und Hoffnung, Aufbegehren und Sanftheit aufeinander prallen und eine elektrisierende Spannung erzeugen. ÿdeg ist ein Power-Trio aus Berlin, stammt aber laut Selbstaussage aus den "failed democracies des Ostens" (Sachsen, Ungarn). Deshalb werden auch die Texte auf ungarisch herausgeschrien. Persönlich-politische Themen wie Entfremdung, Großstadtleben, Post-Truth werden dabei durch dunklen, bitteren Humor gefiltert. Bei ÿdeg vereint sich wütender Post-Hardcore der "Revolution Summer"-Schule mit Post-Punk-Einflüssen. Aggressiv-treibende Passagen wechseln sich mit behutsamen Harmonien ab. Bass und Schlagzeug agieren als verzahnte Einheit, durch die komplexe Gitarrenarbeit ist eine ständige Grundspannung in der Luft. Du weißt nie, was um die nächste Ecke passiert. Die sechs Songs von "Elme" wurden von der Band selbst aufgenommen und von ihrem Schlagzeuger Ronny gemischt. Das Mastering stammt von Marvin Menz (Tide Studio, London)."

They are in their thirties, meaning they are "too much too young" to have felt the vibrations of the ska revival of the late 1970s and early 1980s live, when The Specials, The Selecter, Madness and the likes of The Beat were electrifying England at a time when social tensions were running high and were getting brass missiles into the charts, hitting all of Europe. Far too young, it goes without saying, to have experienced the initial shakes of the music that would fuel all that was to come: 1960s Jamaican ska and its later evolutions, bluebeat or rocksteady, from which reggae drew its essence and fever.

[b] 02: RECOVERY (inst) [feat. Anarchy]

Während er weiterhin als Produzent und Musiker für andere Künstler tätig ist, verwöhnt uns El Michels Affair mit einem neuen Zweiseiter mit Instant-EMA-Klassikern. Die bedrohliche Einleitung von ,Mr Brew" auf der A-Seite weicht einer schönen und weitläufigen Melodie in einer klassischen Spannungs- und Entspannungsdynamik. Sanfte Gitarren, Streicher, Flöten und Blechbläser wechseln sich nahtlos mit der schweren Schlagzeugspur ab und schicken jeden mit Synästhesie in eine Welt voller Farben. Die B-Seite ,Kodak" ist eine Meisterklasse in Raum und Arrangement. Der sanfte Rhythmus des Schlagzeugs wird mit großartiger Instrumentierung geschmückt, die die perfekte Stimmung erzeugt. EMA bringt nie zu viel Farbe auf die Leinwand und fängt immer die Stimmung ein.

Das weltweit gefeierte, genreübergreifende Trio CHASE ATLANTIC veröffentlicht ihr viertes Studioalbum
„LOST IN HEAVEN“ am 28.03.2025 auf CD & LP.
LOST IN HEAVEN markiert ein weiteres Kapitel in der Entwicklung von CHASE ATLANTIC, eine klangliche
Reise, die Grenzen verschiebt und gleichzeitig die Kernelemente beibehält, die ihre globale Fangemeinde
in ihren Bann gezogen haben. Die Leadsingle ”DIE FOR ME “ sorgte sofort für Aufsehen und erreichte
innerhalb des ersten Monats über 17 Millionen Streams auf Spotify und 2,5 Millionen Views auf YouTube.
Der Nachfolgetrack DOUBT IT „ geht weiter in die Vollen und bietet einen frischen, süchtig machenden
Sound, der die Hörer gespannt auf das macht, was als nächstes kommt.
CHASE ATLANTIC sind bereit, erneut Grenzen zu überschreiten und tiefer in ihre eigene Welt der hypnotischen Melodien, Klangexperimente und epischen Live-Shows einzutauchen.
Der genreübergreifende Sound des Trios bleibt das Herzstück ihrer Anziehungskraft, da er sich mühelos
zwischen Pop, Rock und R&B bewegt und dabei eine magnetische, unvorhersehbare Energie beibehält, die
bei den unterschiedlichsten Zuhörern Anklang findet. CHASE ATLANTIC sind für ihre Fähigkeit bekannt,
sich zwischen verschiedenen Musikszenen zu bewegen. Die ausgedehnte Arena Tour findet 2025 statt &
führt die Band nach Berlin, Hamburg & Köln.

Die Vinyl-Wiederveröffentlichung des selbstbetitelten 5-fach-Platin-Albums von Heart aus dem Jahr 1985
mit den Hits „These Dreams“, „What About Love?“ und „Never“.

Fresh from being crowned Grammy winners at the 2025 ceremony for Best Metal Performance, Gojira release their Roadrunner debut “L’enfant Sauvage” on Forest Green vinyl.

Junior Scaife meldet sich mit zwei auffallend souligen Songs zurück, die von Penrose-Mitstreiter Anthony Masino produziert und mitgeschrieben wurden. Als einer der begabtesten Sänger in der aktuellen Soul-Szene verleiht Junior Scaife jeder Silbe eine tiefe Seele. Mit seinem vibrierenden Groove und der ansteckenden Melodie verbindet "Nobody Gets My Love“ die "rawness" des Detroit-Souls aus den späten Sechzigern a la Hestor und Wylie mit einem entspannten Westcoast-Je-Ne-Sais-Quoi. Auf der Flipside erscheint mit „Too Much Too Soon“ eine raue Ballade mit Wah Wah Effekten, die in der Low-Rider-Szene sicherlich für Aufsehen sorgen wird.

Zweite 7inch Auskopplung aus dem hervorragenden Thee Sacred Souls Album "Got A Story To Tell"! Das stimmungsvolle Mid-Tempo-Stück „My Heart is Drowning“ beginnt mit einem ahnungsvollen, echogetränkten Tröpfeln, das sich hinter der Geschichte des Sängers Josh Lae über eine verlassene Geliebte verbirgt, die aufgrund vergangener Fehler in Verzweiflung ertrinkt. Mit seinem grüblerischen Piano und der düsteren Bassline würde dieser Song in klassischen R&B- und Soul-Kreisen gleichermaßen gut ankommen. "Stuck in the Mud“ lehnt sich ebenfalls an einen früheren R&B-Sound an, jedoch mit einem subtilen Hauch von Gospel durch den Call-and-Response-Gesang, der diese wunderbare Komposition durchdringt. Soul Fans dürfen sich freuen!

180g black vinyl - limited to 200 numbered copies.

"What is my heart now"is the debut solo album by Ziemowit Klimek, known so far from bands such as Immortal Onion, Hania Rani, and Magda Kuraś Quintet. It is a cycle of five improvised compositions – "What," "Is," "My," "Heart," and "Now" – unified by a unique artistic concept, with each piece created in collaboration with a different musician.

The creative process for each of the five duets began with a conversation between Ziemowit, the guest artist, and the video team. Deconstructing the title word into its fundamental elements through questions like "What does 'What' mean? What emotions and associations does this word evoke in us? How can we capture its essence in sound and image?" became the starting point for artistic exploration.

To preserve the authenticity of the material as much as possible, both sound and image were recorded live, with no cuts or post-production editing. Equally important was the choice of spaces that corresponded to the meaning of each title word. Instead of sterile studios, the recordings took place in a variety of unique locations – "Heart" was captured in Ziemowit's most personal space, his bedroom, while "Now" was recorded inside a car during a dynamic drive, where the physical forces acting on the musicians significantly influenced their decisions while playing.

The album resonates with dialogue – not only musical but also emotional and intellectual. It is a meeting of individualities who, for Ziemowit, are not only inspirations as artists but also significant people in his life."What is my heart now"is an album about defining one's identity and capturing the moment, created in an atmosphere of honesty and trust. Ultimately, the question arises: is it even possible to definitively answer the question posed in the album's title?

"What Is My Heart Now"

Ziemowit Klimek (Double bass, Bass, Piano, Moog)

feat.

Krzysztof Hadrych - Guitar

Michał Jan Ciesielski - Saxophon, Volca

Hania Rani - Piano

Mikołaj Kostka - Violin

Jacek Prościński - Drums

Ventura (Lausanne, CH), started in 2003, and has released 4 albums so far, with Superheld being the proud fifth. It was recorded with Serge Morattel again, and displays a slightly more aggressive and intense sound than its predecessor, even if it explores a few new paths with songs like the semi-acoustic "Freeze In Hell" or the motorik "Optimistic". The line up still consists of the same three guys, Diego (bass), Grégoire (drums) and Philippe (guitar and vocals) as on the previous album, Ad Matres.

For the first time, a representative anthology of Eduardo Polonio's early electroacoustic works is available in vinyl format. The anthology "Eduardo Polonio: Obra electroacústica 1969-1981" revives the early stages of the innovative composer with a curated selection of eight restored pieces, spanning from his experiments at the Alea Laboratory in Madrid to his works at the Phonos Laboratory in Barcelona. A limited edition celebrating his profound impact on Spanish experimental music. Eduardo Polonio (1941-2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. The anthology "Eduardo Polonio: Obra electroacústica 1969-1981" revives his legacy with a selection of essential pieces from his early electroacoustic period. The album includes eight compositions created between 1969 and 1981, spanning from Polonio's early experiments at the Alea Electronic Music Laboratory in Madrid to his later work at the Phonos Laboratory in Barcelona. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros..." (1981), this collection showcases Polonio's artistic evolution and highlights different facets of his work as a composer and musician. Polonio's life and work parallel the history of electroacoustic music in Spain. As one of the most significant composers of his generation, he was both a witness and participant in the technological evolution and various aesthetic movements of the late 20th century. From his beginnings at Alea, Spain's first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music.

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

With breakneck rifs and explosive dynamics already earning a formidable reputation for avant-garde post-metal quartet Telepathy, their fourth album `Transmissions' sees the band turn their gaze inward to explore the rich sonic landscape of their creative and cultural origins. A new arsenal of cinematic synth textures and alien soundscapes pushes the band's genre-defying ethos towards more nostalgic and introspective ter- rain as they come to terms with the unknown. The band's latest ofering `Transmissions' marks the culmination of four years of introspection, experimentation and revitalisation for Telepathy, representing the band at its expressive core. Inspired by faded photographs unearthed in the brother's family home and the surprise discovery of a long lost relic, `Transmissions' is a cluster of musical messages that hurtles between nostalgic snapshots of the past and the everyday chaos of the present. Amongst precious memories and family treasures, the Turek brothers stumbled upon a recording of the frst radio broadcast of statesman Jo'zef Pilsudski, widely regarded as the founder of modern Poland. The wonder and optimism in his voice, captured over 100 years ago, ignited an inspirational drive to refect this time- less sense of awe in the present by pushing their musical creativity further than ever before. This revolutionary reinvention is immediately apparent on the opening track and lead single `Oath', which poured efortlessly out of the band in just one day. A recreation of that famous radio transmission introduces eight formidable minutes of widescreen rifs, thundering drums and otherworldly synth work that simultaneously feels like the blink of an eye. Subsequent track `Augury' rises from the dying whispers of `Oath', signalling Telepathy's renewed focus on composition and storytelling. The sense of open space and weightlessness from the song's halftime groove, soaring guitar arpeggios and an audio sample declaring that "the answer lies in the future" pushes the band beyond the familiar into exciting, uncharted territory. FOR FANS OF Tool, Russian Circles, The Ocean (Collective), Hans Zimmer, Mogwai, Kokomo

Midnight Vice ist eine NWOTHM-Band, die aus den Tiefen der Underground-Metal-Szene von Tampa, Florida, stammt. Ihr Sound ist eine Hommage an die Legenden der Metal-Ära der 1980er Jahre. Sie kombinieren krachende Riffs, hohen Gesang und feurige Gitarrensoli, um einen Sound zu kreieren, der sowohl vertraut als auch frisch ist. Die Band steht ganz im Zeichen von Denim und Leder, und ist stark von Bands wie Iron Maiden, Judas Priest, Savatage, Megadeth, Motörhead und vielen weiteren beeinfl usst. Midnight Vice kombinieren geschickt ein Gefühl von Traditions-Heavy Metal mit moderner Energie, die das Herz eines jeden eingefleischten Metal-Fans mit Sicherheit höher schlagen lassen wird

Wenn es jemals ein Album für jeden Anlass gab, dann ist es dieses: Von gefühlvollen Balladen zum Entspannen bis hin zu durchdringenden Gitarrenkrachern zum Aufdrehen, wenn man spät nachts Auto fährt. Das Album hat alles. Eröffnet wird in gewohnter Allison Manier mit einer energetischen Mischung aus Funk und Blues, um über den Verlauf des Albums die ganze Bandbreite seines musikalischen Könnens, von soulgetränkten Bluessongs über treibende Funkgrooves, bis hin zu rockigen Gitarrenriffs zu zeigen.

The tracks Ann Byers recorded for Academy in 1964 and 1965 were written by the composing duo Fred Andrew Smith and Phil Hurtt, with production and arrangement by Leroy Lovett. The two featured tracks in this release, “I’m Not Gonna Cry” and “Your Love Is a Wonderful Thing,” include backing vocals by the group Les Tres Femmes. “Your Love Is a Wonderful Thing” was co-written by Howard Ravitsky and Phil Hurtt, who also wrote the Academy release “I’m Happy Without You,” a much sought-after 45. These two tracks were meant to be Byers’ fourth release on Academy, but unfortunately, the label went out of business in 1967

Both tracks were produced by Lee 'Scratch' Perry on the much looked after SPINNING WHEEL label in 1970. Only 10 singles have been released on this label and this very single was the first release on the label.
These two very much in demand Reggae instrumental gems were only reissued in a Trojan singles box aptly called HAUNTED HOUSE that is now also extremely rare and expensive.
This exceptional release will be on sale on our website and in all good shops worldwide from March 28, 2025.

This is the first reissue of the super rare 1968 Reggay anthem.
Originally released together on the Blue Cat label, this very much sought-after single features two exceptional tracks from the golden era of Jamaican music. "Belly Lick" by Dennis Walks and "The Game Song" by Drumbago & The Blenders exemplify the rich musical landscape of late 1960s Jamaica. Both tracks were written by Dennis Walks and produced by Joe Gibbs.

This reissue brings these two rare gems back to vinyl, allowing enthusiasts and collectors to experience their authentic sound. The original pressing has become highly collectible, with copies fetching big sums in the collectors' market.
This exceptional release will be available on our website and in select record shops worldwide from March 28, 2025.

The new vinyl release is here, featuring two iconic tracks from the '70s and '80s reworked into classic house remixes by the Vannelli family. Joe T Vannelli delivers the remix of Thrill Me by The Wonderland Band, while the Vannelli Bros present their rework of Party On by Pure Energy. Both tracks are presented as Classic Mix versions, cra;ed to fill the dancefloors with their infectious groove.

Das Duo Sacred Paws aus Glasgow/London ist nach fünfjähriger Pause zurück mit 'Jump Into Life', ihrem neuen Album.

Als die Band mit ihrem Debütalbum 'Six Songs EP' den Durchbruch schaffte, tat sie dies mit Entschlossenheit und großem Erfolg. Das Duo Ray Aggs (Trash Kit, Shopping) und Eilidh Rodgers (Golden Grrrls) hat seine Wurzeln im Punk, den sie mit einer Vielzahl von Einflüssen von Afrobeat über Pop bis hin zu Post-Punk zu einer glorreichen und einzigartigen Mischung verwoben haben.

Captures Blaze Foley and his working band-the Beaver Valley Boys-on their first Texas studio recordings dating from 1979 and 1980. Blaze and the band-anchored by the reknowned Gurf Morlix-are at the top of their form. Cold, Cold World includes 17 Foley songs from his well-known classics to six songs that appear on a Foley recording for the first time.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

A pure beauty of a kind... Angel Flo delivers here, not only some tunes...
It's an invocation, a ceremony...

Hardcore legendary medley from Dj Producer to bring a bloody BIG UP to Dj Hellfish and his Deathchant label 100th release...
This tune is a bloody bomb and deserved a full side cut really !

The record is an UV print !

Satyr Supervisor is the «rst 6 track EP of KŌMA on his own label « Nice People Dancing Records» A «rst stone of his new artistic direction, between Club and narrative music. A balence between old school ruff rhythmes and sweet nostalgic melodies