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"Sun Racket" is the brand new album from legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges. The follow up to 2013's 'Purgatory/Paradise' is an outpouring of modal guitars, reverbed shapes, echoey drums and driving bass set behind Kristen Hersh's well-thumbed notebook of storylines. A ten-song opus of suitably wrought tales set against a wall of sound that's at once calm and ethereal before building into glorious cacophonous crescendos.

When Throwing Muses wrote their last album, they were shattered. Pieces were coming and going, elements repeating and charging the whole. "It sounded beautiful jumping around like that". Two-minute songs reappearing as twisted instrumentals or another song's bridge.

They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words. 'Sun Racket' is the opposite. It refused to do anything but sit still. It says, "sit here and deal". "All it asked of us was to comingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box.

Turns out we didn't have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more" - Kristin Hersh And so, they continue. Business unusual.

"A ground-breaking band who changed the face of alternative music rather than follow the rule book." MXDWN "Pioneers of the 80'/early 90's college rock sound" Pitchfork "One of America's finest guitar bands" - The Quietus.

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

The color green can represent many things. It can symbolize money, of course, but also weed. And envy. It implies newness, the rebirth of spring, but it can also evoke illness and infection. It’s an apt name for a band that is defined by its adaptability, by its knack for doing many different things all at once. On the Color Green’s second full-length—their first as a quartet—they ground their cosmic jams in earthy melodies, drawing from ‘60s SoCal folk-r0ck, ‘70s classic rock, ‘80s underground rock, ‘90s psychedelic dance-rock, and many other sources.

In the two years the band has been touring, it has already shared stages with a range of groups that reflect both the sophistication and the wild malleability of their sound, including Fuzz, Kikagaku Moyo, Circles Around the Sun, and Young Guv. “When we play live, I don’t really know what’s going to happen,” says guitarist Noah Kohll. “You really have no idea what you’re going to get with this band, which keeps things fresh for us and maybe makes the live experience special.”

Adds drummer Corey Rose, “One thing about this band that I really appreciate is that we can camouflage into any environment or any show. We can play with Hiss Golden Messenger and lean into that funky country vibe, or we can play with the Brian Jonestown Massacre and get evil. We all love a variety of music, so let’s not put ourselves in a box.”

That wild, mercurial quality is reflected on Fool’s Parade, a meditation on loss, grief, confusion, frustration, and the clarity to which they all lead. Their songs are vehicles for self-explorations, not just a means of putting their feelings into lyrics and notes but molding them, night after night, into different shapes to get different insights.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

NOTHING MORE, das dreifach für den Grammy nominierte Quartett aus San Antonio, Texas, meldet sich mit ihrem spannungsgeladenen 8. Studioalbum CARNAL zurück, das am 28. Juni über Better Noise Music erscheint. Das Album enthält 15 Songs mit selbstreflektierten, philosophischen Texten und ungeschminkten, massiven Hymnen. Seit ihrem Debüt im Jahr 2003 haben NOTHING MORE zwei #1 Singles "This is the Time (Ballast)" und "Go To War" im US Active Rock-Radio platziert und waren insgesamt sieben mal in den Top-10 vertreten. "CARNAL" demontiert eindrucksvoll ihre musikalische Kompetenz innerhalb des Rock-Genres und weit darüber hinaus.

Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.

Fronted by vocalist/guitarist Taylor Madison, and with Jake Clarke on drums and Mike Paulshock on bass, Webbed Wing cement their place in modern rock supremacy across 10 tracks of fuzzed-out pop nostalgia on new album Vol III. One impossibly-catchy anthem after another, loaded with Madison's signature sardonic wit, makes for one of the most exciting alternative rock records of the year. Taking notes from the likes of The Lemonheads and Teenage Fanclub, "Further" opens Webbed Wing's new album Vol. III with a bang--in less than 10 seconds, we're all the way in with Webbed Wing as they expertly intertwine the vibrancy of modern pop, the heaviness of grunge, and the sincerity of country. Brazen and self-deprecating, "Burn It Down" finds Madison unpacking what it means to fly too close to the sun. Its mid-tempo mastery is a testament to the trio's connection as musicians and friends; everything about this song just works. Drawing inspiration from big country ballads and shoegaze gems alike, the song shows off a different side of what listeners can expect from Vol. III.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Over the last 20 years, Portland, Oregon's Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood or later-period Leonard Cohen. Still, through it all songwriter (and lead singer, when there is one) Collin Hegna has maintained a strictly retro vibe, and Federale's records have always sounded period-correct for an alternate-universe 1971 where rock and roll never caught on.

Reverb & Seduction, Federale’s sixth studio album, marks the band’s 20th anniversary, and finds them beginning to color outside those Ennio Morricone lines. Perhaps Hegna—who also spent the last 20 years as a dues-paying member of The Brian Jonestown Massacre—has finally decided to give his psych-rock alter ego a seat at the Federale table.

“Before, I'd have an idea and think, ‘Well, that can't be a Federale song’, because it had distorted guitars or whatever,” says Hegna. “But then I thought, 'Well, why not?’” This openness to a broader palette of influences allows Reverb and Seduction to veer into psychedelic and even gothic territory—think Love and Rockets or Sisters of Mercy—that the 2010s Federale might have considered off limits.

The album's first single “Heaven Forgive Me,” for example, draws on Goblin (the Italian prog-rockers who scored Suspiria) and perhaps even a little Depeche Mode, while “Advice from a Stranger” borrows the fuzz and feedback of DIG!-era BJM and The Electric Prunes.

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

Joe Grushecky wuchs in der Kohlebergbaustadt Biddle,
Pittsburgh, auf, aber nachdem er die Beatles in der Ed
Sullivan Show gesehen hatte, hielt er bald eine Gitarre in
der Hand und sah eine Zukunft im Rock vor sich.
Tagsüber war er Sonderschullehrer, doch seine Iron City
Houserockers wurden von Cleveland International (Heimat
von Meat Loaf/Jim Steinman, Ronnie Spector, Ian Hunter)
unter Vertrag genommen. Die Reise der Houserockers
ging weiter über verschiedene Labels hinweg mit
Beiträgen von Hunter, Mick Ronson (David Bowie), "Little
Steven" Van Zandt und Bruce Springsteen.
Jetzt legen Joe und The Houserockers ihr erstes neues
Album seit sieben Jahren vor. Can't Outrun A Memory
enthält 13 Grushecky-Eigenkompositionen sowie eine
fulminante Coverversion des The Animals-Klassikers "We
Gotta Get Out Of This Place". 17 Tracks purer Rock 'n'
Roll, dargeboten von dem am härtesten arbeitenden
Mann und der Band in Pittsburgh. Can't Outrun A
Memory zeigt, dass Grushecky und seine Crew immer
noch die gleiche treibende Musik liefern können, wie sie
es seit Jahrzehnten tun.

In 2018 Diagonal Records released an intriguing, three track, hand stamped, white label
12” of dancfloor sampledelia by Shit & Shine onto an unsuspecting world. The lead track
on this 12” ‘You Were Very High’ turned a lot of heads and became a club oddity, being
played out by DJ’s around the world – and some movers and shakers have hailed the 12”
as “Shit & Shine’s best ever release.”
Now in 2024, as the original 12” has become a bit of a collector’s item, trading hands for
£60+ on Discogs – Shit and Shine and Rocket Recordings have decided ‘You Were Really
High’ deserves a one off repress. This expanded version of the EP, which is housed in new
art and ltd to only 300 copies, also features a mighty extra track called ‘Dave, Have You
Ever Been To London.

Die vier Musiker aus Rosenheim sammelten schon viele Jahre Erfahrung in verschiedenen Bands, bevor sie 2013 gemeinsam ein neues Projekt starteten. Zum ersten Live-Auftritt musste zwangsläufig ein Bandname her: die Wahl fiel auf Koriander. Warum und wieso weiß keiner mehr so genau. Den Stil kann man grob mit Rock, 80er-Sound, Pop und deutschsprachigen Texten umschreiben. Insgesamt recht breit gefächert, manche Songs klingen kompromisslos, grob & laut, andere dann eher wieder ruhig und einfühlsam. Eine eigene, außergewöhnliche Mischung die fesselt und mitreißt. Nach gut 10 Jahren gemeinsamen Musizierens erscheint 2024 nun das langersehnte Debüt-Album auf Trikont, dem wahrscheinlich ältesten Indielabel der Welt. mal rockig, mal bluesig, mal punkig - echt - Out of Rosenheim Koriander aus Rosenheim, das ist die musikalische Symbiose von vier gereiften Musikern, die seit nunmehr 10 Jahren ihr Publikum mit einer heißen Mischung aus progressiven "80s Trash Pop" ehrlichen Rock"n"Roll und gradlinig philosophischen Liedern begeistern. Eine Rhythmusabteilung wie ein Brett, eine umtriebige Gitarre und eine ordentliche Portion Seele in der Stimme machen den Sound very unique. Die kompromisslose Liveshow schließt den Kreis. Neue innovative Musik aus der Provinz mit außergewöhnlichen Texten die man nicht so schnell vergessen wird.

BACK IN PRINT ON VINYL!!! Originally seeing the light of day in April of 1992, Harsh 70s Reality was not just a high water mark for that year, but for the ages. Technically this was the band’s fourth long-play outing, and as a double-album, it followed (and was ever so slightly informed by) two formidable juggernauts that preceeded it: Twin Infinitives and Lake. But it was Harsh 70s Reality that left the decade stronger and more resonant than it came in. People say that rock music died with the passing of Kurt Cobain. But The Dead C slaughtered it in its sleep with this tremendous set of grinding thud. It is in every sense the ultimate post-rock album. To hear it is to understand why one scribe back in the day referred to their sound as “a garbage truck backing over the abyss.” A legendary release from a legendary band on a legendary label.

Christopher Cross's debut album boasts nine legendary hits, solidifying its status as one of the most successful LPs of the classic rock era. This masterpiece is a treasure trove of chart-toppers, including the iconic "Sailing," a timeless number one that cemented Cross as a superstar and earned him all four general field awards in a single ceremony at the 1980 Grammy Awards, bringing home Record of the Year ("Sailing"), Album of the Year (Christopher Cross), Song of the Year ("Sailing") and Best New Artist at the 23rd Annual Grammy Awards. This feat was not replicated for 39 years, until Billie Eilish won all four awards at the 62nd Annual Grammy Awards in 2020. Other top hits like "Ride Like The Wind," featuring superstar Michael McDonald, further showcase the album's crossover appeal across all formats in 1979. The album features some of the most sought after musicians of the era including Don Henley, Larry Carlton, Eric Johnson, and more! Produced by legendary producer, Michael Omartian. Seeker Music is proud to present this iconic new pressing featuring limited edition lyric poster insert.

After five long years, Balance and Composure return with Too Quick To Forgive––newly signed to Grammy-nominated producer Will Yip’s label, Memory Music, the alt-rock dar- lings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. “Savior Mode” finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while “Last To Know” is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out.

Simmons’ vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member––producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. “It was all magic,” Jon says.
With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they’ve ever played.

Third album from Finnish group Mahti, a collaboration between three members of stalwart avant-rock legends Circle and Hannu Saha. Saha plays the Kantele, a traditional Finnish acoustic instrument which can have five, ten, fifteen, or thirty-six strings, and which is plucked like a zither or harp, producing a delicate string sound. Following their two very limited studio albums on UK label Riot Season, Konsertti I is an excellent recording of the group in live performance, capturing their understated and beautiful mix of ambient, electronic, and string music. Saha’s Kantele centers the music, sometimes plucking out melodic arpeggios, at others blending in with the burbling-but-subtle electronic and electric guitar backdrop. Doesn’t really sound like anything else, but recommended to fans of AR & Machines, Ash Ra Temple, Richter Band, Durutti Column, etc. “These ancient musicians played their ‘mahti’…and the sound they produced was called ‘musiikki’.”

Som, Sangue e Raça is still one of the milestones in Brazilian music. The music of Dom Salvador e Abolição is a funky and smooth blend of samba, soul, rock, jazz, forro and baião. The band's sound was a major influence on the successful group Banda Black Rio. Som, Sangue e Raça still stands out for its catchy and groovy melodies and shows the wide range of the band. All this makes this samba/soul classic a must for all music collectors.
Som, Sangue e Raça is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl.

Sarah and the Safe Word's "The Book Of Broken Glass" is an existential journey of 13 songs that weave in and out of their signature cabaret-punk mixed with rock arrangements, folky undertones and
sometimes even and late 90's early 2000's nu-metal vibe! This album merges all these styles into one cohesive unit that feels somehow familiar yet wholly unique

oreglo is made up of c-sé (keys), Linus Barry (guitar), Nico Rocco (drums) and Teigan Hastings (tuba), who all met growing up in London. Nico and Linus met at secondary school, before Nico went on to meet Teigan and c-sé through the youth organisation Tomorrow’s Warriors, bringing them all together.
Across the Not Real People EP, oreglo showcase their innovative take on multiple genres: freewheeling through heavy rock riffs to drill-inspired percussion and breezy reggae, the quartet have cultivated a unique sound that acts as a melting pot of all the sounds they know and love from London.
Since officially forming just over a year ago, they've already been hand-selected by Ezra Collective to win the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition; played the recent Steam Down–curated World Island event in Leeds; supported Gabriels at Somerset House; composed for The 1975's North American tour; and have seen support from Steve Lamacq, Jack Saunders + more across national radio.

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new. Paint a Room features Jeff Parker contributing the fluttering horn arrangement on "Damage," and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello's Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record.

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Come Play With Me and Breed Media are excited to present Come Play With Breed, Vol. 2. Featuring D5, Graft, Hannah Rowe and Mica Sefia, the 10” compilation spotlights the Northern Hip Hop and Soul scenes respectively. On the A-side, D5’s upbeat UK Rap opener, “What’s That”, is followed by Graft’s reflective Jazz-influenced Hip Hop track “Vows To The Art.” Hannah Rowe opens the B-side with an addictive fusion ballad for old souls. Finally, Mica Sefia closes the release with a powerful narration on her experiences as a black woman.

Artist Bios:

D5

Hailing from Leeds, West Yorkshire, D5 draws influence from the likes of Drake, Skepta and Brent Faiyaz and his sound flits between moody R&B and upbeat Rap that oozes a calm confidence. Elements of genres such as Garage, UK Rap and US Hip-Hop intertwine neatly to create his signature style. A style that crystalised on his 2020 EP Channel 5. Consisting of 8 songs, all helmed by producer and close friend CSHARP, the project is D5 at his most personal and led to the video for lead single ‘Silence’ premiering on Link Up TV and garnering him his highest streams to date. However, before ‘Channel 5’ D5 had created the EP If Only We Could Go Outside during the height of the pandemic. The track ‘Movies’ received airplay from the esteemed BBC Radio 1 Presenter Melvoin Odoom. With backing from the likes of GRM Daily and DJ Target spinning 2022 single ‘What’s Up’ on BBC Introducing, D5’s star is surely set to rise as he continues to develop his artistry. In addition to this, he has opened up for the likes of Novelist and fellow hometown hero Graft, proving with every successive performance and release that he is worthy of being a headline act.

Graft

Graft, winner of MOBO Unsung and BBC Three's The Rap Game UK, has propelled himself to national recognition for his unwavering sense of self and musical talent. Hailing from the vibrant city of Leeds, Graft’s topical and poetic approach to songwriting takes inspiration from genres such as Hip Hop, Neo-Soul, Jazz and Alternative Rap. This fusion of inspiration has seen him grace the stage at the acclaimed Reading and Leeds Festival, and has collaborated with esteemed brands such as Adidas, Virgin Media, Boohoo and Leeds United. Now with this national acclaim, Graft prepares for the release of his highly anticipated EP, Golden Child.

Hannah Rowe

Hannah Rowe’s emotional range transcends generations; the young singer writes about experiences and shifts in life, offering all listeners a sense of reflection within her rich, authentic, jazz-infused sound. Hannah is backed by a group of highly accomplished musicians who happen to be her adored closest friends. After finding one another at university, Sam Hughes on guitar, Luke Harrison on bass, Owen Moriarty on keys and Charlie Tanner on drums intertwined their varied influences to paint their own alluring and soulful sound - one difficult to define, but has been said to resemble the likes of Raye, Lianne La Havas, Moonchild and Yebba.

Mica Sefia

Liverpool born, Leeds-based future-soul Queen Mica Sefia endorses the interpretive nature of music as an art to be studied and related to by the public. Mica’s own exploration of self-expression solidified her passion in the production of a timeless and authentic style of music. Preferring to keep her lyricisms and narrative open to interpretation, Mica relates to a balanced approach to songwriting, in which her music remains subjective, but retains its emotive sensitivity. Mica’s music leans into the genres of Alt Soul, Rock and Jazz intertwining them to create atmospheric sounds and textured layers.

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

- DJ Romain

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.

Françoise Hardy auditioned for Vogue Records at 18 and went on to top charts with her very first release, a 1962 self-titled record now known as

“Tous Les Garcons Et Les Filles” based on its hit song. From there, the infamously timid Hardy became one of the few French pop stars of the era to

cross over, jetting from England to France to record, serving as a muse to designers like Yves Saint Laurent, and inspiring Bob Dylan and Mick Jagger.

That debut showcases Hardy at her simplest, wringing rockabilly-tinged pop magic from modest jazz percussion and steel guitar. Hardy wrote most

of her own material, setting her far apart from her peers, and on her debut she penned every song but two. Her lyrics would never be this close to yé-yé traditions again.

Permanent Repeat is the highly anticipated second LP by Long Island indie/emo favorites Macseal. The album follows 2019's Super Enthusiast and is their first release on Counter Intuitive Records. Our first record in nearly five years, Permanent Repeat was an outlet to emotionally and musically reflect on our lives at our own pace that allowed us to fine tune until we were fully satisfied. Sonically, we honed in on sounds that reminded us of the early 2000s pop rock with more modern twists and turns. This record is meant to condense big themes such as longing, existential dread, and falling in love into moments that can be played on permanent repeat.

Now We Are Six is the sixth studio album from seminal British folk band Steeleye Span. Following on from a run of albums which solidified them as the premier UK folk outfit, Six bolstered the band's increasing rock sound further. Nigel Pegrum was added as full-time drummer, and Jethro Tull's Ian Anderson brought in to assist with production, on a record which also features a guest spot from one David Bowie, playing saxophone on the last number. To celebrate the 50th anniversary of Now We Are Six, the album has been newly remastered from the original tape transfers and includes rare BBC sessions from the band's performances on Sounds Of The Seventies and Radio One in 1974 - not heard since original airing. The package also features new words from Maddy Prior, Peter Knight, Rick Kemp, Nigel Pegrum and Jethro Tull's Ian Anderson. Remastered from the original master tape transfers by Phil Kinrade at AIR Mastering. 1CD in Digi-sleeve with four rare BBC Radio Session tracks. Booklet with new words from Maddy Prior, Peter Knight, Rick Kemp, Nigel Pegrum and Ian Anderson.

Kaycie Satterfield leans into the endless, prickly change inherent in life. So when the guitarist and singer-songwriter broke her wrist in 2020 and was entirely unable to play her instrument for months, she had no choice but to embrace change. “Guitar is my main source of continuity,” she says. “So I had to learn how to think outside of my current conventions and to work with limitations.” On one hand, she needed to figure out how to write and play with one hand tied behind her back. But the fact that around the same time she had to go through four moves and a breakup meant she'd have to make peace with far more drastic change. And rather than be stuck in dated patterns and stories, Satterfield was newly determined to tell her own story her own way. The resulting album, Rosie (due July 12th via Earth Libraries), is a glistening slice of indie rock that bolsters Satterfield’s impeccable songwriting with a new perspective and rich, synth-driven production.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

Having lovingly reissued the first four albums by our all-time favorite all- female punk band, we now turn our attention to The Donnas’ major label debut for the Atlantic label, where they went after recording a quartet of classics for Lookout! 2002’s Spend the Night was by far the band’s most popular album, hitting 62 on the Billboard charts, but it wasn’t just the major label distribution mojo that upped the sales. This record doesn’t have a dud on it, and boasts such Donnas devastators as “Who Invited You,” “Take It Off,” “You Wanna Get Me High,” and “Pass It Around.” Indeed, with one killer hook after another, the big mystery about this record is, why didn’t it make them superstars? Our reissue also includes “Big Rig,” which was on the original LP release but got left off the CD, and the insert featuring lyrics and a Freddy Krueger guest appearance. Hot pink vinyl!

"Enjoy The Toons Records in partnership with Walt Disney Records and Enjoy The Ride Records, is proud to present the premiere vinyl release for Walt Disney Pictures' Chip 'n Dale: Rescue Rangers.

A comeback 30 years in the making, Chip 'n Dale: Rescue Rangers catches up with the former Disney Afternoon television stars in modern-day Los Angeles. In this hybrid live-action/CG animated action-comedy, Chip and Dale are living amongst cartoons and humans in modern-day Los Angeles, but their lives are quite different now. It has been decades since their successful television series was canceled, and Chip (voice of John Mulaney) has succumbed to a life of suburban domesticity as an insurance salesman. Dale (voice of Andy Samberg), meanwhile, has had CGI surgery and works the nostalgia convention circuit, desperate to relive his glory days. When a former castmate mysteriously disappears, Chip and Dale must repair their broken friendship and take on their Rescue Rangers detective personas once again to save their friend.

Featuring the fantastic score by Brian Tyler, featuring ""Chip 'n Dale Rescue Rangers Theme"" Performed by Post Malone and ""Disney Afternoon Theme / Whale Rap Performed"" by Andy Samberg, John Mulaney & Nathaniel Motte. The 2xLP album is available on an Enjoy The Ride Records exclusive color vinyl variant, a Mondo exclusive split color vinyl, and two additional colored vinyl variants.

Die Ramonas sind die wahrscheinlich beste Tribut-Band der legendären The Ramones, den New Yorker Urväter des Punks. 2004 in Großbritannien gegründet, versteht es die ausschließlich aus Musikerinnen bestehende Band den ultimativen Garage-Punk-Rock-Sound von 1976 perfekt einzufangen und bei energiegeladenen Auftritten auf die Bühne zu bringen. Getreu ihres Mottos "Touring, touring is never borning" haben den Ramonas ihre ständigen Tourneen in den letzten Jahren den Ruf einer der am härtesten arbeitenden Band innerhalb der Szene eingebracht. Zu Recht: denn seit 2016 schreiben Die Ramonas auch eigene Stücke, die sie in ihren Shows unter die Ramones-Klassiker mischen. Deutlich erkennbar am Bühnenoutfit von Sängerin Lisa: während sie bei den Ramones-Covern ganz im Stil von Joey Ramone die obligatorische Sonnenbrille trägt, nimmt sie diese bei der Präsentation der eigenen Songs ab. Für die neue LP "High on life" hat die Band eine grandiose Auswahl dieser Eigenkompositionen zusammengestellt, die mühelos den 76ger-Geist ihrer Vorbilder einfangen. Fur Fans von RAMONES, MUFFS, TRAVOLTAS, Punk, Garage, Powerpop

Entdecken Sie auf diesem schönen Vinyl eine besondere Auswahl von 15 Klassikern der Kings of Soul Music. Mit Barry White - Stewie Wonder - Aaron Neville - Marvin Gaye...

GNOD, the ever-transient psychedelic musical unit from northern England with over 15
years and dozens of releases under their belt, return in 2024 with a recalibrated sound and
a new sense of freedom. Spot Land’s five songs are tender and detailed, unfolding slowly
with wistful guitar textures, brushed drums and interjections of lap steel, piano and
kalimba. As founder member Paddy Shine says, the results sound like old GNOD and new
GNOD at the same time.
Though GNOD’s shift in sound from album to album is rarely planned too far ahead, there’s
been a quiet desire among the band to do something of this nature for a while. The results
might confound the expectations of some listeners, but in the longer view Spot Land is
liquid GNOD.