Steven Osborne hat sich zu einem der bedeutendsten Pianisten der heutigen Zeit entwickelt. Seine Gesamtaufnahme der Rachmaninow-Präludien wurde von der Kritik als die beste moderne Interpretation seit
Ashkenazy gefeiert. Nun widmet er sich weiteren Meilensteinen des russischen Repertoires mit dieser Aufnahme von Mussorgskys „Bilder einer Ausstellung“ und einer Sammlung von Prokofjew-Miniaturen.
Mussorgskys Meisterwerk ist eines der beliebtesten programmatischen Werke des 19. Jahrhunderts. Es
stellt jedoch auch eine große pianistische Herausforderung dar, da die spektakulären Klangtexturen des
Höhepunkts „Das große Tor von Kiew“ höchste technische Fertigkeiten erfordern.
David Fanning schreibt über Prokofjews „Visions fugitives“: „Prokofjew liefert Momentaufnahmen seiner
charakteristischsten Stimmungen – mal grotesk, mal beschwörend und mystisch, mal einfach poetisch, mal
aggressiv selbstbewusst, mal so feinfühlig ausbalanciert, dass Interpret und Zuhörer sich selbst ein Urteil
bilden können.“ Osbornes subtiler und zugleich brillanter Umgang mit Klangfarben und Charakterisierung
macht ihn zum idealen Interpreten dieser Sammlung.
Diese 180-Gramm-LP, gemastert von Sidney Claire Meyer in den Emil-Berliner-Studios, ist Teil der „2026
Vinyl Edition“ von Hyperion.
Vom Internetphänomen zum außergewöhnlichen Singer-Songwriter: Der 23-jährige Amerikaner aron! präsentiert mit seinem Verve-Album eines der bemerkenswertesten Popdebüts der letzten Jahre. Bekannt wurde er
zunächst über Social Media, wo seine Performance-Videos auf TikTok und Instagram ein Millionenpublikum
erreichten. Mit Singles wie ”Cozy You“ und ”Wonderful Thing“ deutete er bereits sein außergewöhnliches
Gespür für große Melodien, raffnierte Harmonien und zeitloses Songwriting an. Auf ”Too Close For Running“ verbindet aron! jetzt klassischen Feelgood-Pop mit Einflüssen aus Jazz und dem Great American
Songbook mit der Leichtigkeit einer neuen Generation. Musikalisch steht er Künstlerinnen wie Laufey,
dodie und Mei Semones nahe – die beiden Letzteren sind auf seinem Debütalbum sogar als Gäste dabei.
Das Branford Marsalis Quartet und Sängerin Dianne Reeves veröffentlichen mit „Dedicated To You“ eine
außergewöhnliche Hommage an John Coltrane zum 100. Geburtstag der Jazz-Ikone. Gemeinsam mit
Dianne Reeves präsentieren der legendäre Saxofonist, Pianist Joey Calderazzo, Bassist Eric Revis und
Schlagzeuger Justin Faulkner neue Interpretationen jener sechs Standards, die 1963 auf dem berühmten
Album ”John Coltrane and Johnny Hartman” (Impulse! Records) erschienen. Ergänzt wird das Repertoire
durch instrumentale Neuinterpretationen ausgewählter Coltrane-Kompositionen wie „Central Park West“,
„26-2“ und „Big Nick“, die das Album zu einer facettenreichen Hommage an einen der einflussreichsten
Musiker der Jazzgeschichte machen. Das Album verbindet höchste musikalische Virtuosität mit emotionaler
Intensität und zeigt eindrucksvoll, wie zeitlos Coltranes Musik bis heute geblieben ist.
BLUE NOTE ESSENTIALS heißt die neue LP-Serie, die Klassiker des Labels erstmals kompromisslos
preiswert aber ohne Abstriche bei der Fertigung präsentiert (140g-Optimal-Pressung, Hi-res-Master, OriginalCover). Ein ganz besonderes Album erscheint innerhalb der Serie jetzt als limitierte Auflage in blauem Vinyl:
”Blue Train”.
Am 15. September 1957 nahm John Coltrane in Rudy Van Gelders Studio in New Jersey sein erstes
großes Meisterwerk auf. Es blieb das einzige Album des legendären Saxofonisten als Bandleader für Blue
Note. Inspiriert vom bluesigen Titelstück präsentiert das Album auf fünf Stücken ein hochkarätig besetztes
Sextett mit Lee Morgan (Trompete), Curtis Fuller (Posaune), Kenny Drew (Piano), Paul Chambers (Bass)
und Philly Joe Jones (Drums). Ein Meilenstein des Hard Bop.
In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen.
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde. Die Art,
wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt,
und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen,
die mich heute noch reizt und interessiert.“ Das Album wurde dann auch komplett analog auf Band gemischt. Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.
Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober 2025 eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler
Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, für die Veröffentlichung zum 18.September sind es die Alben von Chuck Berry
”After School Session” und Koko Taylor ”Koko Taylor”.
Diese Ausgabe des 19. Studioalbums „Magnification“ von Yes wurde mit halber Geschwindigkeit auf Lackplatten geschnitten und auf zwei 180-Gramm-LPs gepresst, um eine äußerst detailreiche Wiedergabe zu
gewährleisten. Sie ist in einem Gatefold-Cover mit neuem Artwork verpackt, das auf den Originalentwürfen
von 2001 basiert.
„Magnification“ der Progressive-Rock-Legenden Yes, das ursprünglich im September 2001 erschien, war
ihr erstes Studioalbum mit Orchesterbegleitung seit „Time and a Word“ aus dem Jahr 1970. Mit Orchesterarrangements des Komponisten Larry Groupé, eingespielt vom San Diego Symphony Orchestra, enthält
„Magnification“ den Titelsong, „Don’t Go“ und „In The Presence Of“, die auf ihrer „Yessymphonic Tour“
zur Promotion des Albums zu hören waren, während bei „Give Love Each Day“ Bassist Chris Squire den
Gesang übernimmt.
Dies ist das letzte Yes-Studioalbum mit Jon Anderson als Sänger und – da kein Keyboarder dabei ist
– das erste, auf dem nur vier Mitglieder von Yes zu hören sind.
„Pisces Iscariot“ erschien ursprünglich 1994 und ist die hochgelobte Sammlung von B-Seiten, Outtakes
und Raritäten der Smashing Pumpkins, die die bemerkenswerte kreative Bandbreite der Band in ihren
Anfangsjahren verdeutlicht. Mit Fan-Favoriten wie „Starla“, „Landslide“ und „La Dolly Vita“ unterstreicht
das Album die außergewöhnliche Tiefe des Songwritings jenseits der Studioalben. Diese remasterte Ausgabe
stellt das ursprüngliche Coverdesign wieder her und präsentiert die Sammlung auf hochwertigem 180-
Gramm-Vinyl. Damit ist sie eine unverzichtbare Ergänzung für jede Smashing-Pumpkins-Sammlung.
„Slide It In“, ein wegweisendes Album von Whitesnake aus dem Jahr 1984 und dokumentiert den Wandel
der Band von ihren bluesigen Wurzeln hin zu arenatauglichem Hardrock. Mit herausragenden Titeln wie
„Love Ain’t No Stranger“ und dem Titelsong, getragen von David Coverdales kraftvollem Gesang, ist diese
Ausgabe auf 180-g-Vinyl gepresst – und liefert die eingängigen Hooks, die schneidenden Gitarren und die
Selbstsicherheit, die den Grundstein für den weltweiten Erfolg legten.
Ursprünglich 1961 veröffentlicht, erscheint diese neu remasterte Ausgabe von „The Hawk Relaxes“ des
Tenorsaxophonisten Coleman Hawkins nun im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Mit
Ronnell Bright (Klavier), Kenny Burrell (Gitarre), Ron Carter (Bass) und Andrew Cyrille (Schlagzeug) gilt
das Album als eines der besten Alben aus Hawkins’ später Schaffensphase. Diese Neuauflage erscheint auf
180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem Mastering von den Originalbändern und in
einer Tip-On-Hülle.
Diese neu remasterte Ausgabe des Albums „The Frank Wess Quartet“ des Tenorsaxophonisten Frank Wess
erscheint im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Das Album, das ursprünglich 1960
veröffentlicht und in den berühmten Studios von Rudy Van Gelder in New Jersey aufgenommen wurde,
umfasst außerdem Tommy Flanagan (Klavier), Eddie Jones (Bass) und Bobby Donaldson (Schlagzeug).
Diese Neuauflage erscheint auf 180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem Mastering
von den Originalbändern und in einer Tip-On-Hülle.
Diese neu remasterte Ausgabe von „The Red Garland Trio + Eddie ‚Lockjaw‘ Davis“, auch bekannt als
„Moodsville Volume 1“, erscheint im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Auf dem
Album, das ursprünglich 1960 veröffentlicht und in Rudy Van Gelders Studio in New Jersey aufgenommen
wurde, sind Red Garland (Klavier), Eddie „Lockjaw“ Davis, Sam Jones (Bass) und Art Taylor (Schlagzeug)
zu hören. Diese Neuauflage erscheint auf 180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem
Mastering von den Originalbändern und in einer Tip-On-Hülle
Der Soundtrack zum Oscar-prämierten Animationsfilm „Wallace und Gromit - Auf der Jagd nach dem
Riesenkaninchen“ feiert nun sein Vinyl-Debüt auf Picture Disc. In dem zweiten Spielfilm von Aardman
nach „Chicken Run“ begeben sich Wallace und Gromit auf ein urkomisches Abenteuer, bei dem sie gegen
ein riesiges „Wer-Kaninchen“ kämpfen, das die Ernte ihrer Stadt vernichtet. Die Filmmusik wurde von
Julian Nott komponiert, der auch bereits die Musik für die vorherigen Teile der Reihe geschrieben hat, und
von Hans Zimmer produziert.
Antorcha are one of the best-kept secrets of the Mexican underground rock scene. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, with whom they shared an anarchist and anti-establishment spirit. After a brief period during which they recorded only a couple of 7-inch singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7-inch records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.
Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.
Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and Traditional Eastern influences into a sound unlike anything heard before. Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, "Satori" is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, "Satori" drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. Created for an international audience and revered by generations of musicians and collectors, more than fifty years after its release, "Satori" remains as one of the most influential and forward-thinking records in Japanese rock history. LP includes insert.
Kaoru Watanabe veröffentlicht mit The Arch ein Soloalbum, das in Zusammenarbeit mit dem Produzenten William Brittelle und Executive Producer Shahzad Ismaily im Rahmen des Open-Residency-Programms von Figure 8 entstanden ist. Auf zehn Stücken verbindet Watanabe traditionelle japanische Instrumente wie Shinobue- und Ryuteki-Flöten, Taiko-Trommeln, Narimono-Percussion und Koto mit Jazzimprovisationen sowie akustischen und elektronischen Klangquellen. Neben den traditionellen Instrumenten kommen unter anderem Klavier, Synthesizer, Tenorsaxophon, Sopran- und Altflöten sowie Harfe zum Einsatz, die Watanabe selbst spielt. Das Album bewegt sich zwischen unterschiedlichen klanglichen und stilistischen Ansätzen und verbindet traditionelle Elemente mit zeitgenössischer Komposition und Improvisation.
Die mehrfach mit Platin ausgezeichnete und GRAMMY®-nominierte Pop-Ikone Carly Rae Jepsen veröffentlicht am 18. September 2026 ihr neues Studioalbum Day and Night via Interscope Records. Das
Doppelalbum umfasst 24 Songs, aufgeteilt in 12 Tracks für den Tag und 12 Tracks für die Nacht, und gilt
als Jepsens bislang geschlossenstes künstlerisches Werk.
Mit Day and Night erschafft Carly Rae Jepsen eine traumartige Klangwelt, in der Tage und Nächte ineinanderfließen. Gemeinsam mit langjährigen Kollaboratoren wie Tavish Crowe (der mit ihr auch schon
den Welthit „Call Me Maybe“ geschrieben hat) entwickelte sie zwei unterschiedliche musikalische Facetten:
Während Day mit organischen Sounds, Live-Instrumentierung und Einflüssen des psychedelischen Pop der
70er-Jahre überzeugt, präsentiert sich Night als moderne, synthgetriebene Dance-Pop-Erfahrung.
Das Album bewegt sich durch ein breites emotionales Spektrum – von Liebe, Freude und Sehnsucht bis
hin zu Angst, Eskapismus und Selbstfindung.
Mit Day and Night setzt Carly Rae Jepsen ihre beeindruckende Entwicklung als eine der prägendsten PopKünstlerinnen ihrer Generation fort und liefert ein Album voller Freiheit, Selbstbewusstsein und emotionaler
Tiefe.
The Fall-Off is J Cole's 7th studio album, presented as a 24-track 4LP Set & CD. The album debuted at #1 on the Billboard 200, his 7th chart topping release. Featuring appearances from Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems
"New six-song collection to feature “Who Told You That,” “Sunburn,” “Proving Me Right” and three unreleased tracks NASHVILLE, Tenn. – Award-winning country hitmaker Tucker Wetmore announces his six-
song Sunburn Mixtape.Tailor-made for the season's hottest stretch, the collection pairs three previously released fan favorites with three brand new tracks."
The story picks up when Connect 3 loses their opening act for a major reunion tour, returning to their beloved Camp Rock to discover the next big thing. As campers vie for the chance to open for their favorite band, tensions rise, and friendships are tested, leading to unexpected alliances, revelations and romances. Camp Rock’s all-new campers include bold and determined Sage (Segura) and her easygoing brother Desi (Stone), camp bad boy Fletch (Barton), cello prodigy Rosie (Pollack), drummer with his own beat Cliff (Trotter), choreo queen Callie (Pitts) and intimidating influencer Madison (Jean).
After enjoying two major hits with the singles “Maybellene” and “Roll Over Beethoven” in 1955 and 1956, it was not until May of 1957 that Chuck Berry released his debut studio album and masterpiece, After School Session. The second album ever released on the legendary Chess Records, After School Session offered a new sound to audiences, nodding to teenagers with its title and including a mix of “rockers” that set the blueprint for the rise of rock ‘n’ roll. Includes “School Day (Ring Ring Goes The Bell),” “Brown Eyed Handsome Man,” and “Too Much Monkey Business.” Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board.
"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."
Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.
The " This Is ..." greatest hits collection brings together some of his most beloved recordings, capturing the raw emotion, timeless storytelling, and unmistakable voice that made him a legend. Featuring classics like " Jambalaya (On The Bayou), " " Hey Good Lookin'," "I'm So Lonesome I Could Cry," and "Your Cheatin' Heart," and "Cold Cold Heart," the album showcases the incredible run of hits that shaped generations of country, folk, and rock artists. From heartfelt ballads to upbeat honky- tonk anthems, this compilation is a perfect introduction to one of country music's true pioneers.
For more than three decades, this Grammy-winning US bandleader and roots master has outrun genre, classification and comfort zone, journeying between the acclaimed solo work with his own name on the marquee, his storied jam-band Gov't Mule, and America's fabled rock 'n' roll institutions from the Allman Brothers Band to the Grateful Dead. To represent this lifetime of roots and branches in a single project, while tearing down and reimagining his songbook with bold orchestral arrangements, acknowledges Haynes, was a daunting prospect that nonetheless exerted an irresistible pull. Now, the resulting live album - Dreams & Songs, released September 18, 2026 - is a living document of 2019's one- of- a- kind concert at the Thomas Wolfe Auditorium, with a visceral mix by the legendary Bob Clearmountain capturing the thrilling collision between Haynes' lineup of seasoned rock 'n' roll improvisers and the 64- piece Asheville Symphony Orchestra.
After hooking up with Ten’s Gary Hughes for his first three solo albums, and his fellow Hard Rain band-mate Paul Hodson for his fourth, when it came to ‘Spirit of Man’, Bob’s fifth album, the Magnum vocalist worked with the guys from Lost Weekend, along with Vince O’Regan (Escape, Legion, Pulse), who had been Bob’s touring guitarist for many of his solo shows. Vince and Bob also played many acoustic shows, and during this productive period the duo retired to Vince’s studio and recorded acoustic versions of songs covering Bob’s full solo career. The result is 11 songs highlighting the beloved velvet tones of Catley’s vocals and the melodic clarity of O’Regan’s delicate finger picking. No Magnum songs, but then this is purely a record of Bob Catley’s wonderful and highly successful solo career. Artwork and design by award-winning artist Sebastian Kozak (Ten, Crown of Thorns etc).
Pressure Chords is the first joint album by composer-performer John McCowen, trombonist Weston Olencki and cellist Lucy Railton. McCowen’s composition is based on the spectral analysis of contrabass clarinet multiphonics, and the tuning system corresponds with the overtone spectrum of McCowen’s instrument. The trio adaptation of Pressure Chords presents itself as an exercise in both patience and intensity, slowly building towards an expressive finale. Across its 34-minute runtime, restrained minimalism slowly gives way to maximally affective sonic force.McCowen, Olencki and Railton first shared the stage for an improvised session at Berlin’s KM28. McCowen realised that he found two capable partners for creating orchestrations of his works for the contrabass clarinet. Olencki, who also contributes field recordings to the album, has worked across different genres and traditions, while Railton has made a name for herself as a composer and improviser as well as a performer of Just Intonation music. Weston and Lucy both have immense experience performing and composing music outside of equal temperament, so it seemed like a perfect situation, McCowen says. The trio first presented Pressure Chords live at Berlin’s Morphine Raum in 2023 before recording a studio version with Adam Asnan in the following year. The recording—mixed and mastered by Albert Finnbogasson in Reykjavík—elegantly captures the multi-layered tonal and sonic qualities that the musicians so carefully explore. As a result, their performance doesn’t so much invite but necessitate deep listening—time passes differently on and with Pressure Chords.
Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One
Josephine Foster’s distinctive instrumentation and balladry coupled with her remarkable soprano brings an otherworldly and ethereal sound to her esoteric sound. “Few artists have crafted a niche for themselves quite like Josephine Foster” The Guardian / “Foster stands alone with a markedly dark enchantment and seems to revel in her own cocktail of nocturnal folk spells” Drowned In Sound..
Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow.
Nach den vielgelobten Moonlight Concessions mit ihrer Band Throwing Muses kehrt Kristin Hersh im Jahr 2026 mit einem düstereren, zugleich jedoch zart ausgearbeiteten Soloalbum zurück. Sugar On Blackstone erkundet die Themen Leben und Tod, Reichtum und Armut sowie jene kleinen, aber prägenden Momente der Kindheit, die bis ins Erwachsenenalter nachhallen. Als zutiefst persönliches und emotional weitreichendes Werk reflektiert das Album über die beständigen Bande zwischen Musikern, Familie und Freunden - und darüber, wie bestimmte Klänge, Orte und Erinnerungen einen Menschen plötzlich wieder lebhaft ins Bewusstsein rufen können. Aufgenommen Anfang dieses Jahres in den Stable Sound Studios in den Niederlanden, wird Hersh auf dem Album von ihren langjährigen musikalischen Weggefährten Rob Ahlers (50FOOTWAVE) am Schlagzeug und dem Cellisten Pete Harvey (Throwing Muses) begleitet. Das Ergebnis ist eine karge, und doch warme Liedersammlung, die ein Gleichgewicht zwischen Zerbrechlichkeit und Kraft, zwischen Intimität und Spannung hält. Entstanden im Nachgang einer persönlichen Tragödie und vor dem Hintergrund ständiger Reisen, von Waldbränden und rastloser Bewegung quer durch Amerika, durchzieht das gesamte Album eine Atmosphäre der Unruhe. Doch inmitten dieser Dunkelheit findet Hersh Momente der Zärtlichkeit und Verbundenheit. Als ergreifendes und vielschichtiges Werk, das gerade in seiner Verletzlichkeit Stärke ausstrahlt, erweist sich Sugar On Blackstone als ein weiteres unverzichtbares Kapitel im gefeierten und sich stetig weiterentwickelnden Gesamtwerk von Kristin Hersh. Für Fans von PJ Harvey, Emma Ruth Rundle, Beth Gibbons, Low, Yo La Tengo, Throwing Muses, Alternative (Rock), Dark Folk, Post-Americana, Independent, Grunge Singer/Songwriter
L.O.T.I.O.N. Multinational Corporation have been percolating in the NYC underground for the past 10+ years - gaining notoriety for their unique brand of industrial cyberpunk with intense live shows, fiercely political lyricism and striking visual aesthetics (masterminded by the band’s vocalist, noted visual artist Alexander Heir.) Blending noisy electronics and pumping beats with live instrumentation, the band draws inspiration from the militant minimal techno of Detroit, 90s Gabber, and the thrashing riffs of Hardcore Punk. The upcoming release "Machine Hallucinations" is their most fully realized to date. Exploring topical themes of artificial intelligence, the horrors of ICE raids and the corrupt modern military industrial complex, "Machine Hallucinations" is a violent and sobering critique of the current fractured state of The USA. Recorded and Produced by Ben Greenberg (Uniform) and featuring guest appearances from Iggor Cavalera (Sepultura, Cavalera Conspiracy), LA electro-punks La Pregunta? and vocalist Lulu (Fairytale, Twisted Thing) - as well as an expanded dual-guitar line-up, "Machine Hallucinations" broadens the sonic spectrum only hinted at on previous releases.
Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!
"Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputation as New York's leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become 'Krautrock'. Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more. 'Silver Apples... a beautiful and mysterious artifact.' - New York Times.
Sales points
- New 24 bit /96 kHz transfer taken from the original master tapes.
- Limited Blue Sky Colored Vinyl
- First Reissue from Original Tapes
- Currently Touring in the US and Europe
- 'Oscillations' featured in Pitchforks Top 200 songs from the 60's.
Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.
Across two landmark albums — Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997) — The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.
After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.
In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the band's sonic vocabulary while preserving the qualities that made them unique: curiosity, intelligence, vulnerability and an unwavering commitment to following their own instincts.
Now, more than three decades after their formation, The Van Pelt are set to return in 2026 with Remain Obscure, their fifth studio album. Continuing their tradition of defying expectations, the record pushes beyond the familiar boundaries of the band's sound while embracing the same spirit that has defined them from the beginning. A band whose influence has consistently exceeded its visibility, The Van Pelt remain one of independent music's most enduring and rewarding secrets.
When Pouya dropped The South Got Something To Say in the summer of 2019, it wasn’t just a title—it was a definitive statement of growth. Nodding to André 3000’s iconic 1995 Source Awards declaration, the Miami pioneer used his third studio album to prove that his raw, independent formula had mutated into something deeper, more mature, and entirely unmatched in the underground rap landscape. Now, for the first time since its digital release, this pivotal moment in Florida hip-hop history is finally available on wax, offering listeners something tangible they have been anticipating for years.
The South Got Something To Say captures Pouya at a lyrical and sonic turning point. While maintaining the blistering flows, heavy bass, and visceral Florida energy that initially put him on the map, the album opens the door to intense themes of mortality, legacy, and the heavy toll of independent success. It bridges the gap between the frantic energy of the SoundCloud era and a mastery of songwriting, offering fans a remarkably transparent look into the mind of an artist surviving the very chaos that birthed him. Standouts like "Cruisin' in the MIA" and "Florida Thang" showcase his signature rapid-fire delivery, perfectly balancing the record's darker, more introspective moments.
The sonic diversity of the project is anchored by a stellar lineup of collaborators who push Pouya into new creative territory. He enlists Three 6 Mafia royalty Juicy J alongside heavy-hitting underground peers like Ghostemane and City Morgue, while seamlessly pivoting into the melodic, hazy soundscapes of indie-pop artist Cuco and longtime producer Rocci on tracks like "Talk to Me Before I Die" and "Mood Swing Misery." This striking balance of aggressive phonk and melodic vulnerability solidifies the album as a cohesive, genre-bending journey rather than a mere collection of singles.
For years, vinyl collectors and die-hard fans have begged for this underground masterpiece to be immortalized on wax. This first-ever vinyl pressing delivers the booming low-ends and intricate, therapeutic bars exactly how they were meant to be experienced. From the opening nostalgic chords to the final fading beats, this release stands as an essential artifact of the modern underground rap movement, finally giving a landmark Southern album the premium physical presentation it deserves.
Remastered limited edition double vinyl with double-sided screenprinted poster-cover (sleeve folds out to be one huge poster). A real collectors item!
When Off Off came out around June 1984, one couldn’t speak of an independent music scene in Portugal. Warm Records’ vague existence didn’t have any impact and Dansa do Som’s inaugural release appeared only in December. 10 years after the revolution, after two IMF interventions, a lot of political instability (not to say turmoil, in the first couple of years) and the natural excesses of a sudden burst of freedom, the Portuguese consumer had more choices but a generally poor standard of living. There was no entrepreneurial culture and serious second thoughts about investing private money in risky ventures.
After many complaints about the whole music scene (institutions, critics and record label executives, popular and classical music alike), something that would continue well beyond the end of the decade, Telectu decided to finance, record, produce, release and sell an album with complete independence from outside structures. Their karmic reward was profit. According to Vítor Rua, Off Off was the only album fully payed by the duo and the only one that really payed off. Not an easy accomplishment for a double LP housed in a large (also double-sided) screenprint with complicated cuts and folds. The artwork was conceived by António Palolo, a friend and multidisciplinary artist. It was based on a collage of heavily saturated and xeroxed polaroids framed in shocking pink and green. Palolo was considered the third member of Telectu, regularly producing slides, video and other visual support for their shows. The inspiration for the type of cover came from GRM’s Gramme series.
Off Off is divided in four distinct sides, each one corresponding to a “theme” or “function” related to Telectu’s manifold artistic interests and interactions. The titles are also gateways to influences and a small portion of Portuguese cultural life:
- Side 1 / “Diagonale” is dedicated to Egídio Álvaro, art critic and gallery director (he opened Diagonale in Paris). Performance art was arguably his main artistic concern over the years, so the music on this side is suggested for use by one or more performers in live or playback situations. The three tracks segue into each other, linked by a synth arpeggio much in the same way as Telectu’s previous “Belzebu” álbum (1983);
- Side 2 / “Anarké” is dedicated to the composer Filipe Pires, one of Jorge Lima Barreto’s recurring invocations when asked about worthwhile contemporary music in Portugal. It is subtitled “concert music”, proposing «a new form of listening». Three tracks also, and these are separated by “clap interludes”, which basically consisted in the following: JLB and VR each had a pair of headphones on, and they clapped their hands according to the rhythm of the music each one was listening. Both musicians were interacting with a different Steve Reich piece: Vítor with “Music for Mallet Instruments”, Jorge with “Six Pianos”. The result is disjointed clapping, an awkwardly deliberate celebration of their own music. Telectu applauded themselves.
- Side 3 / “Cornucópia” is subtitled “music for theatre” and dedicated to Luís Miguel Cintra and Luís Lima Barreto (JLB’s brother), both connected to the Cornucópia theatre company. The side consists of several short pieces previously used as interludes in the Cornucópia staging of “Mariana Espera Casamento” (1983). Field recordings, mood pieces, ambience and a numeric poem (“Soneto Soma 14x”, by E.M. de Melo e Castro) read by João Perry, a quite well-known stage actor. His voice is treated with a flanger effect;
- Side 4 / “Palolo” is “video music”. It’s a one-take mix recorded from cassette sources (Telectu studio experiences) and done live while watching António Palolo’s Om film (1978) projected on the living room wall. It’s a deep, immersive, quasi-mystical 20-minute piece perfectly suiting the meditative, abstract, fluid images created by Palolo by mixing paint and water inside a bathtub. One imagines the Cosmos, hardly suspecting the technique. The film is 90 minutes long, so the music on the LP is of course edited.
The six titles on sides 1 and 2 evoke demons, all of them with conflicting symbolism, since it varies from culture to culture, religion to religion. No explanation is given and Vítor Rua has no idea where this imagery comes from. During virtually the whole stretch of the 1980s, Jorge was the one in charge of titles and concepts, and Vítor didn’t bother too much even reading the liner notes :) In any case, when you synchronize the listening experience with the imagery, a powerful impression emerges, a feeling of being in the presence of these entities while placing yourself inside the sonic narrative.
Off Off is undoubtedly a seminal album in the history of electronic music, as much Heldon as Fripp & Eno, jazz and American minimalism, cosmic out-thereness, mantric miniatures. Telectu at the height of their powers, still very early on, delivering an album-manifesto advocating intermedia art and the fierce independence of Portuguese musicians «from the scum of capitalist music industry monopolies. It’s a path to follow, albeit one that requires enduring hardships and retaliation from music industry gangsters.» Despite a few journalists deemed «capable of being free», the media are «enslaved by the dominant and fascist imbecility of the speculators of light music.» Off Off is addressed to those journalists «and to an audience angry at the cultural misery imposed upon us ..., certain that this music will open new horizons of musical pleasure in the conception of Portuguese avant-garde music, and in the open consciousness of us all. OFF OFF repeats Freedom.»
Those two words are a direct lift from Alberto Arbasino’s 1968 book Off Off, the basis of which is a critical analysis of Theodor Adorno’s and Dwight MacDonald’s ideas concerning the stratification of culture in different levels (high, mid and low) and the pervasiveness of mass culture in the form of a culture industry. In very simplistic terms, and that is precisely the point that inspired Jorge, Arbasino argued that it was possible and desirable to effect a revolution from below, cultivating alternative circuits completely cut-off from what he termed the in-in reality. Telectu’s record was a deliberate demonstration that it could be done, displaying Freedom in the face of all the gatekeepers and other human obstacles.
Twisted Teens is a rockin’ roll band from New Orleans.
The Kinks living in a school bus with no wheels on it. The Rolling Stones of Jungian anarchism.
The Buzzcocks of the poisoned bogs of south Louisiana.
Punk inflected country music, or country inflected punk music idk.
Memetic warfare via earworms (it’s extremely catchy). Outperforms all other bands in every metric, drinks every night but still makes it to the gym.
Draws no contrast between the familiar and unfamiliar.
For their third album, Under The Reefs Orchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clément Nourry (guitar), joined by Marti Mélia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recorded at Robot Studio in Ghent by Pieterjan Coopejans,
orchestra also expands with distinguished guests – An Pierlé, Catherine Graindorge, and Alejandra Borzyk – who upset the balance and ignite the embers of improvisation. Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continues to roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praised by the international press (Earmilk, Spin Magazine – which ranked Sakurajima among the 22 best albums of 2022), the group stands out as one of the most daring projects on today’s vibrant Belgian scene.
