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Wild Swans - Bringing Home The Ashes LP
  • 1: Young Manhood
  • 2: Bible Dreams
  • 3: Bitterness
  • 4: Archangels
  • 5: Northern England
  • 6: Whirlpool Heart
  • 7: Bringing Home The Ashes
  • 8: Mythical Beast
  • 9: Now And Forever
  • 10: The Worst Year Of My Life

Die britische Post-Punk-Band Wild Swans wagte sich in die Nähe von U2 auf ihrem 1988 erschienenen Debütalbum »Bringing Home The Ashes«.

Die eindringliche Stimme von Paul Simpson verleiht jedem Stück ein emotionales Gewicht; ob er nun versucht, Freude oder Trauer zu vermitteln, sein eisiger Bariton lässt einen bis ins Mark erschauern. Das Album handelt vom Erwachsenwerden, das Aufwachsen in einer Zeit des Krieges und die Suche nach Trost von Gott und der Liebe zu finden.

Die Wild Swans wurden nie als christliche Gruppe beworben, aber Simpson nutzt seine Spiritualität, um Hoffnung oder Verzweiflung auszudrücken. Die Wild Swans malen unauslöschliche Bilder: Simpsons funkelnde Stimme und Kellys ätherische Gitarren verleihen dem Album eine unbestreitbar romantisches Gefühl.

»Bringing Home The Ashes« ist in einer limitierten Auflage von 750 einzeln nummerierten Exemplaren auf Crystal Clear Vinyl erhältlich und enthält eine Beilage.

Сделать предзаказ03.04.2026

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33,40
The Jazz Sinners - The Jazz In You LP 2x12"
  • A1: Gloria Lynne “The Jazz In You” 2.22
  • A2: Joe Harrioj Quintet “Señor Blues” 4.02
  • A3: Peggy Lee “Black Coffee” 3.05
  • A4: Benny Golson “Tippin’ On Thru” 6.41
  • B1: Sheila Jordan “Dat Dere” 2.42
  • B2: Al ‘Jazzbo’ Collins “Max” 3.04
  • B3: Nina Simone “Central Park Blues” 6.49
  • B4: John Wright Trio ”South Side Soul” 5.03
  • C1: Diane Maxwell “Love Charms” 2.16
  • C2: David Michael And Chorale “Wow” 2.36
  • C3: The Jimmy Heath Orchestra “Big ‘P’” 3.54
  • C4: Bobby Timmons “So Tired” 6.11
  • D1: Nappy Brown “My Baby” 2.32
  • D2: Sonny Clark “Midnight Mambo” 7.12
  • D3: Sabu MarNez And His Jazz-Espagnole “Enchantment” 4.27
  • D4: Zoot Sims And His Orchestra “Recado Bossa Nova - Pt.1” 2.36

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

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31,30
MARKET EAST - FRENCH STREET
  • Angel From The Sky
  • Meditations On Mother Earth
  • Circles Of Time
  • Echoes Of My Heart
  • Everyday, Springtime
  • In The Delta
  • The Castles Of Our Minds
  • Roses
  • Italian Market Wine
  • French Street
  • St. Rita
  • So Hard To Say Goodbye
также имеющийся в продаже

PAISLEY PEACH VINYL[24,79 €]


Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

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23,49
MARKET EAST - FRENCH STREET

MARKET EAST

FRENCH STREET

12inchEHSLPC1114
ERASERHOOD SOUND
03.04.2026

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

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24,79
THE MON - SONGS OF EMBRACE LP
  • 1: Invocation Of The Abyss
  • 2: Three Nails, One Heart
  • 3: Incantation
  • 4: The Sigil
  • 5: A Pearlescent Pulse Of Light
  • 6: Ritual Of Night Violence
  • 7: Sovereign Of Silence
  • 8: Embers Of Calendula
  • 9: Echoes Of The Drowned
  • 10: Embrace The Abandon

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.
Structured in two complementary chapters - Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) - the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.

Songs Of Embrace” is the second chapter of “Embrace The Abandon”, expanding its emotional landscape rather than closing it.
Where the first part explored abandonment and loss, “Songs Of Embrace” focuses on presence, proximity, and the physical act of staying.
It is the answering breath, the inner voice.

The album avoids resolution and comfort, embracing slowness, repetition, and bodily tension.
It is not just music, it is a stream of consciousness, an inner search, a way of inhabiting what weighs without letting go.
While “Songs Of Abandon” is a collection of songs, nine tracks written in nine days, Songs Of Embrace is a continuous musical flow.
It is a movement that changes, grows, erupts, slows down, settles, and rises again.

It feels like the sea: calm and still one moment, then moved by a simple breath of wind, suddenly breaking into a storm.
“Songs Of Embrace” was conceived more like a ritual, a work of classical music, a suite.

Different parts unfolding one into the next, each a continuation of the previous one, finding meaning only as a whole.
The pieces are deeply interconnected, like embraces: some bring comfort, others carry pain.
These are compositions meant to be listened to in one continuous breath, allowing yourself to be held, rocked, and sometimes pushed away, just like in an embrace.

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20,80
Kool G Rap - Last of a Dying Breed LP

Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).

Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.

After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).

Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in

five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.

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27,69
The Beths - Expert In A Dying Field LP

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

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21,43
Good Flying Birds - Talulah's Tape

Good Flying Birds

Talulah's Tape

CassettePINK EDITION
Carpark Records
03.04.2026

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

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13,91
Zelooperz - Dali Ain’t Dead LP
  • A1: First Instrument
  • A2: Mona Lisa Left Eye
  • A3: Bebe Kids
  • A4: Push Me Around Ft. Zack Fox
  • A5: Hypnagogia
  • A6: Nda Ft. Paris Texas
  • A7: Fuck Cigarettes
  • A8: Broke Ass Hoes
  • B1: Opposite Sex
  • B2: Describe
  • B3: I Mac
  • B4: Shrooms
  • B5: Take Me Im Drugs
  • B6: Lebanon James
  • B7: Art Of Seduction
  • B8: Play W Your Pride

Emerging from the vivid chaos of Detroit’s underground, ZelooperZ returns with Dali Ain’t Dead — a surreal yet deeply grounded statement from one of rap’s most singular voices. Following his recent collaborative exploration Dear Psilocybin (with Real Bad Man) — which found him moving through a “stream of psychosis” just before sobriety. (Pitchfork) — ZelooperZ enters this new chapter not simply as the same intricate-flows rapper, but as a rising cult-figure in underground hip-hop who’s forged an identity both enigmatic and quietly unstoppable.

On Dali Ain’t Dead, ZelooperZ channels the spirit of the surreal — the album’s title a nod to the iconic surrealist artist Salvador Dalí — as he reframes his world post-substance, post-chaos, yet still dripping with vivid imagination. Reviews highlight that the album finds him in a more focused mode: one critic writes that “ZelooperZ seems to have adopted a similar outlook to Dalí… embracing sobriety and allowing his art to exist as the psychotropic fuel for his mind.” (Album of the Year) Production (courtesy of Dilip) is inventive and cohesive, blending experimental hip-hop, trap, cloud-rap and drumless textures to mirror Ze’s newly clear-eyed vantage point and trademark eccentricity. (Legends Will Never Die)

Tracks like “Mona Lisa Left Eye” and “Push Me Around” (featuring Zack Fox) carry Z’s jagged humor and restless energy, while deeper cuts like “Shrooms” and “Take Me I’m Drugs” trace his evolving relationship with psychedelia and the legacy of his past. (Legends Will Never Die) In doing so, the record positions itself as the sound of a freak-icon in transition — still wild, still weird, but sharpened, matured, operating with a purpose and increasingly commanding the attention of fans who relish the underground unusual.

ZelooperZ’s trajectory continues to rise. From his roots in the Bruiser Brigade collective in Detroit to the present moment as a cult figure whose every release feels like a mission statement, Dali Ain’t Dead confirms that he’s no longer just the oddball off-to-the-side: he’s the weirdo that others are quietly watching. This album isn’t just for the longtime disciples of his left-field aesthetic — it’s an invitation to anyone curious about hip-hop bending, breaking, and rebuilding itself from the fringes inward.

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27,69
Doro - Warriors of the Sea LP

Doro

Warriors of the Sea LP

12inch2919425RDI
Metalville
03.04.2026
  • Warriors Of The Sea
  • Touch Too Much
  • Tattooed Angels
  • Horns Up High
  • Seelied
  • Children Of The Dawn
  • Fire In The Sky
  • Revenge
  • Above The Ashes
  • Raise Your Fist In The Air
также имеющийся в продаже

Picture Disc[29,62 €]


‘Warriors Of The Sea’ is the name of DORO Pesch's special release, with which the Metal Queen is shortening the wait for a new studio album for her numerous fans.

‘Warriors Of The Sea’ is now available as petrol with white and black marbled vinyl. The idea for this special release came about as a result of the two sold-out ‘Metal Queen Metal Cruises’, which were a huge hit with fans at the end of May/beginning of June and – in addition to a third cruise (06.06.26) – simply left them wanting more music.

The title track of the album was written by DORO especially as an anthem for the cruise and immediately became an absolute fan favourite at summer festivals worldwide.

The remaining nine tracks are a hand-picked selection by DORO on the themes of ‘Warriors’ and ‘Cruise’. All of them are rarities and for fans, collectors and metal pirates.

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34,03
Loula Yorke - Salix ft. Charlotte Jolly (TAPE)

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.

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13,87
Hit-Boy & The Alchemist - GOLDFISH MC

Hit-Boy & The Alchemist

GOLDFISH MC

CassetteERE1214
EMPIRE
03.04.2026

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

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26,85
TOMO KATSURADA X MISHA PANFILOV - ETERNAL ALMOST

TOMO KATSURADA X MISHA PANFILOV

ETERNAL ALMOST

12inchFDR01
FUTURE DAYS RADIO
03.04.2026

Ltd edition - Random Coloured Vinyl..

“Eternal Almost” is a collaborative album by Japanese musician Tomo Katsurada and Estonian composer Misha Panfilov. Born from the simple joy of songwriting and creative exchange, Tomo and Misha had long admired each other’s music from afar.

When the opportunity to collaborate finally arrived, it felt completely natural, and by the time the album was finished, it almost seemed as though the two had known each other always.

United by a shared sense of humour and musical curiosity, Tomo and Misha poured a raw, honest energy into these songs — one shaped by their intuitive rapport. In an increasingly artificial world, “Eternal Almost” subtly celebrates the qualities that make music feel most alive.

Amid the weight of our current times, the pair hope this album brings listeners a sense of lightness, joy, and of course—a gently surreal journey from beginning to end.

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22,65
Dermot Kennedy - The Weight Of The Woods

Der mehrfach mit Platin ausgezeichnete Sänger und Songwriter Dermot Kennedy veröffentlicht am 3. April
sein drittes Studioalbum „The Weight Of The Woods“. Das Album entstand in enger Zusammenarbeit mit
dem renommierten Produzenten Gabe Simon, der bereits mit Künstlern wie Noah Kahan und Lana Del
Rey gearbeitet hat. Aufgenommen wurde das neue Werk sowohl in Dermot Kennedys Heimat Irland als
auch in Nashville und verbindet damit persönliche Wurzeln mit internationalem Sound.
Dermot Kennedys Karriere nahm 2017 mit der EP „Doves & Ravens“ ihren Anfang. Zwei Jahre später
folgte sein Debütalbum „Without Fear“, das in Irland zum erfolgreichsten Debüt eines irischen Künstlers
aller Zeiten avancierte. Auch international feierte das Album große Erfolge: Es erreichte die Top 20
der US-Charts, Platz 11 der deutschen Albumcharts und wurde in insgesamt zwölf Ländern mit Platin
ausgezeichnet.
Mit seinem zweiten Album „Sonder“ setzte Dermot Kennedy 2022 seinen Erfolgskurs fort und überzeugte
erneut sowohl Fans als auch Kritiker. Insgesamt wurden bislang vier seiner Singles in Deutschland mit Gold
ausgezeichnet.
Auch live sorgte Dermot Kennedy für Aufsehen, unter anderem 2019 beim Reeperbahn Festival sowie beim
Finale von „The Voice“. Darüber hinaus wurde er 2020 bei den Brit Awards als „International Solo Artist“
nominiert. Mit „The Weight Of The Woods“ knüpft Dermot Kennedy nun an seine beeindruckende Karriere
an und schlägt zugleich ein neues musikalisches Kapitel auf.

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25,63
LYR - Dark Sky Reservation LP
  • A1: Dark Sky Reservation
  • A2: A Walled Garden
  • A3: Blah! Blah! Blah!
  • A4: Pray Silence
  • A5: Where Have You Been All My Life?
  • A6: French Cursive
  • B1: Guernica Jigsaw
  • B2: Eclipse
  • B3: The Goldilocks Zone
  • B4: Sirius Alpha, Sirius Beta
  • B5: Under Artificial Lighting
  • B6: Collared Dove

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

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THE BEVIS FROND - HORRORFUL HEIGHTS (2x12")
  • 1: A Mess Of Stress
  • 2: Best Laid Plans
  • 3: Square House
  • 4: Quietly
  • 5: Space Age Eyes
  • 6: Naked Air
  • 7: Horrorful Heights
  • 8: Draining The Bad Blood
  • 9: A Simple Pursuit
  • 10: Hiss
  • 1: Animal Man
  • 2: Romany Blue
  • 3: Mossbacks' Dream
  • 4: Buffaloed
  • 5: Silver Insects
  • 6: That's Your Lot
  • 7: Sink Estate
  • 8: I'm Gonna Drag You Into My World
  • 9: Momma Bear
  • 10: King For A Day

Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

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26,85
Michael Weston King - Nothing Can Hurt Me Anymore LP
  • The Golden Hour
  • Nothing Can Hurt Me Anymore
  • Die Of Shame
  • A Field Of Our Own
  • Grow Old With Me
  • Just A Girl In The Summertime
  • La Bamba In The Rain
  • When I Grow Old
  • A Mother's Pride
  • Into The West
  • Sally Sparkles

But, in the summer of 2024, a personal tragedy changed everything. Michael and Lou lost their six-year-old granddaughter, Bebe, in the Southport attacks in July that year, and, as much as they tried to carry on and make a My Darling Clementine album, with the weight of so much sadness and grief bearing down on them, it just didn't feel the right thing to do. The tragic events of summer 2024 not only changed the music they were making and the songs they were writing, it also altered their outlook on life. Recognising that everyone's grief is individual even that of a husband and wife Michael and Lou needed to channel their suffering via their own individual creativity and in their own way, rather than in collaboration, so they worked on two solo albums. Michael's "Nothing Can Hurt Me Anymore" is the first of the two to be released.

An album the defies genre, it is simply his instinctive musical reaction to the events of summer 2024. Michael writes "To be honest, it was impossible to write about anything else. It overwhelmed everything. I hope I am now creatively exhausted on the subject, but I think it will affect my writing forever, just as indeed, the loss of Bebe will". It features eleven brand new MWK songs Partly recorded in rural Wales and partly in not so rural Sheffield, "Nothing Can Hurt Me Anymore"was produced by Michael, along with wunderkind Clovis Phillips, and the brilliant Colin Elliot, who also mixed the album.

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JOHN ANDREWS & THE YAWNS - Streetsweeper LP

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

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27,52
Chris Acker - Famous Lunch LP

Chris Acker

Famous Lunch LP

12inchLPGRHL024C2
GAR HOLE RECORDS
03.04.2026

Chris Acker’s latest collection of songs, Famous Lunch, is in his words, a “growing pains album.” When writing the record, the New Orleans' based folk musician found himself hunting for a voice that wasn’t just an imitation of the one he’d been using on the last 30 songs he’d made. “At the same time, I worked hard to find a certain voice for myself over the previous 3 records and I didn’t want to abandon that.”

While the album finds him continuing to transcribe life’s fleeting and provocative banalities with refreshing grace, the songs on Famous Lunch are intentionally more absurd, stylizing his lyricism as both poetic and disarming simultaneously— commencing with “Sh*t Surprise”—an earworm with a vernacular that stays true to its title. Inspired by George Saunders and Sasha Pearl (and wanting to make a song that sounds like Eagles saying the word “sh*t” over and over), “Sh*t Surprise” is the most Chris Acker song possible, in that its earnestness arrives in spades and comes varnished with a one-of-a-kind, spectacular gnarliness. “We’d match our breath in the upstairs room and we’d hold together ‘til I smelled like you,” Acker sings, before nose-diving into that unforgettable chorus about stepping in a smelly, disgusting pile of sh*t.

More than anything else, Famous Lunch finds Chris Acker at his most sentimental and grateful, as he sings about Bunn coffee machines, gas pumps smelling like “the underside of a fingernail” in August, “10-inching” bread, stealing country club lawn-mower motors, father-son fables, impatient buffet lines, and a broom that “hasn’t been used since the last time I used it.” Acker’s eye for detail remains, and his lexicon includes phrasings that spin out like a hypnotic wash cycle. Seeing the world through his eyes, language remains something worth falling into—growing pains and all.

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Variant - The Setting Sun 2x12"

Variant

The Setting Sun 2x12"

2x12inchFIELD40
Field
03.04.2026

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

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