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Mit "Lieben wir" präsentiert OEHL ein intimes und packendes Konzeptalbum über die Liebe in all ihren Facetten – von Knutschflecken bis zu den Momenten, die unser Leben prägen. Ariel Oehl wagt Neues und bleibt sich treu: Sein "Gitarrenalbum" vereint handgemachte Klangwelten mit verführerischen Melodien, die zwischen Nostalgie und großer Emotion pendeln. Produzent Niklas Apfel sorgt für ein ausdrucksstarkes, organisches Sounderlebnis.Ein Album, das von Enttäuschungen, Glück und der Magie flüchtiger Augenblicke erzählt – Musik für Menschen, die etwas von Musik verstehen – und ein Herz haben.

- Ausstattung: Rot-transparentes Vinyl mit silberfarbiger Innentasche mit Songtexten & Herz

Vier erfolgreiche Studioalben, mehrere Theatertourneen in den Niederlanden und erste internationale Shows, die allesamt ausverkauft waren. Es folgten bereits zahlreiche Auszeichnungen, darunter eine Goldene Schallplatte und der renommierte Edison Jazz Award (der Holländische Grammy). Keine alltägliche Errungenschaft im Jazzbereich oder wie „Crooner“ Dennis es lieber nennt, im Swing, einem Stil, der für ihn unvergleichlich ist. Jeff Franzel, der ehemalige Pianist von Frank Sinatra und Sammy Davis Jr, sagt über Dennis: “Music is about working with young talent, especially for people my age. Dennis blew me away with his incredible voice. He’s also an artist who connects with his audience. I predict a great international career for him.“ Sein Repertoire umfasst eine Mischung aus klassischen Jazzstandards, zeitgenössischen Stücken und eigenen Kompositionen, die seinen persönlichen Stil unterstreichen. Neben seiner Musikkarriere engagiert sich van Aarssen auch in der Musikpädagogik und fördert junge Talente in der Jazzmusik. Im März 2025 erscheint sein aktuelles Album " Just call it Love" auf dem deutschen Markt, mit Titeln geschrieben von Maria Christensen, die u.a. für Céline Dion, Jennifer Lopez und Disney Productions Hits abgeliefert hat. Am Piano niemand geringerer als Jeff Franzel, der ihn auch auf seinen ersten Shows in Köln und Hamburg begleitet! Hier kommt ein junger Mann mit grossem Talent, der eine junge Zielgruppe für die Swingmusik begeistern wird.

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

In 2017, Matthias launched his record label named Superluminal, after the astronomic motion observed in 1902 by Jacobus Kapteyn in the ejecta of the nova GK Persei, which had exploded in 1901. His discovery was published in the German journal Astronomische Nachrichten, and received little attention from English-speaking astronomers until many decades later. It appears to travel faster than light, its existence could conceal the most inexplicable mysteries of our universe which gave birth to many of the secrets hidden in the path of mysticism and esotericism.

The label celebrates its 8th Anniversary with Matthias’s first self-released album. The instalment pays homage to the roots and influences the artist has genuinely embraced throughout the years. An immersive composition which summons a line from the sounds of the past to the present, designed meticulously and displayed within gatefold cover.

It certainly manifests a polyhedral vein with some very cerebral, experimental songs among more dancefloor oriented music. The artist delves into a self exploratory leap of synth-driving notes, striking chords of late decaying dub pianos. Certainly a journey that pairs conceptual alignment with more clubby-essential, stripped-down recordings.

The song’s progression evokes atmospheres from the far out worlds, carved into a space-echoing psychedelic trip with sinister tribal-percussive rhythm. The song’s arrangements are simple-complex drum’s versatile patterns, forged and elegantly blended into cinematic soundscapes.

This is a one way ride to the forest of mysteries, from which, there is no return. The time of the day between dusk and night, when it gets dark.

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

Edwyn Collins ist zurück mit seinem 10. Soloalbum "Nation Shall Speak Unto Nation" und Reflektionen über den Zustand der Welt. Das 11-Track-Werk auf dem eigenen Label AED Records wurde in Edwyns Clashnarrow Studio in Helmsdale im Nordosten Schottlands aufgenommen und von ihm zusammen mit Sean Read und Jake Hutton produziert. "Knowledge", Albumopener und erste Single, wird von einem Video begleitet, das zwischen Weihnachten und Neujahr in Edwyns Heimatdorf Helmsdale gedreht wurde. Regie führte Delbert Anthonio Wright, ein talentierter junger Filmemacher, den Edwyn seit seiner Kindheit kennt.

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

Haken-Gitarrist Charlie Griffiths kehrt mit einem Nachfolger zu seinem Soloalbum von 2022 zurück. Diesmal wählt Charlie Grif-fiths den Künstlernamen "Tiktaalika" und präsentiert "Gods of Pangaea". Das Album knüpft dort an, wo das Vorgängeralbum auf-gehört hat und erzählt von einer uralten, vergessenen Welt, die mit dem heutigen, von Menschen bewohnten Planeten kollidiert. Musikalisch ist das Album eine Hommage an die Kunst der Gitarrenriffs, deren DNA bis in die goldene Ära des Metal zurück-reicht, mit Einflüssen von Mercyful Fate, Judas Priest, Megadeth und Metallica. Charlie wird wieder von dem hervorragenden Schlagzeuger Darby Todd (Devin Townsend) unterstützt, und die Bassfrequenzen werden diesmal von Haken-Bandkollege Conner Green beigesteuert. An den Vocals wird Charlie von einigen der Besten im Geschäft unterstützt: Tommy Rogers (Between The Buried & Me), Daniël de Jongh (Textures) und Vladimir Lalić (Organised Chaos) sind alle wieder mit von der Partie und Rody Walker (Protest The Hero) steuert seine Vocals zu einem Track bei. Erhältlich als limitierte CD & Gatefold transparent-magenta LP-Edition (beide mit Bonustrack) sowie digital.

The Diyeis is the brainchild of Concret and Inigo Vontier, a DJ duo united by their love for edgy, psychedelic music and the pursuit of raw, pure sounds that transcend emotional layers. Their mission? To harness the primal, tribal effect of ecstasy on the dancefloor, creating a space where connection thrives through rhythm alone.

For the first time ever, the highly regarded Anything Goes release series is curated by a single act – or rather, a duo: The Diyeis. Known for their raw, edgy sound and boundless creativity, the duo presents a unique selection of reworked tracks. These edits, crafted as playful DJ tools, are designed to create those cheeky dancefloor moments where nostalgia blends seamlessly with the thrill of a sunrise rave.

'Nobody', der an der Westküste ansässigen Vokalgruppe Hodges, James Smith & Crawford ist seit langem ein Club-Klassiker für Funk-DJs und wurde von David Holmes gefördert. Das Original liegt mittlerweile bei etwa 100 £ und Ace Records veröffentlichen es zum ersten Mal auf 7inch. Für noch mehr Vergnügen wurde die Single um das bisher nur auf CD erhältliche 'It Cracks Me Up' als B-Seite ergänzt.

Unearthed from the neolithic tar that eventually swathes all history, Aerial M"s early-98 Peel Session is once again among us. Compared to the studio takes, played strictly and singly by Aerial/Papa M-astermind David Pajo, these versions swing from the necks of road-burned players, breathing more bestially than their canonical cousins, glinting "pon the dark metallic roots that fed all of Pajo"s best guitar lines, winding thru time immemorial.

Die aus Koblenz stammenden CURSE OF KHATRU sind weder Kumpel-Death-Metal noch vermummter Okkultismus oder was auch immer für eine "metallische" Modeerscheinung... Sie stehen für authentische Musik in der Tradition von Bands wie Death, Morbid Angel, Pungent Stench und Grave. "Unser Debütalbum klingt nach der Art von Death Metal, die wir mögen: entfesselt, aggressiv und songorientiert." 11 mega-eingängige Songs + Intro, technisch auf höchstem Niveau, werden den Hörer akustisch umhauen. Versprochen. Das selbstbetitelte Album wurde zwischen Oktober 2023 und Februar 2024 von Jörg Uken in den Soundlodge Studios Rhauderfehn (Keitzer, Maat etc.) aufgenommen. Das Cover-Artwork stammt von Noah Zark.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

In between the Golden Earring albums 'Seven Tears' and 'Together', both guitarist George Kooymans and singer Barry Hay worked on solo material. Kooymans’ album 'Jojo' was released in December 1971 and was the result of a sparkling and short period of recording sessions at the Phonogram Studio in Hilversum, where he recorded a collection of songs with some of the best Dutch session musicians – among guitarists Eelco Gelling (Cuby + Blizzards) and Hans Hollestelle and saxophone player Bertus Borgers (Sweet d’Buster). Thanks to the spontaneous recordings, the personal lyrics - with help from George’s friends Bruce Kirkman and Jerry Voisin - and Harry van Hoof’s string arrangements, 'Jojo' achieved a cult status and became a collectors' item soon after release.

The album has been remastered from the original Phonogram Studio master tapes and includes a recent interview with George Kooymans about the making of 'Jojo'.

'Jojo' is available as a limited numbered edition of 750 copies on light green coloured vinyl and includes an insert.

Five for Fighting achieved a hit record with "Superman (It's Not Easy)" in 2001 leading to his America Town album going Platinum.

For the follow-up, The Battle Of Everything, John Ondrasik went into the studio with Bill Bottrell, best known for his production work with Sheryl Crow.

On the influences behind Battle and its recording, Ondrasik said, "When I was a kid I could put on Dark Side of the Moon, turn up the sound in my headphones, lie down in the dark, and go away. I wanted that experience again, and so Bill and I were ambitious to the point of absurdity. If we wanted drama, we'd get a thirty-piece orchestra. If we wanted a rock edge, we went after it with reckless abandonment. It was like doing my own private Quadrophenia."

The Battle for Everything was released in 2004. The first single, "100 Years" was a top 40 hit on the Billboard Hot 100 chart. The album itself was certified Platinum in 2009. and is now finally available on vinyl for the first time.

This is a limited edition of 500 individually numbered copies on gold coloured vinyl. The LP contains a 4-page booklet with lyrics and pictures.

WHO IS ULTAN O’BRIEN? Ultan O’Brien is a fiddle player and composer from the wilds of County Clare in the West of Ireland. Ultan is a performer as well as a regular at sessions all of Ireland and can be found by chance in any pub in Dublin, Cork or some remote village on the edge of nowhere, flying jigs and reels around the room. Ultan was reared in the rich tradition of Irish music which is so commonly found and heard in Co Clare, but he also delves deep into sound art and experimental music. He has often been heard in the back of a car after a few pints quoting lines from Alvin Lucier or speaking at length about improvisation and its place in modern Irish music. Ultan O’Brien is a fresh and vital player who has much to offer with his unique approach and technique to a tradition so old and ever ready for a subtle change every 100 years or so. Ultan has played and recorded with people and bands such as Skipper’s Alley, Eoghan Ó Ceannabháin, John Francis Flynn, Slow Moving Clouds, Cuar, Laura Jurd, Martin Green, Natalia Beylis, Paul Roe and Nic Gareiss. ‘in its Ultan’s fiddle playing sincerity of tone it reminds me somewhat of those great caoineadh which were played with such elusive grandeur by Denis Murphy and Pádraig O’Keefe’ Adrian Scahill ‘lets the heart brighten and the feet tap’ Richard Hollingum -KlofMag


ABOUT THIS WONDERFUL ALBUM: ‘This album, Dancing the Line, is my first solo album of music played on an alternatively-tune alto fiddle. I found that the resonance and growl of this lower tuned instrument sat me perfectly into the sound-world I wanted to be in, giving vibrancy to my own compositions and nestling into the traditional music I grew up with.’

Streng limitierte, remasterte Deluxe-Auflage zum 20-jährigen Jubiläum des vierten Albums "Wet From Birth" (2004) der US-Synth-Punk-Band The Faint, das den Puls des Berliner Undergrounds mit der DIY-Körpersprache Omahas verschmolz, wo Punk ebenso Rhythmus wie Rebellion war. Ihr Sound kombinierte die melodische Essenz von New Wave, die raue Kante von Post-Punk und den roboterhaften Futurismus von Detroit Electro, und mit der Hinzunahme des Death Metal-Gitarristen Dapose entflohen sie in ganz neue Sphären. The Faint brachen aus der bescheidenen Bequemlichkeit des Indie-Rock aus und lieferten den Schock, zu dem die Indieszene der Spät-90er/Früh-2000er bereit war. Die neue Deluxe Edition enthält das sorgfältig von den Originalbändern remastere Album, erweitert auf Doppelformat, mit zwei gänzlich unbekannten Sessiontracks, unveröffentlichten Demos und einigen Remixen, und erscheint auf transparentem Doppelvinyl mit Poster (18x24") im mit Metallfolie geprägtem Gatefold.

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

Studio Barnhus proudly presents this debut full-length record from the Jimi Tenor & Freestyle Man project, the fruit of the joint labour of these two undisputed legends of electronic music. Building on their catalog of work for labels like Warp and Sähkö, these Finnish heroes have blessed
Stockholm imprint Studio Barnhus with regular releases since 2017, this LP being the finest example thus far of their classic yet always fresh sound.

Chaotic Shimmer is a collection of songs that vary in texture and genesis. The A side has a stronger sense of familiarity with the more rocking numbers, while the B side stretches out in more exploration. Some of the same electronic elements of 2024's Black Holes Don't Choke can be found in songs like "Music For The People" and "Caught Waiting". There is also a subtle nod to Minor Threat in the lyrics of "Caught Waiting". The track "Path I'd Like to Follow" is dreamy and meditative - channeling JJ Cale or late sixties San Francisco fog. The opening track is a rocket ship waiting to escape the dull confines of this singular consciousness, and it creates a space for the title track to transcend at will. All of the songs were recorded by Charles Moothart at his studio in Los Angeles. He wrote, performed, recorded, and mixed everything heard on this album. Reserving the right to do as thou wilt is rock and roll 101. The world is chaos, and chaos is creativity. To accept and embrace this is to tap in to the Chaotic Shimmer - a transcendent energy. Music is for the people. Charles Moothart is a multi-instrumentalist based in Los Angeles. He plays guitar in bands like FUZZ and Primitive Ring, as well as drums in GØGGS and Moonhearts. He was the touring drummer for Ty Segall's Freedom Band, as well as the Ty Segall and White Fence collaborative tours. Moothart has also released solo work under his initials CFM.

Nouveau monde is the fourth album from Jonathan Personne, also known as the singer, guitarist and lyricist from the Montreal-based indie rock band Corridor. Bringing together previously unreleased songs from different eras, the LP is by no means an outtakes album. Assuming the mismatched quality of his compositions, Jonathan Personne opted for a “bedroom” production just polished enough to create a cohesive bond that makes this melodic jumble a real tour de force. The result is an album whose “mixtape” structure echoes that of ’90s classics such as Check Your Head by the Beastie Boys or early Beck records, which shaped Jonathan Personne’s youth.

Experience Ghost In Us, Albert af Ekenstam's powerful return after an eight-year wait! With Scandinavia's most impressive voice, Albert blends raw post-rock with deeply moving singer-songwriter emotion, creating an album that radiates creative force. This isn’t just authentic music with a striking sound—it’s Albert’s soul, rediscovered and stronger than ever.

JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.

Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.

In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,

“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.

Lee Hazlewood made his bones producing and cowriting with guitarist Duane Eddy during the ‘50s, and then cemented his immortality with the classic sides he produced for Nancy Sinatra during the ‘60s. Over the past few decades, though, attention has turned to Lee’s idiosyncratic solo work, the heart of which he recorded for the Reprise label and his own LHI Records. Issued in 1968,

Love and Other Crimes is one of his Reprise releases, and it’s one of the weirdest records in his entire catalog. Recorded in Paris with such legendary Wrecking Crew members as guitarist James Burton and drummer Hal Blaine, Hazlewood sounds every bit the bon vivant (read: half drunk) as he swings from country ballads to lightly psychedelic pop highlighted by his rockin’ cover of Bonnie Dobson’s “Morning Dew.” Other highlights include “Rosacoke Street,” which presents him at his most psychedelic lounge lizard-esque, (think a Hunter Thompson character from Fear and Loathing in Las Vegas) and his moving “Wait and See,” an apology for bad behavior to an absent lover.

We’ve enlisted Mike Milchner to remaster this one for vinyl… don’t miss Lee’s stream-of-consciousness back cover notes, either. Pressed in sea blue vinyl limited to 1000 copies!

It’s been 20 years since Hinder’s major label debut Extreme Behavior was released, and we’re still not sure the music industry has recovered. Seldom have commercial and critical success been poles apart to this degree; this record went TRIPLE platinum and scored, what, four major hit singles (more if you count the international charts)?! Yet, critical scorn was unrelenting, one reviewer commenting Hinder “appeal not to fans of music, but fans of high fives.” Which is pretty funny…but this Oklahoma City band laughed all the way to the bank, as songs like “Get Stoned,” “Lips of an Angel” (#3 on the Hot 100), “How Long,” and “Better Than Me” were worldwide hits.

Part of this was due to the undeniable charisma of lead vocalist Austin John Winkler; producer Brian Howes also deserves credit for co-writing the songs. But a big part of Hinder’s allure (aside from the fetching cover photo taken straight from the cover of the book How to Tell a Naked Man What to Do: Sex Advice from a Woman Who Knows) was the band’s devil-may-care attitude. Fans of Jackass found their party-hearty soundtrack right here; Extreme Behavior is good, unclean fun. Remastered for its firstever vinyl reissue on its 20th birthday by Mike Milchner from Sonic Vision, and pressed in blackberry vinyl!

FIRST TIME EVER ON LP
LIMITED EDITION CLEAR VINYL - ONLY 1000 UNITS PRESSED
COMPACT DISC BACK IN PRINT FOR THE FIRST TIME IN 10 YEARS - Now On 8 Panel Digi-Pak
FINAL SMITHEREENS ALBUM WITH ORIGINAL LEAD SINGER PAT DiNIZIO
PRODUCED BY DON DIXEN (REM, GIN BLOSSOMS, MARSHALL CRENSHAW)

“Crushing chronic chords with the dyne-rhythm section to fuel it all, are not only still here, but stronger than ever”. No Depression

"Everything in Smithereens' world is like a film noir shot in psychedelic colors. But this New Jersey band has a talent for creating fresh variations that prevent dust or mist from clouding their music. "Smithereens 2011" reaches a peak with the song that opens the album, the sour-tempered yet utterly transporting "Sorry.” Ken Tucker, NPR

"Wholly satisfying blast of classic Smithereens songcraft and melodicism, colored with Pat DiNizio’s impassioned vocals, Jim Babjak’s thick-toned, stinging guitar, Dennis Diken’s imaginative, powerful drum work and Severo “The Thrilla” Jornacion’s stylish bass. The entire collection sounds like a return to The Smithereens’ mid-to-late ’80s glory years, both song and performance-wise.” GOLDMINE MAGAZINE

“And 2011’s songs – the songs! – vintage! Picks up where Green Thoughts left off. Pop Dose

Words from the label:

Dark moody vocals meet super disco beats: This is what it sounds like when pioneering DJ and producer Jens Mahlstedt invites Saâda Bonaire over to his studio.

Stephanie Lange and Claudia Hossfeld, the original singers of legendary Eighties band Saâda Bonaire, plus founding member Ralph “von” Richthoven are teaming up four decades later for two very special takes on “You Could Be More As You Are”. Out now, exclusively on twelve inch vinyl.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Following the Nairobi Sisters 45 in 2023 and Revolutionaries LP in 2024, 333 is back for 2025 with another rare mid-1970s cut out of Winston Jones' Flatbush-based Flames label catalogue.

It is issued here under license from Jones, aka the original singer and composer of Stop That Train with the Spanish Town Skabeats aka The Spanishtonians. Making the move from JA to NYC in the early 1970s he established and ran the state-side Flames label, nursing it into a key imprint in Brooklyn's reggae scene from the mid-1970s until the early 1990s. This in-demand roots cut features a stellar horn section in combination with urgent, soul-inflected vocals from Glen Hutchinson. Backed with a killer stripped-back dub.

Discos Martos Launches with Glen Anthony Henry's Soulful 45 Vinyl Single.

Discos Martos, a new division of Rocafort Records, proudly announces its debut release: a 45-vinyl single by soul singer Glen Anthony Henry. Originally from Los Angeles and based in Spain, Henry combines classic soul with modern flair in this exciting project.

The A-side, "Thankful," is an upbeat tribute to love and friendship, featuring a catchy hook and a drum backbeat reminiscent of Al Green. On the B-side, "Fade Away," Glen Anthony Henry showcases his falsetto in a deeper, more introspective track.

Both songs are produced by Oscar Martos, entirely in analog, capturing the essence of 70s soul music with a contemporary twist.

This release marks an exciting beginning for Discos Martos, celebrating soulful sounds for a new generation.

We're excited to announce Discos Martos' second release: a 45-vinyl single from Rocksteady Romantics, celebrating the irresistible sounds of…you guessed it…rocksteady. True to the label's dedication to analog productions, this release offers what Jamaican music culture is known for: Dub music and classic soul covers in its own style.

The A-side features a fantastic dub track featuring Tibstar, designed for loud soundsystems and clubs. With its catchy and powerful horn section, this track is guaranteed to get the dance floor moving.

On the B-side, the band presents a lovely Spanish version of the classic soul tune "I'm Your Puppet," sung by Tito Ramírez. This fresh interpretation blends the original's charm with a rocksteady twist.

With this release, Discos Martos continues to honor timeless sounds while infusing them with contemporary energy.