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The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

Bob and Marcia were a Jamaican vocal duo, that consisted of Bob Andy and Marcia Griffiths.

Griffiths & Andy achieved international fame with their rendition of Nina Simone’s “Young, Gifted and Black.” The song resonated deeply with audiences in the UK, selling over half a million copies and earning Bob & Marcia a place on Top of the Pops.

It reached the number #5 spot in the UK charts.

This album is packed with classic tracks & cover versions - gems like “It ain’t me babe” , “Keep the customers satisfied” & “Put a little Love in your heart”.

Their popularity soared, and the duo continued with hits like “Pied Piper,” bringing reggae to European audiences during a time when the genre was still emerging on the global stage. Their success was not just commercial but symbolic,
as they inspired pride and cultural appreciation among Jamaican communities worldwide.

Young, Gifted And Black is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

s its title suggested, Groove Armada’s third studio album, issued in September 2001, was a more upbeat statement than its predecessor, Vertigo, and spawned two singles - the certified banger ‘Superstylin’’ and the slyly funky ‘My Friend’ - alongside a series of accomplished grooves featuring guests of the calibre of Richie Havens, Nile Rodgers and rapper Jeru the Damaja.

Now approaching platinum status in the UK, this is a seamless journey through the many moods of clubland, encompassing house, hip-hop, left-field and disco-funk

Southern Thailand, Songkhla-based Baa Records takes you on a guided tour of the grooviest tracks to come out of the
Golden Sound studios! From their headquarters on Bangkok's Sukhumvit Road, GS were pioneers of Thai studiocraft and
electronization, bridging the gap between the nightclub disco showbands of the '70s and major-label pop idols of the '90s.
Collected here are 10 rare and glorious cuts introducing you to this highly influential yet little-remembered scene.
All of the music that emerged from the studio, though, shared an unmistakable signature production sheen: like the
producers of Japan's city pop scene, Golden Sound was influenced by Southern California's "West Coast sound", an
amalgam of smooth soul, jazzy R&B and tight disco sounds, with an emphasis on both high-calibre musicianship and
adventurous incorporation of electronic gadgetry.
This excellent selection of tunes from the folks at Baa Records highlights some of the most vibrant and danceable of the
label's output, with an intriguingly synthesized sonic palate.

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

In 2019, SWEET embarked on the biggest tour of their long career to date with the ‘Still Got The Rock’ tour in Europe and the UK. In between, they even found time to fly to Australia to play as co-headliners on the ‘Rock The Boat Cruise 2019’. The band was fired up and looking forward to the future. But suddenly in 2020, the whole world was in turmoil, triggered by a global pandemic and all wheels came to a standstill overnight. But for Sweet, there had to be a way out, otherwise musical creativity in all its forms would be lost forever. So, in what was a new isolation for everyone, they began to produce a Sweet album with the ‘new’ guys Paul Manzi and Lee Small and the ‘old guard’ Andy Scott and Bruce Bislan. The album was given the title ‘Isolation Boulevard’ to suit the situation. The songs are re-recordings of 12 classics from Sweet's extensive collection. There was little time between the lockdowns in the UK to achieve the desired goal. On top of this, there were numerous technical obstacles that had to be overcome. With this in mind, the overall performance of everyone involved is all the more impressive, from the driving drums and bass to the ‘in your face’ guitars and stratospheric vocals. In the end, it was a pleasure for everyone to record ‘Isolation Boulevard’, despite being under very strict distancing rules. The result speaks for itself. The album will now be released as a Ltd. Edition Neon Yellow Vinyl.

Shelter is best known for its founder and frontman, Ray Cappo, who is considered as one of the most prominent representatives of the ‘krishnacore’ scene, which mixes the elements of hardcore
with a strong spiritual message. Formed in the early 90’s, Shelter was Cappo’s second band - previously he was the frontman of Youth of Today.

Originally released in 1997, their second album Beyond Planet Earth finds Shelter moving more in a “Pop-core” direction, with songs averaging 2-3 minutes. Some pretty catchy stuff can be found on this album.

Listen to tracks: “Alone on My Birthday”, “Refusal” and “Time is Ticking Away”.

If you appreciate hardcore’s energy, but feel that the music and lyrics are too one-dimensional for your taste, chances are you’ll find those missing elements in Shelter’s music.

Beyond Planet Earth is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl and contains an insert.

2025 repress in a new colour variant (Pearl White colour vinyl) with printed innersleeve. The third album proper for "Country-got-Soul"s finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White"s "Rainy Night In Georgia" after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019"s The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

BABY BLUE COLOUR VINYL

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

The Black Keys - 13. Studioalbum mit der Hitsingle „The Night Before“ sowie „No Rain, No Flowers“ und „Babygirl“. In Zusammenarbeit mit ikonischen Songwritern wie Rick Nowels, Daniel Tashian und dem legendären Keyboarder Scott Storch hat die GRAMMY-gekrönte Band aus Ohio ihr bisher ehrgeizigstes und abenteuerlichstes Album geschaffen, das die weitreichenden, eklektischen musikalischen Einflüsse des Duos miteinander verflechtet.

The Black Keys - 13. Studioalbum mit der Hitsingle „The Night Before“ sowie „No Rain, No Flowers“ und „Babygirl“. In Zusammenarbeit mit ikonischen Songwritern wie Rick Nowels, Daniel Tashian und dem legendären Keyboarder Scott Storch hat die GRAMMY-gekrönte Band aus Ohio ihr bisher ehrgeizigstes und abenteuerlichstes Album geschaffen, das die weitreichenden, eklektischen musikalischen Einflüsse des Duos miteinander verflechtet.

In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

Der irische GRAMMY Award Gewinner Cian Ducrot meldet sich zurrück mit seinem mit Spannung erwartetem zweiten Studioalbum „Little Dreaming“. Die Singles „Who’s Making You Feel It“ und „Little
Dreaming“, die beide Teil des Album sind, beweisen ein weiteres Mal, dass Cian seinen Platz ganz oben in
der Songwriter- und Popriege verdient hat und setzt damit seinen Aufstieg fort, der ihn bis heute über 1,4
Milliarden Streams beschert hat.

Tough Love brings to vinyl for the first time April Magazine's Sunday Music For An Overpass, a nine track collection originally issued on cassette in vanishingly small number by Paisley Shirt in 2021. The kind of mythical recording you might have once needed to know the band to own. Alas, no longer... Can the universe have two centres? Because if it's not Gothenburg it's San Francisco... It's impossible for me to think about what's going on in that particular part of the west coast right now without immediately being drawn to April Magazine, a comparatively loosely assembled three (sometimes four) piece centred around artist/musician Peter Hurley, who seem to simultaneously operate at both the heart and the margins of the current Bay Area underground. On the one hand they share members with many other bands, their guitarist/singer runs a gallery that functions as some kind of focal point/social space, and Cindy even have a song named after them. On the other hand, their music is resolutely lo-fi and invariably couched in a mysterious haze, the live footage available online seems to suggest that they sound slightly different each time they play, and there are reports they have dozens of songs (possibly albums?) that have not and may never be released, hidden inside their own private universe. On its initial release, Sunday Music For An Overpass was an early attempt to drag the group a little closer into the light, yet inevitably made them feel as endearingly enigmatic as ever. Typically, this vinyl reissue some four years later only goes part way in clearing that alluring fog. April Magazine channel the greats - Spacemen 3, The Pastels, early B&S, Mary Chain, Rainy Day/Opal/Mazzy et al - but submerge their obvious melodic capabilities within seemingly infinite spray can hiss, as if the songs are being pulled backwards through some vortex to the past. Half of these tracks are instrumentals, and it's in those moments that the band are perhaps at their most expressive, suggesting a very inviting melancholy that can't quite be figured out. Though the LP remasters the original recordings and is a little cleaner sounding as a result, no secret is being given away. The appeal is that the more you hear from them, the less you really know, and all the better for it. Maybe, then, it's that April Magazine are here to show there is no centre to the universe, that instead it's always just off to the side...

Mansur Brown präsentiert seine bisher authentischste und ehrlichste Arbeit. "Rihla" ist das arabische Wort für Reise, kann sich aber auch auf Texte über die Reise beziehen. Auf dieser erlebt man einen Künstler in vollem Flow, der sich Trends widersetzt und Musik macht, die sich keinem Genre verpflichtet fühlt. Im neuen Kapitel liefert Mansur erstmals eigene Vocals, begleitet von einer härteren Rock-Unterströmung, ohne dabei seine typisch melodische Essenz zu verlieren. Anklänge an Elektronik und R&B mit Sci-Fi-artigen Synths strahlen lebendige Bilder aus. Die Gitarre bleibt das Herzstück seiner Musik, aber bei weitem nicht die einzige Komponente. In seinen Rollen als Songwriter, Produzent und Multiinstrumentalist prägt der Geist der Eigenständigkeit alles, was Mansur tut. Zuvor arbeitete er mit Yussef Dayes, Joy Orbison und Little Simz zusammen.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

"Unsent Letters" - ungeschriebene Briefe: liegengeblieben im Schreibtischwirrwarr oder der "Wenn, dann da-"Schublade bezeugen sie vergangene Lebensphasen, regnerische Nachmittage, Zweifel, Experiment und unfertige Gedankengänge. An den Rändern gekräuselt und angeraut, lange vergessen, kommt irgendwann der Zeitpunkt, an dem wir sie doch wieder wie einen Schatz heben und entdecken: hier gibt es Geschichten zu erzählen. So oder so ähnlich erging es Pete Astor. Der ist Musiker, Autor und Dozent. Er war Frontmann der Bands The Loft und The Weather Prophets auf dem Label Creation Records und schrieb Songs, die den Sound des Labels und das aufkommende Indie-Genre maßgeblich prägten. Seitdem hat er eine langjährige Solokarriere verfolgt und Musik auf verschiedenen Labels wie Matador, Heavenly, Warp, EMI und Fortuna Pop veröffentlicht. Er ist Senior Lecturer in Music an der University of Westminster. Neben umfangreichen Tourneen produziert er auch gemeinsam mit David Sheppard als Ellis Island Sound Platten und veröffentlicht sein Spoken-Word-Elektro-Pop-Projekt The Attendant zusammen mit Ian Button (Go Kart Mozart, Death in Vegas) auf dessen Label Faux Lux. Seit 2017 ist Astor beim angesehenen Label Tapete Records unter Vertrag, das auch Künstler wie Robert Forster, Lloyd Cole und Comet Gain beherbergt - neben vielen anderen großartigen Acts. 2025 ist ein Jahr, in dem Pete Astor seine erste Band The Loft wieder aufleben ließ. Die Band hatte sich 1985 getrennt und nun gerade ihr Debütalbum "Everything Changes Everything Stays the Same" fertiggestellt. Wie der Titel andeutet, ist die Band einerseits in der Vergangenheit verwurzelt, blickt aber unbestreitbar nach vorn in die Zukunft. "Unsent Letters" stammt aus einem ähnlichen Kontext: Es enthält Songs, die Astor bereits während seiner Zeit bei The Loft schrieb, die die Band aber nie spielte - zusammen mit Liedern aus seiner vierzigjährigen Karriere, die nun endlich das Licht der Welt erblicken.

Pluto, although not necessarily one of those bands who spring immediately to mind as having been a seminal influence on the weaving of rock music’s tapestry, remain an excellent, if little-known and much underrated band.

The band’s only album Pluto (originally released on the Dawn label back in November 1971) has, during the latter half of the ‘90s, become a much sought-after item in the ever-expanding underground/progressive sector of the record collectors’ market. Conceived
initially by guitarist Paul Gardner and taking their name from the Disney cartoon character, they were formed in North London in 1970. The key members were Gardner and Alan Warner, two highly experienced campaigners from widely disparate musical backgrounds.

The album is a nice mix of hard rock, progressive rock and blues rock elements. The song writing is pretty solid and there are no fillers included. This lone Pluto LP is easy to recommend for those who like the early 70’s hard rock bands.

Pluto is available as a limited numbered edition of 750 copies on translucent magenta coloured vinyl

Reality Shock is proud to announce the release of "Mission", a brand new 7" single by Afrikan Simba, with accompanying dub mix by Kris Kemist.

Mission is the title track of the recently released third studio album from the internationally acclaimed roots reggae chanter Afrikan Simba. Originally hailing from Nigeria & residing in East London, Afrikan Simba is well established in the roots reggae world, known for his conscious, spiritual, and uplifting lyrics. With a career spanning several decades, Afrikan Simba has worked with legendary sound systems like Jah Shaka, Aba Shanti, and Channel One as well as artists like Luciano, Nereus Joseph, Little John, Earl Sixteen & many more, performing at countless shows & festivals across the globe.

Mission 7" is produced by Mercury nominated producer Patrick Williamson in collaboration with Kris Kemist of Reality Shock Records, who has been working closely with Simba for over 20 years. The song features Backing vocals by Indra & brass by Tribuman. On the flip side of the 7" is a heavyweight dub version mixed by Kris Kemist at Reality Shock Studio.

After 30 years of playing music professionally, Willie Watson is releasing his debut album. A founding member of Old Crow Medicine Show, and a staple on the folk and americana circuit - Willie is no stranger to the stage and to audiences. But this is his first album of original music, aptly self titled, and a bold and confident statement in both song mastery and sonics. This record is about beating the devil. Willie didn't make any specific pact with him, but he had been tangled up with him his whole life. This album is about finding himself free of that devil, and learning to love himself again. It is about no longer leaning on old sounds and old folk singers and the music they made, and instead about learning to express himself freely and without limits. The result is a masterpiece. Co Produced with Gabe Witcher (Punch Brothers) and Kenneth Pattingale (Milk Carton Kids), and co written with Morgan Nagler (Phoebe Bridgers, Haim, Gillian Welch and Dave Rawlings)

2025 Repress

Kid Katana Records teamed up once again with DON’T NOD to release Lost Records: Bloom & Rage OST on vinyl.



This album accompanies the adventure of four teenage girls between 1995 and 2022, in the seemingly sleepy little town of Velvet Cove, Michigan.


With their growing friendship embodied by their punk band, music plays a key role in both the story and gameplay. In terms of music, this 18-track OST features different genres: dream pop, ambient, and punk, featuring an incredible lineup of artists and several songs with vocals: Ruth Radelet – former Chromatics front singer, Milk & Bone – acclaimed Canadian electropop duo, Nora Kelly Band – fresh Canadian alt-country / punk band.



This roster defines a dreamy and ethereal soundscape resonating with the 90s nostalgia and the Super 8 aesthetics of the game.

The physical edition is a 2LP designed in close relationship with the game studio:


- 2 colored vinyls: transparent pink & blue, matching the cover art.
- gatefold art: featuring exclusive in-game graphics
- teenage punk poster: nod to the game’s rebellious spirit & characters
- liner notes: giving insights from the game’s creative team and featured artists

‘Moiré’ is the second album by French musician and singer Charlotte Leclerc. Charlotte's songs are like those little details of everyday life that you discover when you slow down the pace of your busy day. She uses the sound of her machines to tell us about human relationships. Relationships between two people and universal relationships. The ones that connect us all and make this planet run a little more smoothly.

Debüt-EP "A Minute…" mit zusätzlich 6 neuen Tracks

Few Jamaican music makers have demonstrated greater versatility or proficiency than Lloyd Charmers, who first made his name on the Jamaican music scene as a youthful singer- songwriter in the early 60s.

His output as both a performer and producer included multiple major reggae hits.
After his international break through, he produced work for keyboard maestro Harold Butler.

Butler’s widely sought-after ‘Gold Connection’ album, an instrumental collection from
1976 features nine superior reggae and soul instrumentals, including popular versions of ‘That’s The Way I Like It’ and the title track.
This album is an essential acquisition for both completists and all those who prefer their reggae with a little bit of soul.

Gold Connection is available as a limited edition of 500 individually numbered copies on orange coloured vinyl.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Quebecois Death Metallers Sedimentum formed back in 2018, giving us a magnificent debut album and several equally formidable shorter releases alongside it. Now they return with an even more doomy, eldritch mini-album for your listening displeasures…
Following some otherworldly ambience, those charnel guitars bring in a truly crushing spectacle of doomed extremity. Grotesque vocals and strong drums permeate the thick, tarry stringed arrangements. Their sinister and inhuman music has sunken even further into the pits of putrefying grave matter to conjure spectral apparitions of the dead. Those of you who already know this superb band will definitely recognise their unique sound while appreciating that the more low-register, slower tempo rumble of this cacophonous rot is even more intense than ever. Never afraid to blast out viscerally gripping savagery, the old school way, there is plenty of those more traditional moments tied into the abhorrent affair. However you like it, Sedimentum master Death Metal…
At a mere three songs, one could foolishly assume this record is lacking. But listen for yourself to discover three majestic pieces of masterful musical torment. In little over twenty minutes, Sedimentum grasp your soul with their ghoulish atmospherics and sepulchral hammering force. Exhuming the ancient spirits, this mini-LP is a must-listen for all true die-hards of the Death Metal underground who value both atmosphere and brutality in equal measure. There is no denying this band has a perfect grapple of both as these new constructions of contorting morbidity prove beyond doubt. Enter the ossuaries of Quebec with one of the finest bands of the underground as its lumbering corpse staggers toward you with only malicious intentions…

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

The album opens with "Hypnagogia," an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band's choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden's melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker "Hold My Hand," where verses reminiscent of Velvet Underground's "I'm Waiting For The Man" explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children's choir chanting the album's primary mantra "under the spell of joy / under the spell of love." Death Valley Girls have always vacillated between lightness and darkness, and on "Bliss Out" they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on "The Universe," where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you're looking for transcendental rock music, look no further.

Schweiengötter nehmen menschliche Gestalt an und veröffentlichen ,Debütalbum"? Wenn man in einer Kleinstadt aufwächst, muss man entweder seine Freizeit kreativ gestalten oder man radikalisiert sich im Internet. Über dem San Fernando Valley von Los Angeles erhebt sich der süße, schwüle Sound von The Toxhards. Mit halb Psych, halb Prog, halb Rocktheater und halb Indie (das sind vier Hälften) hauchen The Toxhards dem längst obsoleten Genre des ROCK 'n' Roll neues Leben ein. Von ,existenziellen Doom-Bops" bis zu mitreißenden Hymnen über Schweinegötter, bieten The Toxhards einen genreübergreifenden, elektrischen und exzentrischen neuen alternativen Sound. Ihre Musik wird bereits auf TikTok Reels millionenfach angeklickt, ihre unterhaltsamen Bits und Sketche millionenfach geschaut (135k Follower auf TikTok, 75k Follower auf Instagram und 13k auf YouTube). Im Laufe der zwölf Tracks plus vier Zwischenspielen folgt ,Your Neighborhood" dem Protagonisten Adam und seiner Unzufriedenheit mit dem Leben - er hat Freundin verloren, ihm fehlt der Mut, seinen Ambitionen zu folgen - und er beginnt, die schlimmste Version seiner selbst zu werden, die er nur sein kann: ein unsicheres, reaktionäres Individuum, das Trost darin findet, sich in dunklen Online-Ecken über ,andere" zu beschweren. Ursprünglich aus dem Midwestern, nun in der smoggefüllten Höllenlandschaft des San Fernando Valley von Los Angeles lebend, ist die Band auch für ihre unterhaltsamen und mitreißenden Live-Auftritte bekannt, bei denen sie aufblasbare Schweinekostüme tragen, T-Shirts verschenken, unveröffentlichte Songs präsentieren, Kaffeepausen einlegen, Instrumente tauschen und gelegentlich einer ausgedehnten Jam (oder zwei oder drei oder...) fröhnen. Mit jeder neuen Veröffentlichung und bei jeder Show beweisen sie, dass sie die Zukunft von was auch immer sind. The Toxhards haben uns viel zu erzählen und zu bieten. 2023 bei Hopeless Records unterschrieben und direkt ihre erste Single "(The) Coffee Song / October" veröffentlicht.2024 gab's die limitierte und aktuell ausverkaufte Vinyl-Compilation ihrer bisherigen Songs und Singles zwischen 2022 und 2024. Obwohl es sich um eine Zusammenstellung handelt, betrachtet die Band es als ihr "eigentliches Debütalbum", aber nun ist "Your Neighborhood" dran! Für Fans von Ween, Car Seat Headrest, White Reaper, Pigeons Playing Ping Pong, symphonischen Weezer, Indie-Prog, Alterntive Pomp, Psychpunk....

A singer, songwriter and harmonica player in his own right,
over the course of six decades Billy Boy Arnold also played
the role of sideman for numerous blues legends: Bo Diddley,
Otis Rush, Earl Hooker, Howlin’ Wolf, Muddy Waters and
Little Walter amongst them. In blues terms, that’s a pretty
impressive CV

Thanks to acclaimed live shows and radio appearances in both Norway and Germany, Heigh Chief has been steadily winning over a growing fan base with their high energy performances of songs from their first two albums. One Night Live solidifies their reputation as a formidable live band with incredible chops and songwriting skills. Their talent has earned them notable achievements, including winning the Notodden Blues Cup in 2013 and placing second in the Norwegian finals of the "Battle of the Bands." These successes helped them secure spots at the International Blues Challenge (IBC) in Memphis for two consecutive years, 2015 and 2016. The four-piece band brings serious talent to the stage - featuring none other than Norway"s top Hammond organ virtuoso, Lars Christian Narum. One Night Live is the band"s first live recording, and it doesn"t disappoint. Recorded in Norderstedt, Germany while the band was on tour in 2019, it"s an impressive testament to the band"s talents.

Nach drei triumphalen, ausverkauften Konzerten im legendären Londoner Hammersmith Apollo im vergangenen Jahr haben die Teskey Brothers ihr neues Album „Live At The Hammersmith Apollo“ angekündigt –
es erscheint am Freitag, den 11. Juli, und ist ab sofort vorbestellbar. Das Live-Album ist eine umfassende
Erweiterung des umfangreichen und beliebten Katalogs der Band und enthält Songs aus ihrem dritten Album „The Winding Way“, das auf Platz 1 der ARIA-Charts landete, ein kraftvolles Cover von Otis Reddings
„Try A Little Tenderness“ (ab heute überall erhältlich) und erstmals auf Vinyl/CD einen ihrer frühen Hits,
„Forever You and Me“ (über 150 Millionen Streams).
„Live At The Hammersmith Apollo“ wird im Anschluss an ihren Auftritt im Londoner Alexandra Palace
vor über 10.000 Fans (dem bisher größten Auftritt) am Donnerstag, den 10. Juli 2025, veröffentlicht.
Ganz im Sinne der Liebe der Band zum Analogen wurde „Live At The Hammersmith Apollo“ vollständig
auf Band aufgenommen, genau wie Livealben von Bruce Springsteen (’75), David Bowie (Ziggy Stardust ’73) und zahllosen anderen im selben Raum aufgenommen worden wären. Der in London ansässige
Produzent/Toningenieur Declan Gaffney wurde mit der technischen Seite beauftragt, nachdem er zuvor
Livealben für U2 und die Rolling Stones produziert und gemischt hatte.

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across

39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and

its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste, now more relevant than ever.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades:

an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement.

His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created

original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit

Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

Come Live With Me represents a creative peak that sounds fresher in 2025 than it may have in 1974. The first album on his Crossover label, it lives up to the label’s name by showcasing the man’s singular ability to cross over to any audience by making songs from any time or genre undeniably his own.

Each side of Come Live With Me sets a seamless mood: Side 1 is a romantic suite of lush, latenight ballads, while a non-stop soul party is cooking on side 2. This two-sides-of-a-Saturday-night concept lets Ray Charles blend modern sounds and timeless traditions in ways no other artist ever could.

Removed from the trappings and tropes of the mid-’70s music scene, and fully restored and remastered in cooperation with the Ray Charles Foundation, Come Live With Me is finally ready to be appreciated as the masterpiece it always was.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"