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Pittsburgh’s feeble little horse is a 4-piece band that writes intricately catchy, digitized noise pop songs. Formed by Sebastian Kinsler (guitar, production, vocals, bass) and Ryan Walchonski (guitar, vocals) in Ryan’s student apartment

Brothers Charles and Andrew Hendy and their friend Sean McKenna formed The Mary Wallopers as a three-piece ballad group traveling the length and breadth of Ireland singing & collecting songs. Their early live performances exuded a raw energy and their first five track EP - 2019’s A Mouthful of The Mary Wallopers - perfectly captured their sound and ethos, one filled with warmth, intimacy, chaos and enough sparks ready to light any fire. The band recently expanded to a seven piece for live performances.

German Symphonic Metal shooting stars Beyond the Black look back on a stratospheric success story. Already their 2015 debut album hit like a bomb in their home country. “Songs Of Love And Death” besieged the German Top 15 for weeks and lead up to the band being awarded the Metal Hammer Award 2015 for “Best Debut”.
Its successor “Lost In Forever” (2016) entered the German charts on #4 right away and paved ways for a huge tour from Germany over countries like UK, Russia or Japan. Since the band’s live debut in 2014 they have played the world’s biggest Metal festival Wacken Open Air several times and toured as a support act for heavyweights such as Aerosmith, Korn, Scorpions, Saxon or Within Temptation.
In the course of album release number three (“Heart Of the Hurricane”) Beyond the Black absolved their first own European headline tour in fall 2019 consisting of over 20 shows in 10 countries – most of them sold out. But even before finishing their touring cycle in Beyond the Black got back to the studio to write record number four.
The highly anticipated “Horizons” was finally released in June 2020, entered the German album charts on #3 (CH #6, AT #16, BE #53) and marks the band’s most successful album release to date.

Now, two years after that, Beyond the Black are back with a bang and start a new chapter with the release of their new single “Reincarnation”. Jennifer Haben proclaims:
“Reincarnation materialized from a growing recognition of our mortality as humans and the consequent responsibility to live our lives to the fullest. This responsibility means to stand up for yourself, relentlessly fight for your values and also confront your biggest fears. Reincarnation is about becoming your true self and starts a new, epic chapter. This is Beyond the Black! And Beyond the Black is back!"

Silver Vinyl

Rough Trade Records will commemorate the 10th anniversary of Alabama Shakes" internationally acclaimed debut album, Boys & Girls, with a two-disc deluxe edition, set for December 9th release. Hailed as one of the best albums of 2012 by Rolling Stone and numerous other publications, Boys & Girls entered Billboard"s Independent Albums chart at No. 1. It went on to attain Platinum certification and earn the band multiple GRAMMY nominations. Lead single "Hold On" was voted the #1 Best Song of 2012 by Rolling Stone.. Repackaged in a foil-board gatefold jacket with new, unreleased photos, Boys & Girls 10 Year Anniversary Deluxe Edition contains the album"s original 11 songs plus an additional 11 tracks from the band"s explosive live performance on KCRW"s "Morning Becomes Eclectic," which aired in the months leading up to the album"s release. Listen to Alabama Shakes" ferocious live version of "Always Alright" - a non-album track that appeared on the soundtrack for the Oscar-nominated film Silver Linings Playbook and earned a GRAMMY nomination.

Mit ihrem Sommerhit "AUTOGRILL" hat die Wiener Gruppe EUROTEURO einen ewigen Ohrwurm für alle italophilen Espresso-Freunde geschaffen. Mit ihrem zweiten Album hat das Popkollektiv rund um Mastermind Peter T. und seiner kongenialen Katarina Maria Trenk bewiesen, dass sie nur mehr als ein One-Hit-Wonder sind. Leichtfüssiger Elektropop trifft auf Cover-Versionen von XTC bzw. Georg Kreisler-Songs. Mit ihrem eigentümlichen Wiener Schmäh tourten EUROTEURO mit ihren Seelenverwandten und Haberern Stefanie Sargnagel oder Voodoo Jürgens durch den deutschsprachigen Raum. Dem folgten Auftritte im österreischichen ORF-Fernsehen, ein Headliner-Slot am Wiener Popfest, eine Einladung zum freakigen Fusion Festival nahe Berlin und so manche Cameo-Auftritte in österr. Filmen & Serien. Nachdem die ersten beiden Platten nun vergriffen sind, gibt es jetzt als speziellen Release beide Alben in Form einer limitierten Doppel-Vinyl! Sehr Leiwand!

Wer liebt Belle and Sebastian nicht? Springt dein Herz auch jedes Mal, wenn du ihre Musik hörst? Hast du dich auch zum ersten Mal in Belle and Sebastian verliebt, als du "If You"re Feeling Sinister" auf Repeat gehört hast und hat dieser Song danach auch dein Leben verändert? Wenn du Belle and Sebastian liebst, war "A Bit of Previous" von 2022 ein kleines Geschenk für dich. Belle and Sebastian haben uns bereits eine Fülle von Klassikern geschenkt, so dass man angesichts des Outputs des letzten halben Jahrzehnts, verstreut über EPs, Soundtracks und ein Live-Album (das gleichzeitig eine Greatest Hits-Sammlung war), annehmen könnte, es sei nichts mehr im Tank und es sei an der Zeit, den Tourbus für ein paar Album-Jubiläumsshows anzuwerfen. Aber das wäre ein Irrtum. Wie sich herausstellte, verbrachte die Band die trostlosesten Zeiten der Pandemie miteinander, nutzte die Situation und die Einsamkeit für neue Musik. Sie verwandelten diese Energie in Freude und in einen Herzschmerz, der jeden Moment durchschimmert. Als Zentrum diente ein Raum, der früher eigentlich für den Versandhandel bestimmt war und nun die neue Kreativzelle der Band ist. Aufgenommen in denselben Sessions wie der Vorgänger "A Bit of Previous", fühlt sich das neue Album "Late Developers" nicht wie eine Sammlung von weniger guten Songs an, die nicht gut genug waren, um auf das auf das erste Album zu kommen. Vielmehr ist es ein Beweis für die ungezügelte Kreativität, die die Band während der Aufnahmen entfachte und die das letzte Album nun ergänzt. Während man in einer Album-Info gerne versucht Musik mit markigen Worten zu beschreiben, entzieht sich "Late Developers" den Genres und schwebt zwischen den Welten. Belle and Sebastian hatten schon immer ein Händchen dafür, Musik und Texte so zu kombinieren, dass sie die chaotische Welt der menschlichen Empfindungen perfekt einfangen - ein Soundtrack des Lebens. Und es gibt eine gewisse Leichtigkeit auf "Late Developers", die einen daran erinnert, dass man hier den Experten in Sachen Gefühlswelten zuhört. Stuart Murdoch ist einfach ein meisterhafter Beobachter und Geschichtenerzähler. Es ist bemerkenswert, dass eine Band mit einer derart langen Karriere Musik machen kann, die sich nicht nur unmittelbar anfühlt, sondern auch zwei aufeinanderfolgende Alben, die klingen, als wären Belle and Sebastian auf dem Höhepunkt ihres Schaffens. "Late Developers" ist ein überzeugendes Beispiel dafür, dass Belle and Sebastian stets auf der Suche nach der perfekten Melodie sind, um uns immer wieder aufs Neue zu verzaubern und um klarzumachen, warum wir uns damals auf den ersten Blick in diese Band verliebt haben.

Strictly Limited Orange Vinyl

Wer liebt Belle and Sebastian nicht? Springt dein Herz auch jedes Mal, wenn du ihre Musik hörst? Hast du dich auch zum ersten Mal in Belle and Sebastian verliebt, als du "If You"re Feeling Sinister" auf Repeat gehört hast und hat dieser Song danach auch dein Leben verändert? Wenn du Belle and Sebastian liebst, war "A Bit of Previous" von 2022 ein kleines Geschenk für dich. Belle and Sebastian haben uns bereits eine Fülle von Klassikern geschenkt, so dass man angesichts des Outputs des letzten halben Jahrzehnts, verstreut über EPs, Soundtracks und ein Live-Album (das gleichzeitig eine Greatest Hits-Sammlung war), annehmen könnte, es sei nichts mehr im Tank und es sei an der Zeit, den Tourbus für ein paar Album-Jubiläumsshows anzuwerfen. Aber das wäre ein Irrtum. Wie sich herausstellte, verbrachte die Band die trostlosesten Zeiten der Pandemie miteinander, nutzte die Situation und die Einsamkeit für neue Musik. Sie verwandelten diese Energie in Freude und in einen Herzschmerz, der jeden Moment durchschimmert. Als Zentrum diente ein Raum, der früher eigentlich für den Versandhandel bestimmt war und nun die neue Kreativzelle der Band ist. Aufgenommen in denselben Sessions wie der Vorgänger "A Bit of Previous", fühlt sich das neue Album "Late Developers" nicht wie eine Sammlung von weniger guten Songs an, die nicht gut genug waren, um auf das auf das erste Album zu kommen. Vielmehr ist es ein Beweis für die ungezügelte Kreativität, die die Band während der Aufnahmen entfachte und die das letzte Album nun ergänzt. Während man in einer Album-Info gerne versucht Musik mit markigen Worten zu beschreiben, entzieht sich "Late Developers" den Genres und schwebt zwischen den Welten. Belle and Sebastian hatten schon immer ein Händchen dafür, Musik und Texte so zu kombinieren, dass sie die chaotische Welt der menschlichen Empfindungen perfekt einfangen - ein Soundtrack des Lebens. Und es gibt eine gewisse Leichtigkeit auf "Late Developers", die einen daran erinnert, dass man hier den Experten in Sachen Gefühlswelten zuhört. Stuart Murdoch ist einfach ein meisterhafter Beobachter und Geschichtenerzähler. Es ist bemerkenswert, dass eine Band mit einer derart langen Karriere Musik machen kann, die sich nicht nur unmittelbar anfühlt, sondern auch zwei aufeinanderfolgende Alben, die klingen, als wären Belle and Sebastian auf dem Höhepunkt ihres Schaffens. "Late Developers" ist ein überzeugendes Beispiel dafür, dass Belle and Sebastian stets auf der Suche nach der perfekten Melodie sind, um uns immer wieder aufs Neue zu verzaubern und um klarzumachen, warum wir uns damals auf den ersten Blick in diese Band verliebt haben.

For the uninitiated, Sludgeworth are Chicago punk pioneers from the 1980’s that released a posthumous collection / discography album on Lookout Records back in the day - and it sold tens of thousands of copies, which was impressive for a defunct band. With members of Screeching Weasel, they had obvious leanings towards melodic punk, but they also had a quintessential Midwest sound mixed in with some post-punk. Think Naked Raygun and Fugazi. And now, for the first time ever, Red Scare brings you Losers of the Year on vinyl. Their first and only LP! And we didn’t stop there: we’ve added two unreleased songs to the CD version of this album. Wild, right?! The band actually broke up in the studio (drama!) during a recording session, but we’ve managed to salvage some of that unheard material for this milestone release. Once again, it’s Red Scare to the rescue!

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

One of the original bands out of Athens, GA indie rock scene, Squalls
played their first show at the world-famous 40 Watt Club on Dec 3, 1981
and reached a wider audience thanks to the 1986 movie Athens, GA:
Inside/Out
The band's self- titled debut has been out of print for over 36 years. Newly
remastered and expanded with unreleased demos, this set features their most
well-known songs Elephant Radio, Na Nanana and Crickets.

After selling out the first three pressings of their third full length, "Buds,"
Ovlov's latest album is back in stock, available on orange vinyl for the first
time
The Connecticut band has made another hit record, with fuzzy alternative pop
songs that feel timeless. Pressed on Orange Color vinyl.

With magical chemistry and crystal clear singing, Lily Arbor invites you to
a music experience without facades that feels both genuine and
vulnerable
To their tunes, the contemporary gray curtain suddenly opens to reveal that our
hopes and dreams are within an arm's reach. Felicia Darhult Störby and Lovisa
Nilsson have with skillfully composed songs and accurate lyrics proven that they
are a musical act to count on.Lily Arbor is a Swedish folk-duo formed in 2017 by
longtime friends Felicia Darhult Störby and Lovisa Nilsson. With a harmony
driven, heartfelt sound, complemented by deeply personal lyrics, they have been
described as "a music experience without facades, that feels both genuine and
vulnerable".The duo met in high school and bonded quickly. After high school,
they went their separate ways, traveling the world. After two years apart they
started writing music together as Lily Arbor.
The duo reuniting instantly proved to be fruitful, and the self produced debut EP
'Longing for the Sun' was released in 2019, followed by the single 'Where are you
going'. In early 2020 the second EP 'Better Minds' was released, also this self
produced.
This fast paced surge of creativity combined with a natural proneness for
songwriting led to praise and participation in Swedish media. It also let the duo
tour both Sweden and the world, opening for acts such as Israel Nash, Cordovas,
Sarah Shook & the Disarmers and Joshua Radin.
They had big plans for the year of 2020 and were going to play in Europe, but
everything was cancelled. They decided to record their self- titled debut album
instead.
The duo got their revenge and were touring in Europe in 2022 and in January
2023 we finally see the release of their debut album.

Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

Beyond The Black (Ltd. Box /LP+12"+2CD):
- colored 180g LP in gatefold with 2p lyric sheet (Clear with red/black splatter)

- colored 12” vinyl including 3 bonus tracks with etching on Side B (Gold)

- 2CD digi book (incl. 3 bonus tracks & instrumental CD)

- 4 signed cards (each band member)

- 4 art prints (each symbol)
Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

Black White Marbled Vinyl
Beyond The Black können auf eine imposante Erfolgsgeschichte zurückblicken: Schon mit ihrem Debüt im Jahr 2015 schlug die Band um Sängerin Jennifer Haben ein wie eine Bombe. „Songs Of Love And Death“ hielt sich wochenlang in den Top 15 der Charts und brachte den renommierten „Metal Hammer“-Award in der Kategorie „Bestes Debüt“ ein. Auch der Nachfolger „Lost In Forever“ konnte 2016 direkt daran anknüpfen, ging auf Chart-Platz 4 und führte Beyond The Black auf eine Mammut-Tour durch Deutschland, Groß-britannien über Russland bis nach Japan. Seit 2014 begeisterte die Band ihre Fans bei immer größer werdenden Auftritten auf dem Wacken Open Air und war gefeierter Support-Act für Bands wie Aerosmith, Korn, Scorpions, Saxon und Within Temptation.
Im Herbst 2019 folgte die erste eigene Europatour als Headliner–zum Großteil ausverkauft. Ihre musikalische Klasse über Genregrenzen hinweg hat Sängerin und Frontfrau Jennifer Haben zudem in Deutschlands erfolgreichstem Musikformat „Sing meinen Song“ bewiesen. Eine Erfolgsgeschichte, die mit Chart-Platz #3fürdas vierte Studioalbum „Horizons“ gekrönt wurde. Heute, zwei Jahre später, sind Beyond the Black zurück mit einem Knall und starten ein neues Kapitel. Nach den gefeierten Singles „Reincarnation“ und „Is There Anybody Out There“ kündigt die Band ihr neues, fünftes Studioalbum an, das selbstbetitelt „Beyond the Black“ heißen und am 13. Januar 2023erscheinen wird! DiePre-Order beginnt ab sofort und wird von der neuen, düster-kraftvollen Single „Winter Is Coming“ eingeläutet, die den richtigen Ton für die bis dato größte Headline-Europatournee der Band setzt.

Poolblood, the musical nom-de-plume of Toronto's Maryam Said, is an
ethereal spirit of punk rock, swirling and dancing in the air with a
collection of gorgeously orchestrated bedroom pop music
Raised in a religious household at arm's length from popular music, they
nonetheless found themselves drawn in by the music of Yusuf Islam (Cat
Stevens), who left an indelible imprint on their relationship to music and
songwriting. The results of their upbringing "time spent practicing chords in guitar
class, learning about hardcore from friends after school and honing their
songwriting as an early teen "is a winding path of melody, making stops along the
way to dabble in everything from noise rock to lush and gorgeous pop hooks.
poolblood is a pastiche of genres and styles working in blended harmony.
poolblood understands the tender urgency in crafting stories around deep and
abiding intimacies, romantic and platonic, that run so far below the surface they
become the root of everything that grows on the surface. These stories have
come together to create the ethereal bedroom pop songs on their debut LP
"mole" out on Next Door Records.
It is fitting that on an album so much centered around the connectivity of deep
and abiding friendships that "mole" is awash with collaborators, each bringing
their own unique talent and skill into the mix. Louie Short and Shamir Bailey
worked with Maryam as producers on the project, and played on a number of
tracks in addition to a cadre of musicians filtering in and out of each song.
Not afraid of letting their sly sense of humor bleed through the layers, poolblood's
"mole" is rife with humor and wonder, dancing playfully along. Pressed on Aubade
Blue Color vinyl.

My Life Is A Dog by The Cowboy Mouth remastered by Paul McGeechan
for vinyl
The Cowboy Mouth formed in 1994 by Grahame Skinner (Jazzateers, Hipsway),
with all songs written by Skinner and Douglas MacIntyre. Mick Slaven on bass,
Gordon Wilson on drums, Paul McGeechan on keyboards.

Louis Armstrong and The Good Book pressed on 180g red vinyl, includes
new specially prepared liner notes by Penguin Guide To Jazz's writer
Brian Morton and Paris' prestigious Jazz Magazine
" An unusual album in the Louis Armstrong canon, this collection of gospel songs,
spirituals, homilies, and comic vignettes was the only religious album this
determinedly secular musician recorded." - AllMusic

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

Rebecka Tarnqvist's new album Memo - The album is, as is often the
case with Rebecka Tarnqvist's albums, a shimmering collection of songs
that moves between the acoustic and the electronic, between the art
musical and classic pop
Like its predecessor Home Secretary, Memo was created in close collaboration
with Johan Lindstr m and several of the musicians also return here. Memo are
notes from life in a city and the music was created in an unusually complicated
time for our part of the world. Already October 7 My Neighbour is released, where
Tarnqvist and M. Ward wonder what happened in the house next door

This year it is 20 years since David & the Citizens released their debut
album "For All Happy Endings" a fact that we are now celebrating by
releasing it on orange vinyl for the first time
Now we can finally hear hits like "Now She Sleeps In A Box In The Good Soil Of
Denmark", "I've Been Floating Upstream Since We Parted" and "Pink Evening" in
new vinyl mastered versions. Music climate looked very different in 2002, band as
David & the Citizens were able to tour all over and out in Europe, indie pop
flourished with a steadily growing audience. David & the Citizens were one of the
leading artists with their anxious lyrics mixed with euphoric intense pop songs,
with diligent touring during the 5 years they were active, they acquired a very loyal
fan base, which continues to this day.

GEHENNAH's demo recording from 1994
This 10 track recording is a true hidden gem in Swedish metal history, as it had a
limited circulation back in the tape trading days. We have put great effort in
getting the best possible mastering and restoration of this nearly 30 year old
recording, and the result will blow peoples minds! The 10 tracks was recorded
about 1 year before the cult album debut Hardrocker , and shares a couple of
tracks, but is a completely different recording, with another drummer. Four of the
songs are not available on any other GEHENNAH release. GEHENNAH was, and
still is, a a brutal assault on the ears and the perfect homage to old school metal
a'la VENOM and early MOTORHEAD. In fact, the band formed in the early 90's as a
reaction to the velvet clad fantasy/ romantic/ troll infested type of metal that
started to emerge from Scandinavia at the time. GEHENNAH went for the throat
with their obnoxious, loud and raw rock'n'punk infused thrash metal. Don't miss
out on this piece of Swedish metal savagery!

From northern Sweden comes this album filled with the sound of deep
woods and high mountains
Nine tracks of hypnotic yet energetic instrumental rock with influences from the
post rock and psych rock scenes. With electrifying dynamic interaction the band
creates their cinematic signature sound. Hilmais the third album from Pershagen
SALE SPOTS; - Third album from Pershagen - The band have toured in Sweden,
Europe, China and Russia in the past - Post Rock / Psych Rock / Instrumental
Rock - Everything you like about Scandinavian music. Super strong songs, the
sound of nature and great melodies - Green Transparent Vinyl limited to 500
Copies - Clear Transparent Vinyl limited to 500 Copies

From northern Sweden comes this album filled with the sound of deep
woods and high mountains
Nine tracks of hypnotic yet energetic instrumental rock with influences from the
post rock and psych rock scenes. With electrifying dynamic interaction the band
creates their cinematic signature sound. Hilmais the third album from Pershagen
SALE SPOTS; - Third album from Pershagen - The band have toured in Sweden,
Europe, China and Russia in the past - Post Rock / Psych Rock / Instrumental
Rock - Everything you like about Scandinavian music. Super strong songs, the
sound of nature and great melodies - Green Transparent Vinyl limited to 500
Copies - Clear Transparent Vinyl limited to 500 Copies

For Devo, the beginning happened in the basements and garages of
Akron, Ohio
The songs they wrote were raw and unfiltered with no commercial intent. A
seminal concept band, they made a career out of setting to music video their
dada-gone-camp theory of De-Evolution and its rebuke of corporate culture.
The Somewhere With Devo suite was performed live, one night only, as the encore
of the band's Total Devo concert at The Palace in Hollywood, CA on December 9
1988. The Devo re-mix set by DJ Kinky from 2010, also included here, was never
released previously.

- 180 GRAM AUDIOPHILE VINYL
- RANKED FIRST IN ALL-TIME TOP TEN LIST OF SHRED ALBUMS BY GUITAR WORLD MAGAZINE
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON GOLD VINYL

Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No.
60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.
In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

Black Star' and Far Beyond the Sun' have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun' and Black Star' until the day I die.'

Limited edition 180g audiophile pressing

During her career, singer Nancy Wilson was labelled as a blues, jazz, R&B, pop, and soul performer, as well as a "consummate actress" and "the complete
entertainer". The title she preferred, however, was "song stylist".
In 1960 and 1961, she participated on two jazz oriented collaborative LPs: one
with alto saxophonist Cannonball Adderley, and the other with pianist George
Shearing. Both albums alternated between vocal and instrumental songs. This
special edition compiles all of Wilson's vocal tracks from those albums, both of
which received rave reviews and commercial success

Seit Veröffentlichung einer ersten Single via Soundcloud in 2013 zählt sie in Großbritannien zu den meistbeachteten Newcomern: Holly "Låpsley" Fletcher. Ihre so eigenwillig wie traumwandlerisch arrangierte Musik zwischen Pop und schwebender Elektronik wird von den einschlägigen Gazetten sowie Radio-Stars wie BBC-DJ Zane Lowe über alle Maßen gelobt. Eine Berücksichtigung in der international renommierten "BBC Sound-Poll" ist da ganz folgerichtig. Mit ihrer ebenso verführerischen wie zerbrechlichen Stimme versteht es Låpsley auch live, restlos zu verzaubern - sei es auf der Glastonbury-"BBC Introducing"-Bühne, beim Reeperbahnfestival oder in Clubshows. Nach der 2015er-Single "Hurt Me", die sich in den deutschen Airplaycharts gut platzieren konnte, kommt pünktlich zum Jahresbeginn 2016 auch endlich ihr Debütalbum in die Läden. Produktionshilfe für "Long Way Home" leistete Rodaidh McDonald (Adele, The xx, Damon Albarn, Savages). Zwei Songs wurden mit Paul O'Duffy aufgenommen. Die erste Single-Auskopplung, "Love Is Blind", ist ein weiterer Fingerzeig dafür, dass Låpsleys Debüt eine neue Qualität an Tiefe und Wahrhaftigkeit in den elektronischen Pop einbringt.

Repress of Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer), it was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse." Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

Welcome to the Parish. Come, gather round dear lambs, as today’s sermon is about to begin. Crypt of the Wizard proudly presents the highly anticipated debut LP from pastoral proto-metal power trio Parish, available to pre-order on vinyl now. The two years since the release of their EP God's Right Hand have proved to be no fallow period for the band, who used the time to write and hone the 10 songs laid out on their self-titled debut. They returned to the majestic Holy Mountain to record the album. Making use of the studio's bumper crop of vintage equipment, Parish were able to unearth a sound that draws on the roots of heavy metal. The band's lyrics continue to revel in notions of the pastoral. Themes concerning the works of witches and the changing of the seasons are explored with economic and elegant storytelling. Songs of villagers besieged by strange travellers and poor wretches locked away in gaol conjure up a feeling of uncanny dread. Elsewhere, other songs suggest a sacerdotal attitude towards the earth and those who walk it. Parish stir up sweet memories of those subtle moments of perfection found deep in the discographies of heavy metal’s historic luminaries. Their sound reaches into places previously ventured by the likes of Wishbone Ash, Pagan Altar and Budgie, as well as folk revivalists Fairport Convention - a less obvious resource for heaviness, but a fine repository for musical depth. With any luck, Parish will in time join the aforementioned bands whose records will be played on repeat, locked in the unchangeable hearts of those unbothered by novelty and changes in musical fashions. Now our sermon has come to a close, peace be with you, and go forth in glory.

-4 Songs from Upcoming Albums. -Pressed at 45 RPM for High Fidelity. -Strictly limited to 150 copies. Top 4 features four songs from four forthcoming LP's on the Cold Busted label. To start the series off we have beats from label favorites Sim Nagai, Mister T., and Emapea plus two artists who were recently signed to the label: Goodge and MichRyc. Sim's latest album, Equator Hotline, features exotica-fueled beatscapes and transportive vibes. The equator itself is breached on "Deep in the Rainforest" as busy percussion playfully accompanies the downtempo drum beat. Goodge's jazz-funk dreamscape is sonically interpreted through the grooves in tracks like "Heart of the City" from the forthcoming album Echoes of Yesteryear. Here, cool electric piano keys, a snazzy saxophone, and scratchy guitar are buoyed by an uptempo drum track that transmits a cool inner city feel. MichRyc's friend Emapea helps out with "Monkeys in the Jungle," from Under the Surface, a deep instrumental hip hop cut that almost sounds influenced by Saharan guitar bands like Mdou Moctar. Mister T. returns to Cold Busted with Synchronized Roots, another fantastic album encompassing the many styles of the prolific producer. "Looking Above" continues on a dubby tip, delivering a more heady and smoked-out feel. Each record is limited and pressed at 45 RPM with two tracks on each side for maximum fidelity.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

Es gibt ein neues Faber Album. Ein Live-Album, mit dem Titel „Orpheum“.
Im Frühjahr 2022 im großen Saal des historischen gleichnamigen Grazer Veranstaltungshauses aufgenommen.
Berüchtigt für stundenlange Sets, die überragenden Fähigkeiten seiner Band und dramatische Performances,
erscheint es sinnvoll, dass neue Songs in ihrer reinen Form - gespielt vor einem wahnsinnig gewordenem
Publikum - vorgestellt werden.

Matador
Gaz Coombes veröffentlicht die Neuauflage seines zweiten Soloalbums – ”Matador” - das 2015 erschien.
Ein Gefühl von Freiheit durchdringt jede Sekunde des Albums, das unter anderem die 2013er Single ”Buffalo” enthält. Von der astralen Pracht von ”The Girl Who Fell To Earth” bis zu den träumerischen Klängen
von ”Oscillate” ist es der Sound eines Songwriters, der musikalische Grenzen wie Schnee zum Schmelzen
bringt und Elemente von Neu!, Disney-Musicals, den schwedischen Psychedelikern Goat, Gyorgy Ligeti und
Eno in einer eisigen Klanglandschaft vereint, die ebenso anspruchsvoll wie schön ist. Das Ergebnis ist ein
Album im klassischen Sinne. ”Matador” ist der Sound eines der größten britischen Songwriters, der mit
Freude in die Zukunft blickt.
World’s Strongest Man
”World’s Strongest Man” ist die großartige Neuauflage des dritten Soloalbums von Gaz Coombes, das
auf das 2015 erschienene ”Matador” folgte. Inspiriert von Grayson Perrys ”The Descent of Man”, Frank
Oceans ”Blonde”, kalifornischem Gras, britischen Wäldern, unkontrollierter Männlichkeit, Neu! und HipHop (und vielem mehr), ist es eine wahrhaft bemerkenswerte Sammlung von elf zutiefst persönlichen Songs,
die alle von einer raumfüllenden, fesselnden Melodie begleitet werden. Vom tiefgründigen Titeltrack bis
zum mitreißenden ”Deep Pockets”, über die wunderschöne rhythmische Ballade ”Slow Motion Life”, ist
”World’s Strongest Man” ein kühnes, ehrgeiziges, frei denkendes, zukunftsweisendes Rock’n’Roll-Album.

Matador

Gaz Coombes veröffentlicht die Neuauflage seines zweiten Soloalbums – ”Matador” - das 2015 erschien.

Ein Gefühl von Freiheit durchdringt jede Sekunde des Albums, das unter anderem die 2013er Single ”Buffalo” enthält. Von der astralen Pracht von ”The Girl Who Fell To Earth” bis zu den träumerischen Klängen von ”Oscillate” ist es der Sound eines Songwriters, der musikalische Grenzen wie Schnee zum Schmelzen bringt und Elemente von Neu!, Disney-Musicals, den schwedischen Psychedelikern Goat, Gyorgy Ligeti und Eno in einer eisigen Klanglandschaft vereint, die ebenso anspruchsvoll wie schön ist. Das Ergebnis ist ein Album im klassischen Sinne. ”Matador” ist der Sound eines der größten britischen Songwriters, der mit Freude in die Zukunft blickt.

World’s Strongest Man

”World’s Strongest Man” ist die großartige Neuauflage des dritten Soloalbums von Gaz Coombes, das auf das 2015 erschienene ”Matador” folgte. Inspiriert von Grayson Perrys ”The Descent of Man”, Frank Oceans ”Blonde”, kalifornischem Gras, britischen Wäldern, unkontrollierter Männlichkeit, Neu! und HipHop (und vielem mehr), ist es eine wahrhaft bemerkenswerte Sammlung von elf zutiefst persönlichen Songs, die alle von einer raumfüllenden, fesselnden Melodie begleitet werden. Vom tiefgründigen Titeltrack bis zum mitreißenden ”Deep Pockets”, über die wunderschöne rhythmische Ballade ”Slow Motion Life”, ist ”World’s Strongest Man” ein kühnes, ehrgeiziges, frei denkendes, zukunftsweisendes Rock’n’Roll-Album.

Repress! Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label

Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe. As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories. Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven.

A few Highlights from the sessions Leron recorded in 1987-88 when he was fifteen or so. China Trax, featured on SS012 ,came from these sessions. These were hand made, meaning no sequencing was used for the keys on any of the songs featured, using cassette tape overdubs, a lost science. Omar-S touched up the material from those cassettes for this release on vinyl. Tip!

Recorded &Mixed by:Leron Carson @the attic, Chicago 1987-88

Additional Engineering:Alex Smith@Fxhe Detroit 2008

..."An alternate universe where Brian Eno produced "Rumours" and Alex Chilton wrote songs with Blondie..." San Francisco 5 piece LATITUDE sophomore album "Mystic Hotline" builds on the foundations of their acclaimed 2017 Debut with a triumphant foray into 21st century power pop. Centered around the dazzling vocal performance of Amy Fowler, tight band arrangements and accomplished delivery, the 10 tracks crackle with proficiency and elan. ..."Effervescent power pop bliss with infectious melodies, jangly guitars, sparkling synths, and more hooks than your local bait & tackle...." Although often drawing comparisons to such pop heavyweights as Blondie, The Nerves, Nick Lowe, and The Pretenders LATITUDE are far from revivalists, as this album testifies. "Mystic Hotline" reflects the present darker mood of the country, veering from carefree 60s/70s pop into more angsty 80s territory. That sentiment is evident in "Damage Control", a sonic bristling at a grotesque new Trump reality. "Rising" testifies to the senselessness of the Ghost Ship fire in Oakland, and the media blame game that followed. Vertical Highway is a deceptively happy ditty about death. Those are counterbalanced by songs like Thursday Is The New Sunday's praise for lazy love and I Love The Radio, a tribute to the many talented female musicians in the Bay Area.

Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat. First time official reissue. - DESCRIPTION: The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

Smashed Gladys, aus der pulsierenden Toronto Punk Szene, gründeten sich 1984. Unter der legendären Sängerin Sally Cato wurden Smashed Gladys Teil der Glam Metal/Punk Szene. Smashed Gladys waren Teil einer legendäre Periode des New Yorker Rock. Das 1. Album der Mitglieder Sally Cato (Gesang), Bart Lewis (Gitarre), Matt Stellutto (Schlagzeug) und Ken Fox (Bass) wurde von Gene Simmons (Kiss) produziert, der die Persönlichkeit und rauhe Energie der Band perfekt einfing. In dieser wilden Zeit gründeten sie die berüchtigte Mittwochabendserie im Cat Club. Die Nacht wurde zu einer Startrampe für Bands und entwickelte sich zu einem Showcase-Veranstaltungsort und Partybühne für Künstler wie David Bowie, Duran Duran, Mick Jagger und andere. SG machten Demos für ihre dritte Platte, als Bassist Mark Sliker an einer Überdosis starb. Nach dem Chaos verließ Sally das Musikgeschäft und wurde Grafikerin. Das Album "Raw" ist eine Sammlung von Songs, die ursprünglich Demos für diese dritte Platte waren, die vom ersten Produzenten der Band, Mark Dearnley geremixt wurden. Das Album wird mit weiteren 4 Songs aus den Gene Simmons Sessions komplettiert. Tragischerweise ist Sally Cato 2020 verstorben. Raw' ist ihr Denkmal und ein begeisterndes Rock'n'Roll-Album, das einen zurück in die 80er Jahre versetzt

LIMITED-EDITION METALLIC FALCON COLOR VINYL VERSION - INDIES ONLY

There is a moment near the top of jaimie branch's FLY or DIE LIVE, the new album recorded by the trumpeter's quartet at in Zurich, Switzerland on January 23rd, 2020, which feels like it bears the weight of both that specific pocket of time, and a prophecy for all that was soon to come. branch and her Fly or Die crew - cellist Lester St. Louis, bassist Jason Ajemian, and drummer Chad Taylor - had just kicked off the concert at Moods, with the opening tracks off their then-new studio album FLY or DIE II: Bird Dogs of Paradise, the second of which, "Prayer for Amerikkka" is among the best political songs written during the Tr*mp Era, and when the moment in question pops off.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Mel Carters Debütalbum „When A Boy Falls In Love“, das ursprünglich 1963 auf Sam Cookes Label SAR Records/Derby erschien, ist ab 28. Mai wieder als LP erhältlich! Das von Sam Cooke und J.W. Alexander produzierte Album enthält von Cooke und Alexander geschrieben Songs sowie ”Why I Call Her Mine”, eine Eigenkomposition von Mel Carter, die 1963 als Single veröffentlicht
wurde. Mel Carter wurde von Cash Box als einer der 10 besten männlichen Newcomer-Sänger des Jahres 1963 bezeichnet und trat mit ”When A Boy Falls In Love” in zahlreichen Fernsehsendungen auf, darunter Dick Clark’s American Bandstand. Der Titelsong ”When a Boy Falls in Love” hielt sich 10 Wochen in den Pop-Charts. Der R&B-Kenner Bill Dahl hat nach einem Gespräch mit Carter die Liner Notes beigesteuert, die das ansonsten originalgetreu restaurierte Paket aufwerten. „When A Boy Falls In Love“ erscheint als 1LP.

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his song writing skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.

With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors."

A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45 RPM on two glorious sides of 180-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.

The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

Hat eigentlich schon irgendwer darüber nachgedacht, ob es nach all den Jahren deutschsprachigen Pop-Zusammengehörigkeitsgefühls mal Zeit wird, weiter als von Fußball-WM zu Fußball-WM zu denken und mit dem irren Gedanken aufzuräumen, dass schon alles gut wird, wenn wir uns bloß Alle immer ständig sagen, dass wir das schon hinkriegen?!

Vielleicht war’s Zeit für Jupiter Jones, die Brücke zwischen dem Punk aus den alten Tagen von vor mittlerweile zwanzig Jahren und dem Pop aus den neueren Alben zu schlagen, um eine Melange aus beidem zu schaffen, die sich nicht daran stört, ob irgendwelche Genre-Dogmen eingehalten werden und die sich nicht scheut, auch unkomfortable Themen in komfortablere Töne und Wörter zu packen? Weil Pop eben nicht da aufhört, wo Normativität ihre Grenzen findet.

Sei’s in Songs wie „Überall waren Schatten“, „Bleibt zusammen“, „Wenn’s nicht wehtut“ oder „Melatonin“, die all die Gründe aufleben lassen, wegen denen die Band im Jahre 2002 überhaupt gegründet wurde: Nämlich der Frage nach dem Warum-zum-Teufel-nochmal?

Oder in Songs wie „Vielleicht“, „Ja sicher“, „Oh! Philia“ oder „Der wichtigste Finger einer Faust“, die ganz bewusst Tanzbarkeit mit dem Gefühl verbinden, sich unbedingt mal für mehrere Stunden hinzulegen und die Wand anzustarren?

Oder eben in Songs wie „Atmen“, „Der Nagel“, „Mein Viel und dein Vielleicht“ und „So hat noch jedes Ende angefangen“, die im weitesten, wie im nähesten Sinne Liebeslieder sind. Lieder für und gegen die Liebe, Lieder mit und ohne.

„Die Sonne ist ein Zwergstern“ ist nicht das Corona-Album von Jupiter Jones. Auch, wenn das Revival der Band ziemlich zeitgleich mit dem Virus kam und die Songs dementsprechend ausnahmslos in dieser Zeit geschrieben wurden. Es ist das Album, das einen Blick auf die Welt wirft, einen Blick auf das Innere und einen Blick auf die Verbindung von beidem. Es ist das Album, dem mehr als jedem Album der Band zuvor egal ist, wo die Grenzen verschwimmen. Es ist entschlossen, laut und leise zugleich und es ist alles, nur kein Kompromiss.

Ganz sicher ist es das Ergebnis aus der Erkenntnis, dass wir alles wieder zusammen machen und schaffen können, sobald wir gecheckt haben, dass wir erst mal wir selbst sind. Und dass sich all das lohnt.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

Zehn Jahre Local Bastards. Und auf der Bühne stehen noch immer dieselben Mistkerle wie am ersten Tag. Mit ihrem neuesten und mittlerweile sechsten Studioalbum „Dekade – 10 Jahre Local Bastards“ setzen die Jungs Maßstäbe, verbinden Altes mit Neuem und behandeln tiefgreifende Themen wie nie zuvor.
Die Suche nach dem eigenen Ich und dem individuellen Sinn des Lebens oder die Diskrepanz zwischen Recht und Gerechtigkeit:Der neue Longplayer der vier Hessen spielt textlich in der obersten Liga. Neben fünf brandneuen Songs enthält das Album fünf Lieder, die im Laufe der zehnjährigen Bandgeschichte entstanden sind und im neuen Sound daherkommen
Die limitierte Jubiläumsedition überzeugt mit einem 60-seitigen Earbook mit unveröffentlichten Archivbildern und einer 1:45h Dokumentation zur Bandgeschichte. Zehn Jahre Local Bastards – ein Anlass, der gebührend gefeiert werden muss. Mit ihrem Jubiläumswerk machen die Jungs genau das und werden ihre Fans vom Hocker reißen. Make some noise for the Bastard Boys!

Personnel: "Ascenseur pour l'échafaud" - Miles Davis (tp); Barney Wilen (ts); René Urtreger (p); Pierre Michelot (b); Kenny Clarke (dr


In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud".

Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.

On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room.
This recording was made at night in a most informal atmosphere.

The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.

Zehn Jahre Local Bastards. Und auf der Bühne stehen noch immer dieselben Mistkerle wie am ersten Tag.
Mit ihrem neuesten und mittlerweile sechsten Studioalbum „Dekade – 10 Jahre Local Bastards“ setzen die Jungs Maßstäbe, verbinden Altes mit Neuem und behandeln tiefgreifende Themen wie nie zuvor. Die Suche nach dem eigenen Ich und dem individuellen Sinn des Lebens oder die Diskrepanz zwischen Recht und Gerechtigkeit: Der neue Longplayer der vier Hessen spielt textlich in der obersten Liga.
Neben fünf brandneuen Songs enthält das Album fünf Lieder, die im Laufe der zehnjährigen Bandgeschichte entstanden sind und im neuen Sound daherkommen. Die limitierte Jubiläumsedition überzeugt mit einem 60-seitigen Earbook mit unveröffentlichten Archivbildern und einer 1:45h Dokumentation zur Bandgeschichte.
Zehn Jahre Local Bastards – ein Anlass, der gebührend gefeiert werden muss. Mit ihrem Jubiläumswerk machen die Jungs genau das und werden ihre Fans vom Hocker reißen.
Make some noise for the Bastard Boys!

1LP Kastentasche Vinyl mit 10 Tracks, schwarz/gold marmoriert & handsignierter Beileger mit Songtexten.

Limited vinyl pressing in collaboration with Rico Toto. Artwork by Floating Bstrd.

Invisible City Editions continues our 10 year anniversary in adventurous sounds. We are thrilled to announce the re-release of Rico Toto’s 1993 CD recording Fwa Épi Sajès. Mind melting synthesizers and drum machines fuse with ancient Guadeloupe Gwo-ka rhythms in this musical endeavour Rico Toto describes as “Electro-ka.” The improvised live instruments of the Moundjahka ensemble meld with electronic abstraction to create a psychedelic, immersive digital diaspora dream state. With nods to Jon Hassell’s’ atmospheric soundscapes, YMO and Baldelli / TBC Cosmic mixtapes, this selection of songs encompasses an entire spectrum of moods and sounds. The A side begins with fourth-world tropical percussions, opening with sounds of nature in “Jungle Meditation” and leading into the downtempo summer synthpop jam “Yadadé.” The B side takes a darker turn, starting off with the deep chugging rhythms of “Rawal Pindi” and continuing even deeper with synth sounds and haunting vocals that culminates into the dreamy meditative final track, “Golgotha.”

Few musical discoveries in recent years - perhaps ever - have been as staggering as that of Soap&Skin aka Anja Plaschg. The sheer force this young artist (she is only eighteen) injects into her compositions almost beggars belief, her songs consuming every last drop of her with no regard for grace or beauty. They say I'm different – and they have been saying it about Plaschg since she was a little girl in the small South Steiermark village of Gnas, where her parents had a pigfarm. With her punkish looks, ripped clothes and nihilistic attitude to match, she felt like the archetypal outsider, hating piano lessons until hitting her teens when, all of a sudden, piano playing became her elixir. Anja began practising for 12 hours a day, took up the violin as well and composed her first classical pieces for the village music school. Her older brother installed a sound programme on the computer for her to play around with, and having figured it out for herself, she experimented with productions.Soap&Skin's first album “Lovetune for Vacuum” is a logical progression from her previously released pieces, an unwavering line of drama, inner conflict and melancholy. The impact of this debut lies in its paradoxicality: remarkably mature on the one hand, yet feeding on unbridled youthful exuberance on the other. The songs you find on the album have been written between 2005 – 2008 and have been recorded back at Anja’s place - mostly just by herself.

"Für "Earth Rocker", den Nachfolger des 2009er Werks "Strange Cousins From The West", mussten knapp vier Jahre ins Land ziehen. Ob sich die Wartezeit gelohnt hat? Wer CLUTCH kennt, der weiß: Ja! Das neue Album strotzt nur so vor Energie, beinhaltet aber auch die klassischen ruhigeren Songs, bei denen Sänger Neil Fallon natürlich mit seinen interessanten und gut durchdachten Texten voller Poesie überzeugen kann.

Doch bevor es an ruhigere Nummern geht, die auf dem Album in der Minderheit sind, geht es mit dem Titeltrack "Earth Rocker" erst mal gnadenlos rockig ab. Die schnelle Nummer ist schon mal ein guter Einstand, und Neil's "Muhahahas" in dem Song lassen einem ein breites Grinsen ins Gesicht treiben. Ein weiteres Highlight und garantierte Live-Granate ist den Mannen mit "Crucial Velocity" gelungen. Wer schon "Mob Goes Wild" oder "Electric Worry" mochte, wird diesen Song vergöttern. Tim Sult lässt seine Klampfe gnadenlos im Stoner-Dickicht die Rock-Welt regieren. Hammer!

"Mr. Freedom" groovt ganz gewaltig, Obacht: auch hier unbedingt auf die Textpassagen achten. Bei "D.C. Sound Attack" wird die bewährte Mundharmonika aus der Tasche gezogen und im Sinne von ZZ TOP abgerockt. Weiter über "Unto The Breach", "The Face" (MOTORJESUS lassen grüßen), "Cyborg Bette" oder "Book, Saddle & Go", CLUTCH zeigen sich abgezockt und saucool, wie eh und je. Warum cool? Weil diese Band einfach das macht, was ihnen gefällt, sei es Mucke, Attitüde oder Acting. Wer es mal bluesig mag, dem ist "Gone Cold" ans Herz zu legen. Relaxte Nummer, genau richtig zum chillen mit nem Glas Whisky.

Veredelt wurde "Earth Rocker" durch die Hand von Machine, der schon auf "Blast Tyrant" oder "Pure Rock Fury" für CLUTCH tätig war. Der räudige Sound, wie man ihn von der Gruppe gewohnt ist, wurde beibehalten und noch einmal auf eine höhere Stufe gewuchtet. Da bleiben keine Wünsche offen.

"Earth Rocker" reiht sich nahtlos in die Gassenhauer-Alben der Band hinein. "Blast Tyrant" oder "From Beale Street To Oblivion" gehören zwar noch immer zu den absoluten Highlights, "Earth Rocker" übernimmt ab jetzt jedoch den Vorsitz." (9von10/metal.de)

First time reissue of one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
Features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles… The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil.

For those into Milton Nascimento, Caetano Veloso, Arthur Verocai… 180g vinyl edition. First time reissue.

DESCRIPTION
This 1982 Chico Lessa album is one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
The arrangements on the beautiful ‘Choveu’ and ‘Me Pega, Me Larga’ can easily bring names like Verocai to your mind. No wonder the album features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles…
The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil. It has become a much sought-after album in recent times after being rediscovered by top collectors worldwide

Die "Blue Record" EP enthält 5 Songs: die beeindruckenden Akustikversionen von drei Songs des 2013er Albums ,II" sowie zwei fantastische Coverversionen, "Swing Lo Magellan" (DIRTY PROJECTORS) und "Puttin It Down" (BECK). "Ich habe erst im letzten Jahr damit angefangen, Akustikgitarre zu spielen. Die Idee, dass eine Gitarre Sound in Elektrizität übersetzt und es dann richtig laut wird, mochte ich schon immer. Ich dachte, dass die Akustikgitarre vielleicht ein bisschen zu niedlich für mich ist. Doch nachdem uns einige Gelegenheiten geboten wurden, Akustiksets zu spielen, um die neue Platte zu promoten, habe ich beschlossen, das Ganze als Herausforderung zu betrachten und zu versuchen, akustisch zu spielen und dabei nicht langweilig zu klingen. Schließlich fand ich es schon immer toll, wie Arthur Lee akustisch spielt und fragte mich, ob ich das wohl überzeugend hinbekommen könnte. So wurde ich praktisch durch ein paar Radiosessions dazu gezwungen, mir die Akustikgitarre anzueignen und beschloss, ein paar Songs akustisch aufzunehmen und zu veröffentlichen, weil den Leuten das anscheinend gefiel. Alles wurde in meinem Keller mit nur einem Mikro direkt auf Band aufgenommen." - Ruban Nielson, UNKNOWN MORTAL ORCHESTRA ENG "I only started playing the acoustic guitar last year. I'd always preferred the idea that the guitar converts a sound into voltage and then becomes really loud. I thought the acoustic guitar was a little bit too twee for me or something. But after being offered some opportunities to play various acoustic sessions to promote the new record, in situations where it wasn't possible to record the whole band, I decided to treat it like a challenge to try and play acoustic and not have it be lame. After all I was really into Arthur Lee's ability with an acoustic and started wondering if I could make it sound convincing. Anyway, after being somewhat forced to develop some skill on the acoustic through these various radio sessions and things like that I decided to record some songs acoustically and release them since people seemed to be liking the way I was doing it. Everything was recorded straight to tape in my basement with a one mic set up." - RUBAN NIELSON, UMO


[a] 1 SWIM AND SLEEP (LIKE A SHARK) [ACOUSTIC VERSION]
[b] 2 FADED IN THE MORNING [ACOUSTIC VERSION]
[c] 3 SO GOOD AT BEING IN TROUBLE [ACOUSTIC VERSION]

Although Los Hermanos Ballumbrosio are one of the most emblematic groups of Afro-Peruvian music, no single recording has been able to portray the essence of the group... Until now. "Homenaje a El Carmen" ("Homage to El Carmen"), their debut album for Buh Records, sets the record straight: it captures the true spirit of the musical tradition of El Carmen, a city located a few miles to the south of Lima that is home to the largest black community in Peru. Songs based on percussion and zapateo bring back the memories and experiences of a culture that has produced one of the greatest treasures of Peruvian music. "Homage to El Carmen", the third volume of the series "Perspectives on Afro-Peruvian Music", signals the return of the group to the recording studio, and also to the sources of rhythms such as festejo and panalivio, which they interpret with cajón, quijada (jawbone), congas, bongo and batá. The result is a distillation and a testimony of the memories and experiences that portray the cultural universe of El Carmen. We have access to a selection of traditional songs that are heard during the festivities, such as "Guanchivalito", which is played during the Yunza Negra, a ceremony in which a willow tree is cut to bring benefits to the community. "Panalivio " and "Serrana Vieja" are two traditional Christmas carols that are played in the "Hatajo de Negritos" and which reflect the syncretic character of the Afro-Peruvian culture. These songs speak of the difficulties of rural life, but they also serve as a vehicle to demonstrate the Ballumbrosio brother's mastery in the art of zapateo, a dance that is accompanied by violin and bells. The classic "La Esquina de El Carmen" is perhaps the song that best expresses the erotic character of festejo, also known as baile de cintura (waist dance). "Homage to El Carmen" is the highly anticipated return of the Ballumbrosio brothers to the recording studio. They have become indisputable references of Afro-Peruvian music and have displayed their sound and dances around the world. It was time for an album that portrays the essence of the group: a collective spirit, where the tutelary image of Amador Ballumbrosio always shines, and which traces a history from Africa to El Carmen. This album is published in vinyl format in a limited edition of 300 copies. Include 8 full-page booklet with liner notes in Spanish and English. Produced by Manongo Mujica and Daniel Mujica. Cover by Yerko Zlatar.

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

Ltd. Yellow Vinyl

Limited Repress! The album entitled "Lighght" (pronounced "Light") continues and expands the sound of his critically acclaimed debut, "151a" - which earned Kishi Bashi the *title* of "Best New Artist" by NPR. Since the profoundly successful release of "151a" two years ago, Kishi Bashi has toured relentlessly, captivating audiences across the globe with his loop-based live show, and fostering a groundswell of devotees. "151a" was crafted over a four-year period while Kishi Bashi was touring and recording with Regina Spektor, Sondre Lerche, and of Montreal (where he was a full-time member and co-producer). In late 2012, after the success of "151a", Kishi Bashi decided to focus solely on his own music and began composing the new material which has become "Lighght". "Lighght" takes its title from the one-word poem by minimalist poet Aram Saroyan. As Kishi Bashi explains, "The poem's blatant assault on literary convention and classical form was attractive to me." It is apparent that such an approach informed the new album, which has both broadened and redefined his classical foundations. "Though I have studied classical composition, I prefer to take an unconventional path when it comes to creating and thinking about music," says Kishi Bashi. Though violin remains his primary instrument and songwriting muse, Kishi Bashi has expanded his palette to include more diverse and nuanced instrumentation. Bright and soaring avant-pop songs are prevalent, as are Eastern-tinged arrangements, gentle ballads, Philip Glass inspired improvisations, and more than a few moments that flirt with 70s prog (in the tradition of ELO or Yes). If this sounds jarringly kaleidoscopic, that's because it is. But it works. Listen and see.

"I Can't Let Go" ist das erste Album der britischen Sängerin und Schauspielerin Suki Waterhouse und wurde von dem Grammy-nominierten Produzenten und Songwriter Brad Cook (Bon Iver, The War On Drugs, Snail Mail, Waxahatchee) produziert. Neben ihrer Tätigkeit als Schauspielerin (The Bad Batch, Assassination Nation, Misbehaviour) und Model (Burberry, Ferragamo, Tommy Hilfiger) katalogisiert die Britin ihre intimsten, prägendsten und bedeutendsten Momente ihres Lebens am liebsten in Songs. Die in London geborene und aufgewachsene 30-Jährige fühlte sich schon früh zur Musik hingezogen und sah das Medium immer als eine Möglichkeit, Kreativität auszudrücken und Geschichten zu erzählen. Bis heute haben Bands wie Oasis einen ganz besonderen Platz in ihrem Herzen, Suki hört aber auch gerne Songwriterinnen wie Sharon Van Etten, Valerie June oder Lou Doillon. Bevor sie sich mit dem angesehenen Produzenten Brad Cook für ihr Sub Pop-Debüt zusammengetan hat, erschienen bereits die auf eigene Faust veröffentlichten Singles "Brutally", "Good Looking" und "Valentine", die auch ohne großes Label im Rücken bis heute fast 20 Millionen Mal gestreamt wurden.

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

Was?! 25 Jahre sind es schon?
Vor kurzem erst aus dem langjährigen Winterschlaf erwacht, mussten die SKINFLICKS feststellen, dass es nun doch schon ganze 25 Jahre her sind, dass die Band 1997 in Luxemburg gegründet wurde! Ein unserer Meinung nach willkommenes Datum zum ausgiebigen Feiern und Anlass genug, die wohl besten SKINFLICKS Gassenhauer auf eine explosive Schallplatte zu bannen!
Damit man sich bei der Gelegenheit überzeugen kann, dass die Band auch nach einem Vierteljahrhundert nichts an Relevanz und Frische verloren hat, glänzt die Compilation mit etlichen neueingespielten und exklusiven (!) Versionen alter Klassiker, so z.B. das ehrwürdige "Lionhearts" oder "Stick yer disco up yer arse!", ursprünglich aus dem Gründungsjahr bzw. 2000. Auch der Oi-Meilenstein "What I am", ein Song, der durch die Jahrzehnte hindurch so oft gecovert wurde, dass der Track wohl bekannter ist als die Band selbst, wurde neu aufgenommen und bezeugt, dass die Band nichts an Aggressivität oder offensivem Stolz eingebüßt hat. In neuem lyrischem Gewand präsentiert sich der Song "Smash the referee" - ursprünglich "Smash the Love Parade".
Wer bereits die nun extrem rare 2017er "Anthology" zum 20-Jährigen verpasst hat, weiß, dass man hier sofort zugreifen sollte! Sichert euch also besser gleich dieses Kleinod an Oi-Historie, mit unantastbaren Klassikern wie "Skinhead", "Kings without a crown", "Terrace terror" und vielem, vielem mehr.
Die Jahre haben den Songs nichts anhaben können; nein, diese sind nicht nur in Würde gealtert, sondern sind immer noch brandaktuell in ihrer Haltung. Auch die Band ist offensichtlich nicht eingerostet und so haben die vier Luxemburger Jungs bereits wieder begonnen, die ganze Welt mit Konzertreisen zu beglücken.
Also, worauf wartet ihr?

Eraserhood Sound's intergalactic house band Fantasy 15 delivers yet another masterful slice of futuristic synth-funk, this time in the form of the Galaxy Oasis / Julieta 7". Both tracks are from the Planet IX EP, a dazzling collection of songs which touches on soul, funk, boogie, hip hop, and New Wave. "Galaxy Oasis" is the group's first single with a proper lead vocal, provided by a local from the group's native planet Zoltandia. Its infectious groove and soaring melodies will be sure to keep dance floors packed for millennia to come. Listen close to the vocals, and you will hear a contemplative lyric about what it means to be human and experience true ecstasy in an increasingly cold, digital universe. Flipside "Julieta" is perfect for after the club, with its brooding drums, menacing guitar, and cinematic flutes.

We are very proud to present you the third release on Schatzimusik with the reissue of the much sought after I.B.M. – Computer Love 12″ inch and an unreleased track and a remix. For this release we have teamed up with none other than Dario di Pace & Raffelle Arcella from Naples, better known as Mystic Jungle and Whodamanny. The two have done numerous remixes for very well-known Italo-Disco songs. For this remix, they have delivered a brilliant reinterpretation of Computer Love. Rhythmic, driving, funky and playful, they put Computer Love in a new light. The release is rounded off with the previously unknown track “Metropolis” and the long version of “Computer Love”. A little background info on the original vinyl. Thomas Waver & Rudi Raders the two originators of the group I.B.M. emigrated to Alicante (Spain) in the 80s. They stored the records of Computer Love in the attic of Thomas’ aunt. Unfortunately, she died, and the attic was dissolved along with the records. So, the original vinyl is unfortunately a rarely seen item.

Stella Sommer, das ist diese Frau, die so zwingend nach Stella Sommer klingt Nach vier Alben mit ihrer Band Die Heiterkeit und zwei Soloplatten übertrumpft sie sich mit ihren 24 neuen Songs auf "Silence Wore a Silver Coat" nun selbst. Auch, was das schiere Volumen, die immer dichtere Stimmung ihres sehr eigenen Universums angeht, an dem sie mit diesem Doppelalbum mit vehementer Konsequenz weiterbaut. Wie bei ihren vorherigen Solowerken ist es auch auf ihrem neuen Album ihr glänzender, dunkel changierender Gesang, der vor wildwachsenden Klanglandschaften leuchtet und ihre stimmliche Ausnahmestellung in Deutschland bestätigt. Immer noch gilt: So hoffnungslos schöne und attitüdelos stolze Popmusik schreibt sonst niemand in diesem Land. Wir hören einmal mehr eine große Songschreiberin und Arrangeurin, die ihre Kunst mit leichter Hand beherrscht, und damit ein gänzlich unangestrengtes, kalkülfreies Meisterwerk schafft. Zum ersten Mal hat Sommer ihr Album mit der ihr eigenen beiläufigen Souveränität auch selbst aufgenommen und produziert, denn warum sollte man das nicht tun, wenn man es kann. "Northern Dancer" und "Was Passiert Ist", ihre beiden jüngsten Werke, solo und als Die Heiterkeit, waren in sich geschlossene, durchkomponierte Alben - dramaturgisch fein konstruiert folgten sie beim Hören wie ein kooperatives Wildpferd am hängenden Führstrick ihrer Erschafferin.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth in the early 70s. Their delicate songwriting acquired, after his treatment, a special Tropical aroma that even included the funk influences received by Salcedo at that time. He released with his band, La Onda Tres, a few LPs and singles that had a limited distribution, mainly in Colombia only. This anthology comprises a selection of songs that celebrate Salcedo's sound signature: a base of coastal funk with vocals and melodic bubblegum-bomb arrangements and hints of light psychedelia. Many of the compiled songs became popular radio hits in Colombia that Jimmy Salcedo and La Onda Tres recorded and arranged at the Zeida studios in Medellín. These recordings include Latin-jazz tracks ('Mira') with stunning percussion solos, songs recorded under a heavy Caribbean-soul influence ('­Qué linda es Colombia!' and 'Lo mismo de siempre') 'Maranguango', an irresistible mix of Afrolatin percussion and catchy Tropical harmonies spiced up with moog keyboard sounds, fuzz and wah wah guitars and even touches of hammond, in a psychedelic funk style, an exhilarating moog driven instrumental with a heavy Afro-funk rhythm ('Moogambo') and revisited Latin classics ('Moliendo Café').

‘An Awesome Wave’ is now available on fern green vinyl. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over three billion times. Their follow up album This Is All Yours was a UK number 1, GRAMMY and BRIT Award-nominated album. Released in 2017, album number 3 RELAXER flew straight into the top 10 of the UK album chart and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

Imperial Wonders are one of the true great vocal harmony groups that came out of Cleveland, Ohio during the sixties and are still perfomring. We are happy to release our second single by them with the prophetic anthem 'Lord What Is Happening to the World?' the ballad 'I'll Never Go Looking for Love' is on the flip. This is the first-time release on vinyl for both songs apart from previously only being available on CD.

New Studio Album after long 8 years! Produced by Jack Endino in Chile and Mastered by Tony Cousins (The Verve, The Stone Roses) at Metropolis Studios U.K, Lacquer cut by Richard Simpson (Beck, Flamin’ Groovies, Lou Reed). After 8 long years The Ganjas returns with a new studio album, a joint production between Jack Endino and the band. Like the 2012 album ‘Resistance’, this LP combines sounds and styles that have marked the band since its inception; long space rock songs, neo grunge guitars, Manchester-reggae rhythms, and ballads with R&B vocal harmonies. For fans of: Sundial, Keith Richards, The Stone Roses, Swervedriver
A job that very well summarizes the more than 20 years of uninterrupted career. After the compilation album ́Ghost River ́ (2015) and having finished the European tour in September of the same year, the drummer changed, the long-lived founder Aldo Benincasa left and Nes entered, who had already replaced him on a couple of occasions. In March 2017 they embark on a trip to El Médano a mountain refuge that is on the border between Chile and Argentina, and in there for several days they shaped the songs that gave life to this album. Then, in 2018, Jack Endino, an old acquaintance of the group, travels from Seattle to Santiago to record 10 songs with different nuances and colors, lyrics in English and Spanish, radio cuts and long durations, rock, groovy and power ballads, at Estudios Lautaro. The album has songs like ‘America’ and ‘Ex-Pilot’ an opening and closing of almost 10 minutes in a cadenced and hypnotic groovy march, spatial and psychedelic in the purest style of The Verve's A Northern Soul album. While ‘Space Trees’ and ‘10.000 Años’ are short, powerful, fast and acid songs with the grunge and alternative rock stamp that sounded in the 90's, nothing to envy to Sundial and Swervedriver. There is room for Manchester-reggae moments in ‘New Berlin’, an instrumental dance song that was born in that city thanks to the collaboration with Andrés Bucci and ‘Listen To The Lion’, a trippy and deep Dub-Reggae cut. R&B ballads have always been part of the group's work and on this album they stand out with ‘Generation’, the title that gives the album its name, with a sound reminiscent of Keith Richards solo songs and the emotional nirvana-esque ‘Far Along The Way’. The mix was carried out in 2019 between Seattle and Santiago de Chile, during upheaval and social protests as a result of the October outbreak and was mastered in 2020 at the Metropolis studios in the U.K. by Tony Cousins, an engineer who had already worked with The Verve and The Stone Roses, influences recognized by The Ganjas. Due to the pandemic the release was postponed to the end of 2022. For the likes of: Sundial, Keith Richards, The Stone Roses, Swervedriver. Genre: Alternative / Indie

‘Where the Viaduct Looms’ comprises nine Nick
Cave cover versions with vocals and
instrumentation by 14-year-old Nell Smith and
instrumentation and production by The Flaming
Lips. The album was mastered by Dave Fridmann
at Tarbox Road Studios.
 This inspiring and heart-warming story begin when
Smith, originally from Leeds (UK), moved to
Canada and first met Wayne Coyne at the age of
12 at The Flaming Lips’ headline show at the Sled
Island Festival, Calgary, in 2018 with her family.
Nell had already attended several Lips shows and
was a regular at the front of the stage, dressed in a
parrot costume and screaming out the band’s
songs. Coyne soon began to notice the kid in the
parrot suit and sang a David Bowie cover directly
to her at the show in Calgary, with Nell singing
every word back.
 A musical bond formed with Coyne staying in
contact with Nell and her father Jude as she
learned to play guitar, while their creative
relationship began to flourish when she started to
write her own songs.
 When a planned trip to record with the band in
Oklahoma had to be cancelled due to the
pandemic, Coyne suggested Nell record some
Nick Cave songs and email them to Oklahoma to
be backed by the band. Coyne chose Nick Cave
because Nell didn’t know him and wouldn’t have
preconceived notions as to how to sing the songs.
 LP pressed on blue 140g vinyl in 3mm spined
outer sleeve.

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Released on the heels of her breakthrough album Tapestry, Carole King's Music is every bit the equal of its more famous predecessor: a No. 1 smash that features impeccable songwriting, beautiful melodies, and extraordinary piano playing. In short, everything that's made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has been given the audiophile treatment it's long deserved.

Sourced from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180g LP of King's second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album as King's familiar voice, intelligent arrangements, and ace support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of the depth of King's inspirational lyrics and performances will doubtlessly increase — this reissue brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a multitude of other professional wind musicians, King delves further into R&B and jazz-derived pop. Warm and cohesive, songs echo with simplicity and honesty. And as is typical of much of King's work, several of tunes here were later covered by other artists, including "It's Going To Take Some Time" (the Carpenters). Yet the originals trump the later renditions, and King's rendition of the standard "Some Kind of Wonderful" stands among the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway ("Surely"), gospel raises spirits ("Brighter"), and backup vocals float amid pop arrangements like clouds ("Song of Long Ago"). The most irresistible aspect? King's voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelity's 180g LP is free of the limiting artifacts that have helped keep this record in the dark for the better part of the 80s, 90s, and early 2000s. Acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and King's voice —pleasant, assuring, emotional — comes through with incredible clarity and inflection. The brilliance of Lou Adler's original production is restored to its full glory.

Aptly named, this companion to Tapestry is an aural and sonic delight.

Padang Moonrise is the story of modern Indonesian music
that emerged underneath the volcanoes of Java and
Sumatra. Java, the most populous island in the archipelago
of over 17,000 islands and 1300 distinct ethnic groups, and
its capital city Jakarta, was where most of the post-colonial
national identity, politics, administration and music production
was centred.
Traditional songs from Java, Sumatra, Bali and beyond were
re-imagined by a small group of state-sponsored musicians
that also composed and arranged new music. These songs
aimed at consolidating a geographically disparate country
with a new language and new ideas of national character.
This compilation brings together a handful of these recordings
that combine elements of regional popular music, Islamic
Gambus, Javanese & Balinese Gamelan and Kroncong, with
jazz, Afro-Latin music & instrumentation, and vocal harmonies
influenced by banned American doo-wop and rock & roll.
The results are a unique blend of styles that have remained
mostly insulated from the world outside of Indonesia until a
recent worldwide resurgence in the interest of recorded music
of all forms has shone a new light on these nearly forgotten
recordings.
27 tracks compiled by Miles Cleret, on double vinyl with bonus
7”, housed in gatefold sleeve with extended liner notes.

Nocturne, the critically acclaimed sophomore album by Wild Noth- ing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open ref- erences to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Noc- turne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

VINYL COLOUR IS GREY. BORSTAL, the UK-Hardcore band featuring Nick Barker (Brujeria, ex-Dimmu Borgir, Cradle Of Filth) & Pierre Mendivil (Knuckledust) release details of brand new 2 track 7". Produced by Russ Russell (Napalm Death/The Exploited/At The Gates). The 2 songs are a follow up BORSTAL's debut EP "At Her Majesty's Pleasure". The 7" record is a collaboration between Rucktion Records & 4 Family Records. Both labels are offering different variants and bundles of the 7" in extremely limited quantities. Pressed on heavyweight Vinyl and including a free download code! Front man 'Pierre' comments on the new video 'No Surrender'; "This song is inspired by confronting the defeatist mentality that society seems to want to push on us, on so many levels! And even in ourselves as we battle everyday to try better and strengthen our mental attitude just to deal with life these days." BORSTAL Guitarist 'Lee' continues "It's nice to finally get some fresh music out there. We recorded these 2 songs in 2021 with our brother Russ Russell. But due to delays with pressing plants and so on, we got held up! I feel like our sound is really coming together now, and these new tunes are just a teaser for what's to come. We've nearly finished writing our full length too, so they'll be news to follow that soon". The cover artwork for the 7" is by Australian artist Mick Lambrou. Mick has recently designed t-shirts, flyers and artwork for the likes of hardcore legends Agnostic Front, Madball & Slapshot.

Exemplarisch präsentieren sie das brandneue Video zu 'Into My Arms'.

'Where The Viaduct Looms' enthält neun Nick Cave Coverversionen mit Gesang und Instrumentierung der mittlerweile 15-jährigen Nell Smith, die sich für das bizarre und außergewöhnliche Experiment mit Wayne Coyne und seinen The Flaming Lips zusammengeschlossen hat. Gemastert wurde das Album von Dave Fridmann in den Tarbox Road Studios.

Diese inspirierende und herzerwärmende Geschichte begann, als Nell Wayne Coyne 2018 zum ersten Mal im Alter von 12 Jahren bei der Headline-Show auf dem Sled Island Festival traf. Nell hatte bereits mehrere Lips-Shows besucht und stand regelmäßig in einem Papageienkostüm vor der Bühne, um die Songs der Band mitzuschreien. Coyne wurde schon bald auf das Kind im Papageienkostüm aufmerksam und sang ihr bei der Show in Calgary direkt ein David Bowie-Cover vor, wobei die Teenagerin jedes Wort mitsang. Die musikalische Verbindung blieb auch über den Abend hinaus bestehen - auch als Nell begann, an Covern und eigenen Songs zu arbeiten.

- LP: (140g Blue Vinyl)

Niedersachsen's calling:Die EgOi!sten sind zurück - und wie! Mit Kuhn (Ex-Inform) an der Gitarre hat das ehemalige Trio eine würdige Verstärkung erhalten, somit sind die Melodien deutlich ausgereifter und die Sing-A-Longs eingängiger! Aber nicht nur das, auch der Gesang von Lollo hat sich auf ein deutlich höheres Level gehoben! Zum Einstand haben die Jungs 6 neue Songs und 3 alte Songs eingespielt die es tatsächlich in sich haben!Erwartet das Unerwartete und nehmt die Chance wahr die EgOi!sten in 2023 auf vielen festivals und Clubshows live zu erleben! Dieses Release wird die vier Oi!sters ordentlich nach vorne katapultieren!

Between 1955 and 1961 Sinatra recorded a string of hit albums for Capitol Records, collaborating with conductor and arranger Nelson Riddle and covering songs that were just superb. Though he’d produce numerous great records later on, it’s Sinatra’s Capitol years that people most associate with him, and which are generally conceded to contain his best work. This collection of wonderful recordings features; I've Got You Under My Skin, Just One Of Those Things, I Get A Kick Out Of You and Night And Day - all classics penned by Cole Porter.

Come Fly With Me, (Love Is) The Tender Trap and Love And Marriage - written by Van Heusen & Cahn. Nice Work If You Can Get It - by George & Ira Gershwin.

Plus, Nice 'n' Easy, Young At Heart, You Make Me Feel So Young, Witchcraft, Three Coins in the Fountain and The Lady Is A Tramp.

Dieses brandneue 3fach-Vinyl-Boxset enthält insgesamt 45 Tracks, darunter 12 brandneue Songs namens THE INSIDE OUTTAKES, 13 bisher unveröffentlichte Score-Tracks und die 20 INSIDE Originalsongs. Alles in einer atemberaubenden Box mit 3 Doppelcover-LP-Hüllen mit bedruckten Innenhüllen und individuellen, durchscheinenden RGB-Außenhüllen. Die Box enthält außerdem ein wunderschönes 24-seitiges Textbuch, eine 12x12inch Kunstkarte und 3 INSIDE-Fensteraufkleber.

Bo Burnhams Comedy-Special INSIDE gewann 3 von 6 Emmy-Nominierungen (beste Regie, bestes Drehbuch, beste musikalische Leitung) und wurde für den Grammy Award 'Best Compilation Soundtrack for Visual Media' eingereicht. Das Originalalbum war das meistverkaufte US-Comedy-Album 2021 und erreichte Goldstatus. In vielen weiteren Ländern gelangen ihm Chartplatzierungen (DE #57, AT #35, CH #97) bis zu Top 10-Erfolgen (USA, Kanada, UK, Irland, Dänemark, Norwegen, Neuseeland).

Brandneues Studioalbum des früheren This Lizzy-Gitarristen, der auch oft im Hintergrund bei Pink Floyd ('The Wall'-Tour) und später Roger Waters agierte.

Snowy White hat seinen ganz eigenen, 'englischen' Bluesstil entwickelt, der sich durch klare, schnörkellose Bluesphrasen auszeichnet, die er mit härteren Riffs veredelt. Die Songs wirken dadurch sehr direkt, menschlich und authentisch - als ob er jeden Hörer ganz persönlich ansprechen wolle. Diese Kunst beherrschen nur wenige so gut wie der britische Gitarrist und Sänger.

Wegen der großen Nachfrage gibt es nun nochmals eine weitere Clear Vinyl-Version in kleiner Auflage (500 weltweit).