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Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

Originally conceived as a compilation of outtakes and live recordings from The Shadow Ring's 1995 stateside tour, Wax-Work Echoes takes its name from the first line of "Put the Music in Its Coffin," the title track of the group's breakthrough release. Lambkin abandons the bitsand- bobs approach, advancing the Shadow Ring concept with entirely original material that builds on the unit's self-mythologizing lyrics, celebrates the clicking of horse hooves, ponders on the sociability of rats and mice, and warns of the dangers of poultry. The first Shadow Ring album to officially include Tim Goss in the main lineup, Wax- Work Echoes reveals the group in its final and lasting form, awash in the outer bounds of atmospheric exploration, with Lambkin's familiar wry and morbid lyricism and the stripped-down angularity of amateurishly detuned guitars fully intact. While Klaus Canterbury and Tony Clark seem all but forgotten, and the shrugged off S. Fritz is listed on the liner notes as performing only "when required," Lambkin did solicit contributions from outside the inner circle. A bit of "Mambo Twist," lifted from a tape of unreleased Vitamin B12 material sent to Lambkin by Alasdair Willis, found its way into "V.E.R.M.I.N.," while an extended epistle contribution from Richard Youngs (and, technically, Brian Lavelle) would be employed in the second half of "Catching Sight/Of Passing Things." Released on CD in 1996 for Bruce Russell's newly minted Corpus Hermeticum, Wax-Work Echoes was recorded concurrently with intense rehearsal periods, in anticipation of the forthcoming "Rose Watson Tour," and was supported by a celebratory fanzine media blitz. The album seemingly absorbs the frenetic excess of the band's transatlantic travels; Wax-Work Echoes channels the trio's wilder instincts into an unresolved catharsis, not yet free of frustration or restlessness. Out of print for almost three decades and available here for the first time ever on long-playing disc, Wax-Work Echoes is a classic from the outer eddies of The Shadow Ring's sound, a must-have for any aficionado's collection: "A window slides, glass slips from frame / And canvas carcass breathes again." Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

LP comes with 24 page 8.5x11 full color booklet. In the blurred and memorial hallways of bygone time, to remember is to wander between the rooms of our own experiences, to appear and disappear, like a play of overlapping shadows. In music set drifting through the architecture of his own memories, Moses Brown weaves a story that oscillates between the past and the present, like a mason turning over stones to reconstruct his childhood home in this beautiful and disquieting soundtrack to growing up. On Stone Upon Stone, Moses' first solo LP attributed to his given name after several releases under the brilliant and despondent "Peace de Resistance" moniker, he moves sidelong into the realm of soundtracks with this score to the construction of his childhood home in a story spanning 1993-2023. Laid out in lush and provocative minimalist instrumentals, the album unfolds a story about the planning, partial construction, and dissolution of a home in constant state of becoming through the lens of its only child, coming of age under flux. Influenced by the approach of friends and collaborators Straw Man Army's OST to Charles Darwin's Voyage of the Beagle, Stone Upon Stone was originally intended as a soundtrack to a novel of the same name by Wieslaw Mysliwski, an epic set in Poland about a family's construction of a mausoleum. Struck by the story's parallels with his own family's project, he got the idea to complete the work as a personal narrative. Created from layers of different mellotron voices then separated, re-amplified, and recorded as if they were a sitting chamber orchestra, the music eerily blurs the line between human and synthetic, giving way to something akin to a memory with it's blurriness of fact and fiction. In the same spirit of association, this record is certainly influenced by other minimalists working within the confines of "soundtrack", like Philip Glass' North Star and the film work of Michael Nyman. But Brown's soundtrack works within its own peculiar depth of field, living in the listener's imagination, thriving in its own sense of loneliness, aspiration, and confusion that only childhood can evoke. Listeners will feel the entropy of aging in Stone Upon Stone, like a memoir in cascading tones, that sets it apart from so much else in DIY music, and rewards with repeated listens. For Fans of Philip Glass, Kali Malone, Julius Eastman, Mica Levi, Roedelius.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.
You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.
You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left. So everybody, don't sleep, be critical.

For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.

Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.

On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.

The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.

– Dave Segal (excerpt from the liner notes)

Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver "Rectomo" Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.

When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed – nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world.

Opener "One Way Spit" could easily be mistaken for a lost KBD single – from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On "Tricia," a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.

Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.

Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.

Im Jahr 2018 war Case Oats so etwas wie eine nebulöse Idee. Die Bandleaderin Casey Gomez Walker hatte bereits in Bands gespielt, und ihr Projekt Case Oats hatte eine selbst veröffentlichte Single, aber war keine Band, bis ein auswärtiger Freund sie fragte, ob Case Oats eine Show in Chicago headlinen könnten. Casey bluffte - ja, sie hatte eine Band, ja, sie waren bereit, eine Show zu spielen - und machte sich an die Arbeit. "Es war ein bisschen wahnhaft von mir", sagt sie, "aber ein bisschen wahnhaft zu sein hat ja auch etwas für sich." "Last Missouri Exit", das Debütalbum von Case Oats, ist ein bemerkenswert sicheres Album, bei dem sich die Band - Spencer Tweedy (Schlagzeug), Max Subar (Gitarre, Pedal Steel), Jason Ashworth (Bass), Scott Daniel (Fiddle) und Nolan Chin (Klavier, Orgel) - um Gomez Walkers Stimme und Gitarre gruppiert. "Last Missouri Exit" ist eine Sammlung scharf gezeichneter Charakterstudien. Gomez Walkers Hintergrund im kreativen Schreiben drückt sich in ironischen Beobachtungen und einem entwaffnend leichten Sinn für Lyrik aus, das Tiefgründige und Profane purzelt aus Songs wie "Bitter Root Lake" mit dem Gewicht eines Bekenntnisgedichts und der Leichtigkeit eines Gesprächs unter Freunden. Der rote Faden von Case Oats' erstem Auftritt bis zu ihrem Debütalbum ist Vertrauen, in die Songs und in ihre Spieler. "Last Missouri Exit" klingt aus den chaotischsten Kammern des Herzens und die Band schwillt um Gomez Walker herum an, die das Erwachsenwerden in Bezug auf die Loyalität zu verzweifelt fehlerhaften Menschen und schließlich, mit etwas Abstand von zu Hause, die Treue zu sich selbst beschreibt. Die Songs entstanden live, und die ersten Aufnahmen fanden, wie sich Gomez Walker erinnert, im Keller eines Hauses statt, das Ashworth, Subar und Tourmitglied Chet Zenor gemeinsam bewohnten. "Wir nahmen die Songs an drei heißen Augusttagen mit unseren Freunden auf und versuchten einfach, die Energie zwischen uns einzufangen". Tweedy, der die Session mit Ashworth und Subar aufnahm und das Album produzierte, sagt dazu: "Wir brachten gerade so viel Material mit in den Keller, dass wir es aufnehmen konnten. Wir hatten das Glück, in den Monaten vor der Session viele Konzerte gespielt zu haben, so dass wir einfach so spielten, wie wir gespielt hatten, ohne jede Wertigkeit." Diese anfängliche Kellersession ist das Zuhause, in dem "Last Missouri Exit" aufwuchs, und diente sowohl als Ursprungs- als auch als Zielort, da Gomez Walker und Tweedy den Gesang in getrennten Sessions zu Hause aufnahmen. Texte, die sich so wahrhaftig lesen wie "Your brother was the golden boy and you were your mother's pup / The safety of her guiding arms kept you from fucking up", heißt es in einem Couplet aus "Buick Door", das durch die Distanz zwischen Gomez Walker und den auslösenden Ereignissen ihrer Songs gestärkt wird. Ihre Stimme ist selbstbewusst und zart, sie fängt den Nervenkitzel eines Schlagzeugs oder die schmerzende Weite der Pedal Steel ein und kanalisiert den Schwung in die Hoffnungen und den Herzschmerz des Kleinstadtlebens im Mittleren Westen. Auf der Fahrt von Gomez Walkers Heimatstadt auf dem Freeway nach Chicago in Richtung Norden steht auf dem Schild kurz vor der Grenze zu Illinois unter anderem "Last Missouri Exit". Es ist ein Punkt auf der Landkarte und für sie ein Punkt, an dem es kein Zurück mehr gibt. Als sie ihn eines Tages überquerte, bedeutete das das Ende ihrer Kindheit und den Beginn ihres restlichen Lebens. Das Album ist ein Scharnier zwischen diesen beiden Zuständen, in dem sich die Schmerzen des Heimwehs mit dem Nervenkitzel des Aufbruchs zum Horizont überlagern. "In a Bungalow" betrachtet diese Überschneidung im Licht der goldenen Stunde, ein Lied, dessen leidenschaftliche Sehnsucht nach der Heimat - ihren süßen Quellen und langsamen Tagen und alten Freunden - nur möglich ist, weil sie einen Ort verlassen hat, der sich einst wie das Zentrum des Universums anfühlte. Wenn "Last Missouri Exit" ein Coming-of-Age-Album ist, dann deshalb, weil es um Wachstum und Perspektive geht, und weil es von einer Band gemacht wurde, die bereits jenseits des Horizonts lebt, nach dem das Album benannt ist. Es ist ein Album, das sich danach sehnt, gehört zu werden, während man den Sonnenuntergang von seiner Veranda-Schaukel aus beobachtet, aber seine wehmütige, idyllische Sicht auf den Mittleren Westen ist keine Nostalgie für die Vergangenheit - es ist das, was Case Oats einen Sommer lang im Keller auf einer Ad-hoc-Bühne gezaubert haben, ein Dokument einer Band, die um diese Songs herum zusammengewachsen ist, auf einem neu entdeckten Höhepunkt ihrer gemeinsamen Kräfte. Was sie geschaffen haben, ist warm und einladend, ein Album, das sich beim ersten Durchlauf offenbart und mit jedem Hören tiefer wird. Dies ist ihre Einführung; man fragt sich, was ihr Horizont noch bereithält.

Hot on the heels of 12bit Jungle Out There's 'Right Mind' EP, Foundations Records brings you the hotly anticipated follow-up from rising star Arkyn on 'The Spirit EP' Drawing influence from classic '93 era jungle techno on the likes of Basement Records, it's perhaps his most accomplished work to date in his first foray into all hardware production. Arkyn is a UK based DJ and Producer. His production is influenced from a wide range of music he grew up listening to including Reggae, Dub, Soul, Techno and Funk to name a few. After discovering rave music through the underground party scene in Northampton, he began to cut his teeth DJing and has since gone on to play at some of the most established Jungle/Hardcore events in the country including Distant Planet, The Rave Story and Calling The Hardcore among others. He also recently debuted at Fabric for Motive Hunter Audio's takeover. Arkyn has released on FFF's 3am Eternal, Billy Daniel Bunter's Music Mondays and Motive Hunter Audio to name a few. He also runs his own label TufStuf Records. FOUNDATIONS002 - Arkyn - The Spirit EP Four tracks of Hardcore Jungle Techno and 4x4 made with Akai S3000 XL sampler, Roland 909, Roland JV 1080, Korg 01/W FD and Roland D50.

"Sun" ist das erste Album der aus Tennessee stammenden Baritonsaxophonistin Zoh Amba für das in Oslo ansässige Label Smalltown Supersound - und ihr zweites Album nach "Oh Sun", das 2022 auf dem Label Tzadik erschienen ist. Auf "Sun" stellt Amba eine neu zusammengestellte Gruppe mit einer Reihe von Kompositionen vor, die die Grenze zwischen Performance und Prozess verwischen - wobei sich sowohl die Musik als auch der Akt ihrer Aufnahme in Echtzeit entfalten, teilweise geleitet von improvisatorischen Aufnahmetechniken. Als Bandleaderin bewegt sich Amba an den Rändern eines improvisatorischen Deltas, in dem spiritueller Jazz und Free Folk nicht als getrennte Genres auftreten, sondern als Nebenflüsse derselben Strömung, die beide aus einem gemeinsamen Glauben an die Musik als heilige Kraft entspringen. Die Entscheidung, "Sun" auf Smalltown Supersound zu veröffentlichen, entstand aus einer gemeinsamen Verbindung zum verstorbenen deutschen Saxophonisten Peter Brötzmann, der sowohl ein spiritueller Mentor für Amba war als auch mehrere Platten auf dem Label veröffentlicht hat. Und während das Album in amerikanischen Folk-Traditionen verwurzelt ist, ist es Brötzmanns furchtloser Geist - selbst ein immenser historischer Katalysator für den europäischen Free Jazz -, der wie ein roter Faden durch die musikalische Zusammenarbeit des Ensembles und seine experimentellen Aufnahmetechniken verläuft. Für Amba war es jedoch wichtig, dass das Ensemble - bestehend aus Caroline Morton (Bass), Lex Korton (Piano) und Miguel Marcel Russel (Percussion) - vor den Aufnahmen eine tiefere musikalische Verbindung aufbauen konnte: ,Wir haben tagelang einfach nur zusammen gespielt, und ich habe versucht, mir mental Notizen zu machen, was in dieser Band ganz natürlich vorhanden war - bevor ich Anweisungen gab oder Noten austeilte. Ich wollte sehen, wo wir alle in diesem Moment in unserem Leben standen. Von dort aus begann ich, mit ihnen den Prozess zu gestalten. So entstanden die Struktur der Band und der Ansatz für das Album."

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Die wegweisenden Alternative-Rocker von Wolf Alice melden sich mit ihrer brandneuen Single „Bloom Baby Bloom” zurück. Gleichzeitig verkündet die britische Formation Einzelheiten ihres ungeduldig erwarteten, vierten Studioalbums „The Clearing”, dessen Release für den 29. August 2025 angekündigt wurde und das weltweit auf ihrem neuen Label Sony Music erscheint.

Alle Songs wurden im Nord-Londoner Stadtteil Seven Sisters geschrieben und im vergangenen Jahr mit Grammy-Gewinner und Hauptproducer Greg Kurstin (Adele, Miley Cyrus, Beyoncé) in Los Angeles aufgenommen.
Mit „The Clearing“ legen Wolf Alice eine maximal selbstbewusste Songsammlung vor, die vor Ehrgeiz, ungewöhnlichen Ideen und Emotion nur so zu strotzen scheint und die eindrucksvoll veranschaulicht, wo sich das UK-Quartett im Jahr 2025 soundtechnisch verortet.

Mit anderen Worten: Ein wirklich zeitloses Album.

Clear & Gold Yolk Vinyl, limited to 400 copies. It's been five years since the release of our previous studio album. This hiatus was not all together voluntary, so when we got together again in September of 2023 to start playing and recording, it felt like a special occasion. The album was recorded over a few weekends in the countryside of Sörmland, in a beautiful-sounding room that was once a chapel. The building has a very high ceiling and open atmosphere, which somehow helped set the tone for the music on this album. Outside the tall windows we could see the green landscapes of Sörmland; all of which is why, in the end, we decided to name the album after this part of Sweden.

With his honeyed falsetto, Horace Andy has long been considered one of roots reggae's most inimitable voices. His signature tune, "Skylarking," is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy's expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles produced by Pratt including versions of hits "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm.

Originally released on Pratt's Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston "Family Man" Barrett and Earl "Chinna" Smith, among others.

Get Wise delivers ten tracks of Andy's finest material and should be in the collection of any aficionado of the classic '70s Kingston sound. Liner notes by JR Gonne.

Recorded and mixed at Duke Reid's storied Treasure Isle studio by Duke's nephew, young engineer Errol Brown, Dub Expression collects dubbed up treatments of seminal rockers rhythms crafted for Marcia Griffiths, John Holt, Dennis Brown and more.

Propelled by the drums of Lowell "Sly" Dunbar, the appropriately named Revolutionaries (with their tough and radical sound) were the ideal group to reflect a turbulent period in Jamaican politics. While the band's personnel remained fluid – depending on which players were available and frequently overlapping with other seminal sessions bands such as Joe Gibbs' The Professionals and Bunny "Striker" Lee's The Aggrovators – The Revolutionaries were most known as Channel One's house band in the mid to late '70s.

The decision to top-bill The Revolutionaries, rather than feature an individual artist as was customary at the time, was made by Kingston's most celebrated female producer, Sonia Pottinger who shrewdly determined that The Revolutionaries' name alone would be a can't miss selling point. One only needs to spend a minute with Dub Expression to hear why.

Originally released in 1978 on Pottinger's High Note label, Dub Expression represents the essence of dub in its purest form. An absolute classic. Liner notes by JR Gonne.

Transparent violettes Vinyl, limitiert auf 350 Exemplare. Riffs wie eine Wand aus Wüstensand. Schweiß und Tränen im Gesicht. Der unbarmherzige Groove der 90er, violett blitzende Lichter und viel, viel Rauch.GIANT HAZE sind 4 Musiker aus der Kieler Stoner Rock / Hardcore Szene, die gemeinsam für KYUSS-Tribute Shows auf der Bühne standen. Schnell kristallisierten sich kreative Synergien innerhalb der Band heraus und es entstanden eigene Songs - Giant Haze war geboren. Im Spätsommer 2024 wurde das Debütalbum ,Cosmic Mother" im bandeigenen Studio aufgenommen und anschließend von Ulf Nagel gemischt und gemastert. Schlagzeug und Bass wurden an einem Tag live eingespielt, um den richtigen Groove einzufangen. Die Produktion erfolgte ganz oldschool ohne Amp-Modeling, Drum-Trigger oder sonstigem Schnickschnack. Es wurde lediglich sehr sorgfältig und detailverliebt mikrofoniert und aufgenommen.Das spacige Artwork stammt aus der Hand von Gitarrist Pete und steht symptomatisch für das Herzblut und die Hingabe, mit der alle Bandmitglieder bei Giant Haze am Werk sind. Die Texte erzählen persönliche Geschichten über die Irrungen und Wirrungen des Lebens, Drogen, verlorene Freunde sowie kritische Gedanken zu gesellschaftlichen Entwicklungen und nationalistischen Tendenzen.

Dass Hamburg eine gute Adresse für Streetpunk ist, beweisen nun auch BOLANOW BRAWL mit ihrer ersten Langrille ,First Shots!", die auf die bereits knapp neun Jahre zurückliegende Debüt-EP ,Total Escalation" folgt. Man lässt es halt ruhiger angehen im Norden - will's jetzt aber auch noch mal wissen. Der Bandname - eine Kombination aus der Billig-Wodka-Marke BOLANOW und dem englischen BRAWL für Rauferei oder Handgemenge - verweist auf ambivalente Erfahrungen, die die Bandmitglieder unter Alkoholeinfluss im jugendlichen Leichtsinn sammelten. Flotte Gitarrenriffs, treibende Drumbeats und ein rauer, oft rotziger Gesang bilden das musikalische Gerüst der Hanseaten - das im Kontrast zu den eingängigen Leadgitarren-Melodien steht. Singalongs verleihen dem Sound einen bierseligen Touch. Die Mischung aus englischen, amerikanischen und Buxtehuder Stilelementen gibt den zwölf Songs das gewisse Etwas, das den Stil von BOLANOW BRAWL ausmacht. Die alte Plattitüde von den ,Texten, die das Leben schrieb" trifft auch auf die Songs von BOLANOW BRAWL zu. Eigene Erlebnisse, Beobachtungen und Erfahrungen aus Arbeitswelt, Subkultur und Gesellschaft fließen in die Texte ein - ohne erhobenen Zeigefinger, dafür gern mit gehobener Bierflasche. Die Covergestaltung stammt von Alteau, einem frankobelgischen Skinhead und Comiczeichner, der schon mit 14 erste Arbeiten im Spirou-Comic-Magazin veröffentlichte. Seit Ende der Achtziger hat er etliche Plattencover für Punk- und Oi!-Bands gestaltet - darunter Klasse Kriminale, Rancid, Bérurier Noir und The Herberts, bei denen er auch selbst als Sänger aktiv war.

Irish double bassist Caimin Gilmore who can be heard performing with the likes of Shahzad Ismaily, Crash Ensemble, stargaze, The Staves, Sam Amidon, Justin Vernon (Bon Iver), Aaron Dessner (The National), Ye Vagabonds, and Phoebe Bridgers, among many others, releases his debut record BlackGate, via New Amsterdam Records in collaboration with Dublin Based Ten Spot Records. BlackGate features renowned cellist Kate Ellis, harpist Lavinia Meijer, and Caimin Gilmore on double bass & DX7.

A“This album is about what it means to be human, and its creation is my offering. I attempt to tell a tale of the human experience in the reflection of my own.”

‘In the Andean mythology, condors are believed to be immortal. It is said that once they feel old, without energy, and useless, they climb to the highest peak and let themselves fall to death.’

The Allegorist is a visionary, enigmatic, transmedia, and boundary-pushing artist known for crafting deep, immersive dark sonic tales. Embracing a wide array of influences, weaving together the mysteries, art and spirituality, the art project defies categorisation, resonating with those who seek the unconventional.

From Birth Until Death is an introspective and immersive concept album that reflects on the essence of the human experience. Crafted over six years by The Allegorist (aka Anna Jordan), the album traces the arc of life—from its fragile beginnings to its inevitable end—using sound art to explore existential and philosophical terrain. Inspired by the Andean mythology of the condor – a symbol of immortality – the album blends electronic soundscapes with raw field recordings, evoking a deep sense of connection between the natural world and human existence.

The album’s progression mirrors the stages of life, starting with the birth of new beginnings and culminating in death, with each track offering a unique reflection on the moments in between. From the dynamic energy of Momentum, to the ethereal, illusionary world of Fata Morgana, the tracks guide the listener through emotions, perceptions, and experiences that shape the human condition.

A distinctive feature of From Birth Until Death is its intricate production. The album incorporates field recordings from Grunewald Forest, a distant roar of a jet, barking dogs, blending the sounds of nature – footsteps in the snow, birdsong, ocean waves – with layered synthesisers and electronic beats. The bass and ambient textures are crafted using an array of analog hardware, while all vocals, both lead and backing, are performed and recorded by Jordan. Some of the vocal takes were intentionally left raw, capturing the spontaneous energy of early recordings, while others were re-recorded to balance the album’s organic yet polished feel. Each element is meticulously crafted, revealing its deeper meaning as the album unfolds like a multidimensional, living sculpture.

At its core, From Birth Until Death is a meditation on the full spectrum of life. The album’s title track, From Birth Until Death, encapsulates this journey, reflecting on the passage of time and the unique experience of being human. The final track, Death, offers a melancholic yet beautiful exploration of endings, not as finalities, but as moments in the grand cycle of life. With its combination of evocative sound design and deeply personal themes, From Birth Until Death invites listeners to contemplate their own lives, offering a moving experience of reflection, growth, and transformation.

About From Birth Until Death
Words By Robin Rimbaud (Scanner)

From Birth Until Death is a deeply personal and reflective album and beautifully crafted. A detailed listen reveals that Jordan was in search of a profoundly human and authentic expression. In an era when so much around us seems defined by speed, Anna Jordan, aka The Allegorist, stands apart – aware that skimming the surface of life is neither sufficient nor rewarding. She reminds us of the value of deep, authentic listening.

The track Andean Condor seductively draws us into a smoky, blurred rhythmic soundscape, capturing the essence of the darkest Berlin nightclub, while Birth pulses with an almost shamanic transformation of sound, moving from the organic to the musical. It features a recording of Jordan’s footsteps in the snow in Grunewald Forest, Germany.

At times, the music feels almost sculptural in shape and tone – lifting, pushing, lilting, opening, and closing – where each piece is given room to fully develop. Many of the works blend synthetic sound with the natural, incorporating the human voice alongside environmental recordings: the wild waves of the ocean, a jet flying overhead, and barking dogs.

With From Birth Until Death, Jordan, like an alchemical architect revealing in the process of getting lost and relinquishing control, leaves us with a taut, immersive soundtrack in which to lose ourselves.

About the album ‘From Birth Until Death’
words by The Allegorist

“The album From Birth Until Death did not come easily to me. I started working on it in 2019, and it underwent many alterations over the years. I produced multiple versions of the tracks each year, but the album name, the track titles, and the album cover art stayed the same for 6 years. Not everything I did fit into the album’s final form, but I hope the heavy selection just made it better. I played this piece live in my techno live set between 2019 and 2020, and in the years after, I performed different art, ambient, and vocal versions of it, most notably the one at the church St. Marienkirche in Berlin in 2022. It just wanted to live and didn’t want to be finished. As I aged, this album aged with me. And now I’m ready to let it go.”

Das neue Album "The Passionate Ones" von dem Singer-Songwriter und Produzent Nourished By Time aus Baltimore erscheint auf XL Recordings. "The Passionate Ones", das zwischen Baltimore, London und New York City entstand, beschreibt auf 12 Tracks auch die kaputten Seiten des American Dreams beschreibt. Nourished By Time entstand Ende 2019 in Los Angeles als eine Art Flucht aus dem Alltag. Marcus Brown drohte an der Monotonie seines Tagesjobs zu zerbrechen und suchte nach einem Ausweg. Browns einzigartige Klangwelt ist geprägt von dem musikalischen Erbe seiner Heimatstadt Baltimore, in der Jazz, Punk, Indie, Hip-Hop, Elektronik und R&B in rauer Harmonie aufeinandertreffen. Auf "The Passionate Ones" beschäftigt sich Brown mit Liebe, Arbeit, Existenzialismus, Träumen, Desillusion und Hoffnung durch die Brille der Metamoderne und dokumentiert die amerikanische Geschichte eines Künstlers, der seinen Leidenschaften und Träumen folgt. "The Passionate Ones" folgt seinem gefeierten Debüt. "Erotic Probiotic 2 (Scenic Route)" erschien 2023 und wurde von US-amerikanischen Plattformen wie Pitchfork zu einem der besten Alben des Jahres erklärt, ebenso stand es auf der Jahresendliste von Gorilla vs. Bear ganz oben und wurde von The Guardian, The FADER, Paste und anderen gelobt. Die EP "Catching Chickens" (XL) von 2024 führte Nourished By Time auch in Europ als Künstler ein: Das CRACK Magazine setzte ihn auf sein Cover und kürte "Hell of a Ride" zum Track des Jahres. Der Song tauchte auf den Listen von NPR, Resident Advisor, CLASH, The FACE, Mixmag, UPROXX und Spotify für die besten Songs des Jahres 2024 auf. "The Passionate Ones" erscheint als LP (Schwarz & Crystal), CD und sowie digital.

Moss green vinyl. After two pandemically conditioned 'reaction' albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins-plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper_

BIG MONEY heißt das neueste Album des siebenfachen Grammy-Gewinners. Das Multitalent feuert hier
aus allen Rohren einen heißen Mix aus R&B, Americana, Soul, Roots und Gospel und nimmt dabei auch
inhaltlich kein Blatt vor den Mund: „You can buy a song, don’t mean you can sing“. Batistes neue Songs
wollen nicht nur die Füße aufwecken: „Live for something you can feel, live for something real“ fordert
er im Titelsong seines bislang mitreissendsten Albums. Neun Songs, die das Zeug zum Soundtrack einer
Gegenbewegung haben.
Batiste, vom Guardian als „ausgewiesenes musikalisches Genie“ beschrieben, entzieht sich mit BIG MONEY
weiterhin jeder Kategorie. Er hat das Album gemeinsam mit seinem langjährigen kreativen Vertrauten Dion
„No ID“ Wilson produziert. Weitere Mitwirkende waren Andra Day, der legendäre Randy Newman und eine
verschworene Gruppe von Musikern, Songwritern und Studiozauberern. Statt auf klinische Perfektion zu
setzen, stand bei den Sessions Gefühl und Präsenz im Vordergrund – die Performances wurden in Echtzeit
eingefangen und ihre Ecken und Kanten als Teil der spirituellen DNA des Albums unverändert belassen.

Eine junge Sängerin mit meisterhafter Stimme und Millionen Fans in den sozialen Netzwerken!
Die Hits des Great American Songbook, geschrieben von den großen Meistern ihres Fachs für HollywoodFilme und Broadway-Musicals, erweisen sich auch in unserer modernen, viralen Welt noch immer als charismatisch und relevant. Den Beweis dafür erbringt Sängerin Stella Cole. Mit über 1,6 Millionen Followern
in den sozialen Medien, einem weltweiten Tourplan und zahllosen Fernsehauftritten in ihrer Heimat USA,
brachte die 26-jährige Künstlerin ihren Fans bislang die Klassiker näher, mit einer großen Stimme, die sich
mit legendären Vorgängerinnen messen kann, und ganz viel Gefühl.
Ihr drittes Album, das erste für ein Major Label, nahm sie in den Power Station Studios in New York
City mit Produzent und Manager Matt Pierson (Samara Joy, Joshua Redman, Brad Mehldau) auf. Sogar
den Jazz- & Songbook-Papst und strengen Kritiker Will Friedwald hat Stella Cole mit ihrem neuen Werk
überzeugt!

LP-Nachpressung des kultigen OXO 86-Debütalbums (2000, SCUMF UCK) als auf 333 Stück limitierte Edition in Ultraclear with Orange Splatter Vinyl! Das Quintett aus Bernau gibt es jetzt tatsächlich schon seit 20plus Jahren, die unvergleichliche Mischung aus ruppigem Oi!-Punk, fröhlich vorwärtsschunkelndem Ska mit prägnanten Trompeten-Hooks und den einmalig doppelbödigen und unterhaltsamen Schmunzeltexten von Gesangsentertainer WILLI lässt die Band weit über den Durchschnitt des Genres hinaus strahlen. Mit dem Titel ihres Debütalbums wurde ein wesentlicher Grundpfeiler der OXO 86-Philosophie errichtet. 16 Songs, darunter Kracher wie "Wochenende", "Viagra", "Damenfußballspielleiter", "So Wie Du" oder "Frollein" lassen bis heute kein Auge trocken mit ihrer zielgenauen Balance aus Klamauk, Ironie, Kritik und Emotionalität. Kein Wunder, dass die Band um die Gründungsmitglieder WILLI und RUNKEL heute zu den beliebtesten Acts auf den Punk- und Ska-Szenefestivals zählt und auf mittlerweile acht erfolgreiche Alben zurückblicken kann.

Get ready for the rawest, dirtiest rock NYC has to offer! TAXIDERMY GIRLS, a band featuring legendary talents from Jon Spencer JON SPENCER BLUES EXPLOSION, TELEVISION, MERCURY REV, SPEEDBALL BABY y FIVE DOLLAR PRIEST, is back with a new LP that will blow you away. Rte 209 Blues by Taxidermy Girls delivers gritty, powerful sound straight from the streets of New York City-pure, unfiltered, and full of that authentic underground energy. Once known as Taxi Girls, this band has evolved but still carries that rebellious attitude and raw edge that make them stand out. From gritty riffs to catchy melodies, each track is a trip through NYC's underground scene, where dirty, honest rock reigns supreme. Don't miss out on the new release from TAXIDERMY GIRLS-a record that proves the spirit of NYC's rock scene is alive and kicking stronger than ever.

In 1996, Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded. Though his talents were evident on those Leaders of the New School releases, Busta went on a series of features that only built up the public's desire for a solo Busta album. Right out of the gate, Busta dropped his classic debut single "Woo Hah!! (Got You All in Check)" that made it abundantly clear he was to be mentioned among Hip Hop's greatest solo artists. The energy and originality packed on that one song set a tone for the album that displays Busta's raw talent and ability to bend words with his ever rambunctious flow. The album features production by Easy Mo Bee, DJ Scratch, Q-Tip, and J Dilla. Songs such as "Everything Remains Raw", "Abandon Ship", and "Still Shining" all rise above as The Coming's stand-out tracks, but "Ill Vibe" is the album's crown jewel moment. Busta sounds right at home over this J Dilla beat, trading verses with his Native Tongue cohort Q-Tip. The Coming was a critical and commercial success for Busta Rhymes. It reached #6 on the Billboard 200 chart in 1996 and has since received a platinum certification from RIAA. As mentioned, The Coming boasts the hit single "Woo Hah!! Got You All in Check " which reached #8 on the Billboard Hot 100 chart in 1996. It was nominated for a 1997 Grammy Award for Best Rap Solo Performance. It also ended up sporting another hit single, It's a Party featuring Zhané. The Coming shows amazing variety where Busta can break free from the bells and the whistles of the Busta Dungeon Dragon flow to explore other ways of leaving our jaws open by his incredible lyricism. The Coming surely lives up to its title, as Busta delivers a performance that ignited his impeccable solo career.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

Der offizielle Soundtrack zu "Frieren: Beyond Journey's End" von Evan Call ist jetzt als Doppel-Vinyl erhältlich. Diese exklusive 2-LP-Ausgabe bringt die emotionalen Höhepunkte von Frierens Reise auf den Plattenteller - eine Reise voller Freundschaft, Verbundenheit und der Kostbarkeit gemeinsamer Zeit. Die zwei coloured LPs (in Smaragdgrün und Kobaltblau) kommen in einem liebevoll designten Gatefold und mit einem Insert mit Original-Illustrationen. Ein Must-Have für alle, die Frieren, Himmel, Heiter und Stark ins Herz geschlossen haben.

LTD. CLEAR BLUE VINYL

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

Der schwüle Ton von Eliana Glass ist nicht zu überhören - sie wechselt zwischen einer unkonventionellen, suchenden Qualität und ihrer ergreifenden, ehrfurchtgebietenden Bandbreite. Auch ihr Klavierspiel besitzt dieses mitreißende Hin und Her zwischen dem Jenseitigen und dem schmerzlich Menschlichen - jede Melodie ist ihr eigenes, einzigartiges, schmerzhaftes Reich. Glass' spärliche, meditative Musik fängt oft, wie sie sagt, die ,Verdichtung des Alltags" ein, ein Bild, das zu der bittersüßen, flüchtigen und abstrakten Natur ihrer Arbeit passt. Glass' Debütalbum E erscheint bei Shelter Press und ist nicht nur ein zärtliches Porträt ihrer lebenslangen Beziehung zum Klavier, sondern auch eine Destillation ganzer Lebenszeiten. Vier Jahre lang arbeitete Glass mit dem Mitbegründer und Produzenten von Public Records, Francis Harris (Frank & Tony, Adultnapper), und dem Tontechniker Bill Skibbe (Shellac, Jack White) zusammen, um das Album E in verschiedenen Studios in Nashville, Brooklyn, Memphis und Benton Harbor, Michigan, aufzunehmen. Glass' experimentelle, improvisatorische Werke erinnern an den sinnlichen Minimalismus von Annette Peacock, die freudige Rätselhaftigkeit von Carla Bley und die wehmütige Intimität von Sibylle Baier. Ihre Verehrung für die Größen des Leftfield Jazz und der freien Improvisation ist unüberhörbar, aber immer gefiltert durch ihren unverwechselbaren, naturalistischen Sound. ,Dreams" ist eine majestätische Interpretation von Peacocks gleichnamigem Stück aus dem Jahr 1971, ,Sing Me Softly the Blues` ist eine minimale, fesselnde Neuinterpretation von Baiers Jazzstandard mit einem von der norwegischen Sängerin Karin Krog adaptierten Text, und ,Emahoy` ist eine schmachtende Hommage an die äthiopische Pianistin, Komponistin und Nonne Emahoy Tsegué-Maryam Guèbrou und ihre 2006 erschienene Kompilation Éthiopiques. Glass' Musik basiert auf einem taktilen, sprunghaften Klang und ihrer stimmlichen Kraft und Vielseitigkeit. E's glatte Stöße von Kontrabass und Schlagzeug kitzeln den Gehörgang und betonen die Schlagfertigkeit ihrer unverwechselbaren tiefen Stimme, die sonore, androgyne Gelassenheit mit flatterhafter Zartheit verbindet. E hat auch eine rätselhafte elektronische Note, die die verschwommenen Emotionen von Glass' Songwriting noch verstärkt. Von Hintergrundrauschen und windigem Gesang bis hin zu kaleidoskopischen Synthesizern stammen diese subtilen, geschmackvollen Verzierungen oft von speziellem analogem Equipment: einer unterirdischen Echokammer aus den 1960er Jahren, einem Cooper Time Cube (im Grunde das Hardware-Äquivalent der Audioverarbeitung durch einen Gartenschlauch) und einem AEA-Bandmikrofon aus den 1940er Jahren. Aber das bedeutet nicht, dass E veraltet klingt - Glass' Songs sind von einem zukunftsweisenden Geist durchdrungen und fungieren letztlich als Vehikel für ihre berauschenden Emotionen und fragmentierten Erinnerungen und Träume. Glass' eigentümliche stimmliche Alchemie und ihre lebhaften Klavierausflüge sind meisterhaft und ganz und gar ihre Sache, und ihr Debütalbum ist ein Geschenk von klangvoller Schönheit und lohnender Mehrdeutigkeit. Als Musikerin und Improvisatorin ist Glass von der Suche nach Bedeutung, nach Klängen, nach Neuem, nach Verbindung begeistert und beherrscht diese. Und wie Krog 1975 in ,Sing Me Softly the Blues" sang: ,Life's so thrilling / if you search."

2 x cool meer-blaues Vinyl,
das comic cover Motiv, wie es damals auch die RSD Version zierte.

Plus 8 page Booklet

2 x cool meer-blaues Vinyl,
ltd different Cover mit dem eingenässten Hosen Motiv,

plus 8 page Booklet.

Kerala Dusts großartiges neues Album 'An Echo of Love' ist ein Paradebeispiel dafür, niemals stillzustehen. Im Mittelpunkt seiner musikalischen Hybridität - wo Artrock auf innovative Elektronik trifft und die warme Umarmung der Tanzfläche Raum für weite Ausblicke auf Americana, Wüstenblues und dämmrige Fahrten durch eine neonbeleuchtete Stadt lässt - steht ein Album, das die Möglichkeiten des ständigen Wandels lebt.

Es ist ein wunderbar wandelbares Album; eine rastlose Fusion, deren Bedeutung eher in Fragmenten als in etwas Festem oder Statischem liegt. Kurz gesagt: Es dreht sich alles um Dynamik. Dieses Gefühl der ständigen Bewegung spiegelt sich nicht nur in der wechselnden Besetzung der Band wieder - Keyboarder Tim Gardner und Schlagzeuger Pascal Karier sind Neuzugänge und gesellen sich zu den langjährigen Mitgliedern Edmund Kenny (Gesang und Elektronik) und Lawrence Howarth (Gitarre) -, sondern auch in den Orten, an denen das Album geschrieben und aufgenommen wurde. Die Sessions fanden in der Toskana, Austin, Berlin, Zürich und schließlich Rom statt. Für Sänger Edmund "existiert das Album in gewisser Weise an all diesen Orten". Im Oktober und September ist die Band auf GSA-Tour!

Emerging from the Sydney punk scene alongside bands such as Gee Tee, R.M.F.C., and Tee Vee Repairmann, and with large side of Egg punk accompanying their NWOBHM bacon (also maybe the beans in this messy breakfast are AOR?… I think we might be overreaching with this metaphor). Steröid are ready to rock the main stage with more thunderous aplomb than an atom bomb, hard-boiled and clad in chainmail ripping blisteringly hot rockin’ riffs all night long. Brought to you by rock and roll savant Lord Gordith also known as (at least some of the brains) behind Gloomy Reflections and Quest Master proving once again that he might very well be the most exciting act to follow in heavy underground music these days.
This is a record about rocking, and never stopping, and then rocking some more. You can rock with friends at a gig or a show. Sometimes you have to rock alone, but thats okay. Just give it your best, and never miss your chance to rock.

ULTRA LIMITED EDITION - Cassette/Tape - Consits of 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

Zur Feier des 10-jährigen Jubiläums ist Chris Stapletons von der Kritik hochgelobtes Debütalbum Traveller
jetzt erhältlich. Das 7-fach mit Platin ausgezeichnete Album wurde mit zahlreichen Preisen ausgezeichnet,
darunter die Grammy Awards 2016 für das beste Country-Album und die beste Country-Solo-Performance
für den Titeltrack. Jetzt auch zum ersten Mal als coloured Vinyl!

NRV008 delivers two immersive tracks from Za__Paradigma, elevated by a standout remix from Romania’s minimal maestro, Cezar Lazar.

Za__Paradigma’s "Pianeta Extrasolare" opens with hypnotic rhythms and lush textures, ideal for intimate dancefloors. "Senza di te" follows with minimalistic grooves and a compelling, building energy.

Cezar Lazar’s remix of "Pianeta Extrasolare" is an 11-minute journey, blending intricate rhythms with subtle orchestral undertones, showcasing his visionary mastery.

A must-have for minimal, deep tech, and electronic audiophiles.

Supa Jams are proud to present. For our, And their debut release, The CJP Band.

Two peak time Disco Soul Funk laced 'Supa™' jams. Ready for the floor, Whilst perfectly encapsulating the labels ethos core.

Disco by extension, Funk for guaranteed dancefloor retention. Music and lyrics for the soul will never not be the intention.

First up 'You and Me and the Music', for the dancers, and DJ's looking for them to 'Lose it' on the floor. This one has it all, Just wait for the strings and 'hat tip' refrain to a legend of the game.

On the flip 'We Can Never Go Back" brings us squarely back to 2025 lyrically. We ALL know 'The systems have changed' and indeed hope that nature will intrinsically "Remain the same".

Nolo asks the same questions clearly forgotten by Jay K in 1993 perhaps? How do we balance our 'Pleasure as an act of defiance in a world that runs on greed'?

In the meantime both tracks deliver the same time honoured essentials for dancing potential - Drum breaks for days, And the night time haze. Bass lines for the loose spined, Lyrical refined for the spiritual of mind. Hotter than the summer dance floors they'll be played on.

300 limited pressing - Hand Stamped Sleeve.

Don't Sleep!

“The Mighty Tiny & The Many Few have released their debut Album ‘Be The Good People’

A life- and love-affirming record crafted with vintage techniques and timeless principles.

Walshy Fire (Major Lazer) bridges cross-continental connections in collaboration with Grammy-winning composer and writer Randy Valentine, a South London-based artist hailing from Clarendon, Jamaica. Joining them is Copenhagen-based improvisational jazz visionary Steven Jess Borth II, aka CHLLNGR (I Am An Instrument) along with the crème de la crème of Danish jazz talent, including Morten McCoy, Jonathan Bremer, Rumpistol, Mikkel Hess, Laurits Qwist Bilén, Frederik Scharff and more.

For over two decades, Randy Valentine has cultivated a distinctive voice in music, and his latest work with the concept band The Mighty Tiny and the Many Few brings this artistry to life in a fresh, vibrant way. Brought together by Steven Jess Borth II and Walshy Fire, the band unites over 15 musicians from three continents, celebrating collaboration and shared joy. Alongside Ånd&, the team has crafted a musical masterpiece that resonates with a global perspective and a collective spirit of creative expression.

"Be The Good People" is both a statement and a declaration of revolutionary love—a bold call to action. This seven-track album blends soul-drenched, horn-driven, and timeless instrumentation with forward-thinking, insightful lyrics inspired by life’s triumphs and challenges. The result is a powerful musical journey, promising to be a rewarding ride for every anchoring ear.

‘Be The Good People’ is released independently on new label imprint Ånd&.”

It’s been ten years since Drew Lustman aka FaltyDL last released on Planet Mu. In the meantime he's been running his own label Blueberry Records, been in-house producer for Mykki Blanco and has become a dad. The best things come out of play and it was Drew’s relationship with his young daughter that switched on this playful side of his music. The album in question, ‘Neurotica,’ expresses Drew’s fun in creating such energetic pieces people will want to move to. It's a dizzying sugar-rush at a high-speed bounce; the music is fresh and inviting and most important of all, joyful."Summer of ’24, we were in Catalonia. My girl, our young daughter, the old folks. Days by the village pool, afternoons on the dirtbike. At night, I made salads. Simple things. Good things. One afternoon, lying back, phone in hand, I saw a friend post a GRWM. The music behind it stopped me. A song grabbed hold. The track was ‘Secret’ by Mietze Conte, which is fast-paced euro-pop dance music, like soft fluffy gabber with childlike vocals. I hunted down the full version. Played it again. And again. Twenty times over the next few days. It unlocked something. The best music does that. Like the first time I heard Burial. Had to know what was happening under the surface. That time, it led to ‘Love Is A Liability’ in 2009. This time, it led to ‘Neurotica.’“ “I started to record, getting down fast, bright, sugar-rush sounds. 185 to 200 BPM. I wrote them quick—half a day per track. In between, I slowed things down. Gave space for breath. Mike Paradinas helped shape the album, his ear guiding the flow. I tested the tracks. Played them for kids barely out of diapers and grown folks who still move like they are. It worked, on all ages. I kept it simple. Only two rules: keep it moving and don’t look at my phone. Cut the vocals like I used to.” ‘Neurotica’ is FaltyDL with his mojo refreshed, a new life squared, do yourself a favour, crack a smile and feel the joy.

Welcome to a whole new stage from Akasha Records, introducing the label into the analog world.

To begin with, Delazar brings us three delightful dancefloor dishes together with an ambient mix from the timeless gem "Memory Access", released in the first Akasha's digital appearance.

Monkey Slayer, this new EP, brings us so much flavour with acid touch, funny percussive bounces and synth sounds. A1 brings the perfect mood. It's remix version from master Deep Mariano takes us to an intense and happy trip, so that alter on, "Reincarnation" makes us close the stadium. "After" well... You already know when to play this one. And to come back to Earth at some point, as dessert, you can delight with an ambient masterpiece.

The Bar-Kays were originally formed in Memphis, Tennessee, 1966, as a sextet backing group for Stax Records. They had a promising career in front of them as a session band & recording outfit before the backbone of the group was killed, along with Otis Redding who had hired them as his backing band for a tour, in a plane crash. Only Ben Cauley survived the crash and went on to form what could be dubbed Bar-Kays Mark II. James Alexander (Bass) was also one of the original members but was not aboard the plane because of limited seats on Redding's plane. For Alexander and Cauley and new members Michael Toles, Willie Hall, Ronnie Gordon and Harvey Henderson, the track 'Sang & Dance' was one of the first tracks from the new group, cut in late 1969. They recorded steadily for Mercury records in the 70s & 80s, the two tracks on this 7” among their best loved and sought after. “Open Your Heart” only previously a 7” B-side in Spain

IZIPHO SOUL are extremely proud to present first time on a 7” NIMBISS - PARADISE b/w YOU AND I

NIMBISS were a talented group from Chicago, consisting of Barry Burford, Charles Riley, Toni Moore, Kevin Burford and Al Lake; they released a couple of 12”s in the early 80s.

The original NIMBISS 12” is extremely tough to find and an evergreen modern soul classic - it was released slightly later to the group Jewel’s version - both are excellent with the NIMBISS variant raising the boogie stakes by including prominent synths and driving percussive electronic claps.

On the B Side we present YOU AND I - a ballad of epic proportions, the vocals of Charles Riley are truly magnificent.

"In 1995 In The Red released the Cheater Slicks fourth full length album, Don’t Like You. The band, based in Boston at the time, travelled to New York to record at Jerry Teel’s Funhouse studio with Jon Spencer acting as producer. The result was a completely over the top noisefest that remains one of my favorite ITR releases to this day. Admittedly, Jon’s production was heavy-handed and extreme but, I thought it suited the band and this material well. "Prior to the recording the band demoed their material at a couple of different eight track studios in Boston. The demos showed that the band had enough material for an album that would be (in my opinion) their strongest to date. When the album was released it was very well received but there was a small number of people close to the band and myself who were critical of Jon’s production and preferred the straight forward recording of the demos. "With vinyl for Don’t Like You being out of print for decades I figured the album’s 30th anniversary was a good time for a re-release and to finally release the demos as well. I think both stand the test of time." – Larry Hardy

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

Clear Vinyl. While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow, both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. The album is the result of a magical recording and direct mixing session in Saft's own Pottervilles Studios, masterfully setup and captured by 5 - Time Grammy winning engineer Joe Ferla, who is regarded as the fourth member of the band for this remarkably empathetic endeavour. Ferla recorded everything analog direct to two-track 1/2" tape through a Neve console. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release.

Eine Band, die so laut spielte, dass ihre gesamte Fangemeinde taub wurde und nie wieder über sie sprach. Super Static Fever wurde 1993 im Vorort von San Jose, Kalifornien, gegründet und spielte in den kurzen zwei Jahren ihres Bestehens nur eine Handvoll Gigs, bei denen sie die Zuschauer mit einer Tinnitus verursachenden Wah-Wah-Wand aus Marshall-gestapelter Verzerrung bestraften. Ihr Sound war eine Mischung aus Melvins-esque Sludge, dem melodischen Crunch von Swervedriver und der Vorliebe von Black Flag für Lautstärke, wie man sie aus der Stereoanlage eines 1985er Ford Econoline hört. Unvollendete Bänder von zwei ohrenbetäubenden Sessions sind alles, was die folgenden 25 Jahre seit ihrer gleichgültigen Auflösung überlebt hat, gemischt von dem anspruchsvollen Steve Albini als einzige Bedingung der Band für die Wiederveröffentlichung. Die Verpackung riecht nach der computerverkrüppelten D.I.Y.-Ästhetik der 90er Jahre, mit VHS Unschärfe und undurchsichtigem weißem Raster auf Spanplatten. Eine Platte, die es gerade noch so gibt und wahrscheinlich auch nicht geben sollte.

The quietest voices can be the most durable.

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

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

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

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

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

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

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

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

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

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

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

Written-By, Producer – Dave Singleton, Nick DeVan.

Released 11th October 2024

The Ancient Greeks & Romans sure had that "classic" touch. Before their empires crumbled into ruin, they set the standard with their classical forms, in art, buildings, and philosophy. They've set the pace ever since with pretenders and imitators making "classical music," "neo-classical architecture," and of course "classic rock" _ Once something is a classic, it's untouchable. No one would dare attempt to improve it. That would be sacrilege! After all, who could do better than Ovid, Homer, & Virgil? Or the classic tunes of Rolling Stones, the Stooges, et al? They're the gold standard of perfection; no one would dare try to improve upon them_ until XYZ that is! That's right, XYZ -- those little-known legends -have achieved the impossible; they've taken the classics and made them even better! More relevant, more updated, more "now," more _ wow! They improved the classics using all the latest sensibilities, technologies & innovations. On "XYZ PLAYS THE CLASSICS," the XYZ band - the twosome that sang "Bubble Gum" - take the beloved but tired tunes of the classic rock canon - The Rolling Stones, VU, Neu!, The Seeds, Stooges, & the other Hall of Famers - and resuscitates them, pumping new blood into worn-out veins, revitalize them with new themes, new lyrics, and new riffs to make them new again! This is the record that merges the old with the new, that completes the circle of life; it's the cosmic record that everyone needs right now!

Mutant is proud to present Academy Award®-winning composer Michael Giacchino’s latest installment of his Exotic Themes for the Silver Screen series - Featuring more iconic scores from Giacchino’s career that have been exclusively rearranged and re-recorded for this series in the retro lounge style of the 1950s.

Volume 2 spans the period of 2012 to 2022 and features not only his work with Marvel Studios (including their iconic Marvel Studios Fanfare, Spider-Man, Doctor Strange and more!) but also more career defining music for Disney • Pixar (Inside Out, Coco and Lightyear) as well as smaller, cult classics like John Carter, and Tomorrowland, more personal films such as Jojo Rabbit and The Book of Henry. He has taken these iconic themes and transformed them into soothing, beautiful 60’s lounge-inspired reworks.

Other highlights include ‘The Batman Suite’, taken from Matt Reeves' 2022 blockbuster The Batman, ‘Jyn Erso’s Theme’ from Rogue One: A Star Wars Story, as well as themes for War For The Planet Of The Apes, Jurassic World and two selections taken from his directorial debut Werewolf By Night

"We are thrilled to continue exploring Michael’s storied career with this incredible collection of some of his most beloved themes reworked for warm summer nights with a cocktail (or mocktail) in hand," says Mutant co-founder Spencer Hickman. "Michael is a rare composer who is comfortable with superheroes, horror, action, or intimate drama. He always manages to create incredibly beautiful earworms that have been further highlighted by these stripped-back downtempo versions of his award-winning themes.’

Featuring liner notes by Charles Phoenix, artwork by Luke Insect, and pressed on limited edition color vinyl (also available on CD)
“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”

Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.

Featuring package design by Luke Insect, and liner notes by Charles Phoenix.

2xLP+Book. Black & White Splatter vinyl. Between 1975-77, Chicago's southside nightclubs were experiencing dark times. The after-hours routine may have been on the up, but the sound of urban blues was on its way down, getting funkier, heavier, picking up a Zeppelin echo from the British rock scene that had raided its larder. Thankfully, lightening came by way of a lanky white guy skulking from club to club with a camera and strobe light. Chicago photographer Michael Abramson hit Perv's House, Pepper's Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge nightly, not to capture the artists on stage but instead popping off a half-dozen rolls every night exclusively on the seldom photographed crowd. Light: On The South Side gathers more than 100 beautiful black and white Abramson images, as Numero shines its own light on yet another dark corner of the musical past. The 132-page hardback book features not just these photos, but an extended and wildly colorful ephemera section, plus an essay by British novelist and Numero fan Nick Hornby. Housed in a gorgeous slipcase with the 12X12 monograph is the 2LP set Pepper's Jukebox, a 17-track compilation of Chicago blues in transition, as heard from both the stage and the Wurlitzer.

Es gibt neue Vinyl-Neuauflagen von drei klassischen Billy-Idol-Veröffentlichungen: „Charmed Life”, „Whiplash
Smile” und die „Don’t Stop”-EP sind ab dem 15. August 2025 erhältlich.
Charmed Life wird erstmals auf zwei schwarze LPs gepresst. „Whiplash Smile” kehrt nach Jahrzehnten
zum ersten Mal auf Vinyl zurück und ist als Standard-LP auf schwarzem Vinyl erhältlich. Schließlich wird
„Don’t Stop” auf einer LP als Standard-Schwarzvinyl erhältlich sein.

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Country, Township-Jazz und Pop-Hits aus der Hochphase der sambischen Freiheitsbewegung. Der Sänger, Gitarrist und Bandleader Alick Nkhata bewegt sich mühelos zwischen einsamem Country-Slide, Big-Band-Pop und luftdichten Gesangsharmonien, die alle ihre Wurzeln in Bemba- und anderen afrikanischen traditionellen Liedern und Rhythmen haben. Es ist eine schwindelerregende, umfassende und weitreichende Mischung von einem Künstler und Musikarchivar, der zur Stimme des Freiheitskampfes seines Landes wurde. Die Texte und die Musik spiegeln die Zeit wider - einsame ländliche Klagelieder wie ,Nafwaya Fwaya" und ,Fosta Kayi" driften entlang der Eisenbahnlinien in die städtischen Zentren und Kupferminen. "Nalikwebele Sonka (I Told You Sonka)", gesungen in ,Deep-Bemba`, verbindet honiggetränkte Jodler mit einer Warnung vor der Abwärtsspirale der Arbeitslosigkeit in den Townships, während "Mayo Na Bwalya" (Mother of Bwalya) die Bitte einer Mutter an einen traditionellen Singvogel ist, ihren missratenen Sohn zu führen. Lieder wie ,Shalapo", ,Kalindawalo Na Mfumwa" und sein größter Hit ,Imbote" vereinen Klavier, Big-Band-Hörner und sogar frühe elektronische Instrumente zu atemberaubenden synkretistischen Pop-Meisterwerken. Diese LP ist das erste Mal, dass seine Musik auf Vinyl wiederveröffentlicht wird. Auf hochwertigem schwarzem Vinyl mit 12-seitigem Deluxe-Booklet mit unveröffentlichten Fotos, Texten, Übersetzungen und Anmerkungen des NTS-Radiomoderators Jamal Khadar.

CATCHY, MESMERIZINGLY BEAUTIFUL, DREAMY CHAMBER POP WITH A FOLKY TWIST

Music can have a multitude of emotional impacts and can create inner worlds out of voices, sounds, and moods.
If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today’s often scary, grim realities; a dreamscape that can be profoundly uplifting.
On their third studio album, III - Candles & Beginnings’ the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.
Right after completing Nightwish’s 2024 monument Yesterwynde, the songwriting for the third chapter in Auri’s musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero “Teecee” Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989.
The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group’s most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find.
Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri’s unique musical visions.
With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish’s Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics.
Having been a studio endeavor in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings.

N-You-Up & Boogie Vice Deliver Feel-Good Firepower with 'Come On Closer' on Definitive Recordings
Definitive Recordings proudly welcomes a brand-new floor-filling release from Boogie Vice and N-You-Up, two artists well
known to fans of Get Physical Music and the global house underground. Their new collaboration, ‘Come On Closer’, is a
powerful, feel-good house bomb that blends infectious female vocals, uplifting grooves, and jazzy soul into one irresistible EP.
The Original Mix sets the tone with its high-energy beat and bouncy piano bassline, laying the foundation for a hooky female
vocal that anchors the entire track. It’s pure peak-time house, designed for hot, sweaty dancefloors. Things get deeper on the
Carboot Sale Mix, a jazz-infused reinterpretation featuring live drum fills, trumpet flourishes, and rich organ chords that give it a
smooth, late-night edge.

A stripped-back Dub Mix follows, keeping things rolling with minimal vocals and a groovy focus on rhythm and atmosphere. The
EP also includes two bonus DJ-friendly tools: the Piano Tool, which spotlights the irresistible keys at the heart of the original,
and the Intro Mental Tool, a perfect warm-up cut with gradual layering and tension-building groove.
N-You-Up, the Southern France-rooted producer formerly known as The Beatangers, brings decades of DJ experience and a
deep love for jazz, funk, and disco into his sound. With standout releases on Nervous and Get Physical he is a name
synonymous with high-quality house music that always moves the crowd. Boogie Vice, hailing from Paris, burst onto the scene
with chart-topping nu-disco releases like 'Bel-Air' and 'Bad Girl', later gracing labels such as Ed Banger, Cuff, and Outcross
Records. With his unmistakable blend of funk, house, and flair, he continues to push boundaries while connecting with a global
audience.

MEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things, set for release on World of Echo on 1 August 2025 on vinyl and digitally.

The album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.

It's certainly not worth a life. We are the smallest things, along with everything else." Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.

Listening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.

Beyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.

Cleaning Out The Empty Administration Building ist Ross Farrars neuestes Werk aus rohem, gesprochenem Wort und experimentellem Sounddesign, hier präsentiert unter dem Namen R.J.F.. Der Frontmann der amerikanischen Bands Ceremony und SPICE begann dieses Soloprojekt zunächst als persönliche Herausforderung: Songs von Grund auf selbst zu schreiben, sich mit Instrumenten vertraut zu machen und dabei zugleich sein Unterbewusstsein freizulegen. Dabei ging es weniger um musikalische Virtuosität als um Verletzlichkeit - darum, etwas Ehrliches aus einem ungeschützten, unbearbeiteten, unpolierten Moment zu ziehen, kompromisslos amateurhaft und rein.Diese Sammlung zeigt Farrar im offenen, poetischen Dialog: mit Drumloops und gefundenen Klängen, durchbrochen von Gitarren, Bass und Tasteninstrumenten. Nach über zwanzig Jahren in der vertrauten wie chaotischen Welt von Band-Kollaborationen, legt Farrar all das ab - als Experiment. Das Ergebnis ist unverwechselbar und bewegend.Farrars Punk-Pathos ist in Spuren vorhanden, doch seine deutlichsten Einflüsse stammen von repetitiven Musikformen: Drone, No-Wave, Avant-Jazz und darüber hinaus. Seine nüchternen Texte erinnern an Lou Reed, Rowland S. Howard und andere große Exzentriker. Farrars Texte kreisen um Liebe, Sucht, Vaterschaft und das Leben in der heutigen Welt. ,Ich wollte Bilder schaffen, die die Menschen klar vor sich sehen können", sagt er. Farrar unterrichtete früher Schreiben und Literatur - und wendet hier ein einfaches Prinzip an, das er auch seinen Schülern mitgab: Nicht zu viel nachdenken. ,Ich habe mir einfach gesagt: Diese Songs sollen Spaß machen. Sie sollen nicht stressig sein. Zwei, drei Takes aufnehmen und dann gut ist. Nicht über jedes Geräusch den Kopf zerbrechen. Mach einfach das, was natürlich aus dir herauskommt - und wenn es sich gut anfühlt, dann nimm es."Aus hunderten freier Songs, die Farrar in den letzten Jahren mit geliehenem Equipment aufgenommen hat, kristallisierte sich dieses Album langsam heraus. ,Es kam einfach immer wieder."Der Ton von Cleaning scheint die Zeit zu verbiegen, versetzt die Hörer in eine Art Gang voller Songs, bei denen jede Tür in einen neuen Raum führt - Räume, die oft auf unheimliche Weise vertraut wirken. Der gurgelnde Bass des Openers ,Advance" taucht auch in anderen Stücken wieder auf, etwa im gespenstischen ,Ovidian", benannt nach Ovids Metamorphosen, in dem Farrar über das Wunder der Veränderung sinniert - begleitet von fernen Glockenklängen. Instrumentalstücke wie ,Gravity Hill" - ein Flattern aus Synth-Brummen und statischem Rauschen - oder ,Frogs", mit Saiteninstrumenten und perkussivem Topfschlagen, wirken wie tranceartige Zwischenspiele und verstärken die Wirkung der Texte drumherum.,Exile" blickt zurück auf Verluste, die sich nicht mehr reparieren lassen: ,So much of your heart caught in my exile", singt Farrar mit sanfter Resignation - über einer einsamen Klaviermelodie und schlingernden Gitarrenakkorden. Es ist das strukturierteste Stück der Sammlung und erinnert daran, dass Farrar ein Gespür für melodische Linien besitzt.Das Album endet mit ,Traveling Light From Afar", deutlich schneller als alle vorherigen Songs. Hier, über einem stoischen Motorik-Beat, spricht Farrar das zentrale Thema des Projekts direkt an:,I've been so young in my old age / Selfish & self-pitying / But that's just narcissism - man."Genau dieser Balanceakt - zwischen schonungsloser Selbstbefragung und der Klarheit, die mit dem Älterwerden kommt - schafft Raum für Entwicklung. Farrar leert das Gebäude - Zeile für Zeile.

Minor Slip ist das Felte-Debüt von Shaki Tavi, dem Hauptprojekt des aus Oklahoma stammenden und in LA lebenden DIY-Aktivisten Leon Manson und einer Gruppe von Freunden und Mitstreitern. Durch die schichtweisen Böen von verwaschenen Gitarren und übersteuerten Drums tauchen trügerisch schöne Pop-Hooks auf, die durch Mansons verwitterten, harmonischen Bariton und sein Händchen für einfallsreiche Strukturen beleuchtet werden. Als er die Ursprünge des Albums auf eine Phase des Burnouts und der Desillusionierung zurückführt, erinnert er sich: "Ich fing an, mich einfach mit ein paar minimalen Effekten und Geräten hinzusetzen, Riffs zu spielen und mich zu fragen, `Was, wenn es Spaß machen könnte? Was, wenn es für mich sein könnte?'" Das Ergebnis ist kraftvoll, verletzlich, eingängig und ungewöhnlich authentisch, eine Eruption kreativer Kraft des Kindes von Rockmusikern, dessen Leidenschaft und Antrieb als Außenseiter in einer Kleinstadt entstanden, und gestärkt inmitten der Künstlichkeit und der Selbstverteidigungsrealität von LA. Die Leadsingle "Breaker" kombiniert einen Midtempo-Breakbeat mit prismatischen Gitarren und entspanntem Gesang in einer Kreuzung von Genres, die Mansons Jahre in verschiedenen Bands und Szenen zu einer aufrichtigen, kompromisslosen Vision verdichtet. Auf "Foam" schweben Schädelrassel-Riffs und eine heulende Gitarrenhook über Big Beat-Drums und beschwören gleichermaßen arenagroße Erhabenheit und schrilles Schwanken herauf. Die Fülle und der Ehrgeiz in Mansons Arrangements entwickelten sich im Laufe von einigen Jahren des Schreibens, Überarbeitens, und Aufnehmens. Er erinnert sich: "Nach einigen überraschenden Rückmeldungen auf ein paar Bedroom-Demos holte ich meine Bandkollegen ins Studio, um ausgefeiltere Versionen zu machen; diese zweite Phase beinhaltete eine vertraute Art von existenziellem Abdriften und Zweifeln, aber die Lösung war die gleiche wie immer: es einfach halten, Sachen machen, die ich mag, und von dort aus gehen." Trotz seiner einzigartigen Vision ist Manson der Gemeinschaft sehr verbunden; er hat jahrelang bei der kreativen Non-Profit-Organisation Non Plus Ultra in LA gearbeitet, und obwohl er das enorme Ausmaß der Kunstszene an der Westküste anerkennt, merkt er an: "Das Gute an dieser Stadt ist, dass die kreative Energie unübertroffen ist, wenn man in der Lage ist, die Segel zu setzen und sie zu nutzen." Manson fasst die emotionale Investition in seine Arbeit wie folgt zusammen: "Diese Platte fühlte sich manchmal wie eine Last, manchmal wie eine Rettungsinsel an; es war ein Prozess, in dem man alles, was passiert, willkommen heißt, auch wenn es kleine Ausrutscher gibt."

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), andtrad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

One of the absolute classics from the Swedish prog-rock scene, for the first time ever on vinyl! The Hemulic Voluntary Band (2007) is the fourth studio album by Swedish progressive rock band Ritual. Its title references a fictional brass band from Tove Jansson's Moomin universe, but the music leans more toward folk, symphonic rock, and '70s-style prog, resulting in a richly imaginative sound. Although not a concept album, it's thematically tied by literary influences and a sense of childlike wonder. Drawing on Jansson's work, the lyrics explore imagination, nature, and the fantastical. Ritual's songwriting focuses on storytelling and emotional depth, creating an immersive experience. Critics praised the album's inventive arrangements and emotional range. It's mix of complexity and accessibility appeals to both prog fans and casual listeners, with a strong balance of technique and feeling. In short, The Hemulic Voluntary Band showcases Ritual's skill at crafting intricate yet heartfelt music. Its fusion of folk, rock, and prog, paired with thoughtful lyrics, makes it a standout in the genre.

Im Eröffnungstrack von Unlearning Vol. 2, seinem fünften Soloalbum, bricht Evidence zunächst mit Mustern. "Set the autopilot, cruising speed", sagt er - eine Zeile, die an seinen charakteristischen entspannten Flow erinnert. Aber anstatt zu cruisen, wählt der aus Venice stammende Musiker die Störung. "That's a setup for a punch to land with 'true indeed'," fährt er fort und gibt den Ton für ein Album vor, bei dem es weniger um Bequemlichkeit und mehr um Transformation geht. Der Titel des Tracks "Plans Change" könnte nicht passender gewählt sein. Seit seinem Auftauchen mit Dilated Peoples hat Evidence immer eine kühle, mühelose Kontrolle ausgestrahlt. Aber "Unlearning Vol. 2" lehnt wie sein Vorgänger aus dem Jahr 2021 jedes Abgleiten in den Status eines Vermächtnisses ab. Es ist nicht nur ein stilistischer Schwenk, sondern eine tiefere, introspektivere Reise, die in technischer Meisterschaft wurzelt, aber von Instinkt und Neugier angetrieben wird. Anstatt vergangene Erfolge zu recyceln, erkundet Evidence raueres, emotionales Terrain und kreiert einen Sound, der sowohl geerdet als auch experimentell ist. Die Produktion zieht Tracks wie Sebb Bashs erschütterndes "Seeing Double", C-Lances nostalgisches "Top Seeded" und Evidence' eigenes unheimliches "Greatest Motivation" in einen hypnotischen Bann. Dennoch bleibt seine Stimme der Anker, der den Dunst mit Präzision und Tiefe durchschneidet. Tracks wie "Nothing's Perfect" zeigen seine lyrische Beweglichkeit, während "Laughing Last" Stoizismus und Verletzlichkeit in Reflexionen über Familie und Verlust verbindet. Die Kollaborateure stammen aus verschiedenen Epochen - The Alchemist, DJ Babu, Blu, Domo Genesis, Larry June, Conductor Williams und viele mehr -, doch das Projekt wird von einem gemeinsamen Ethos getragen: sich neu zu erfinden, einen neuen Kontext zu schaffen und Schmerz durch Kreativität einem Zweck zuzuführen.

Bret McKenzie ist ein Grammy- und Oscar-prämierter Künstler, der vor allem durch seine Band Flight of the Conchords und die gleichnamige Fernsehshow bekannt wurde. "Freak Out City" ist sein zweites Album mit geistreichen, anspruchsvollen Solosongs und baut auf den Stärken seines Debüts "Songs Without Jokes" auf (das vom FarOut Magazine als "musikalische Version eines Kurt Vonnegut-Romans" beschrieben wurde) und wird sicherlich Fans von nachdenklichen Singer-Songwritern wie Harry Nilsson, Elvis Costello, Father John Misty und klassischem Pop-Rock der 70er Jahre Freude bereiten. McKenzie ist international bekannt dafür, witzige, seltsame und einzigartige Songs zu singen und zu schreiben, vor allem für Film und Fernsehproduktionen. Bret McKenzies Lieder wurden bereits von Kermit dem Frosch, Celine Dion, Lizzo, Benedict Cumberbatch, Brittany Howard, Homer und Lisa Simpson, Fred Armisan, Miss Piggy, Amy Adams, Jason Segal, Ricky Gervais, Benee, Isabela Merced, Spongebob Schwammkopf, Tony Bennett, Mickey Rooney und vielen anderen gesungen. Das selbstbetitelte Debütalbum von Flight of the Conchords wurde 2025 mit Gold ausgezeichnet und ging prompt in einer limitierten Gold-Vinyl-Variante über den Ladentisch.

Purple Vinyl 7" Single! limited edition! Chastity Belt's version of "Loaded Painted Red" doesn't just cover 764-Hero's original. It dissolves into it, rebuilding it with a gauzy, wide-open clarity. It's a song that's always carried a certain weight: bruised and echoing with late '90s Pacific Northwest melancholy. In their first-ever recorded cover, Chastity Belt traces that ache into new territory, drawing it out like bated breath. Lydia Lund threads a new guitar line through the song, tugging it towards their distinct style like a slow orbit around the song's core feeling. "I've been a fan of 764-Hero for a while now, and 'Loaded Painted Red' is one of my faves!" says Julia Shapiro. "It was hard to do the song justice because the original is so perfect, but we also had fun reimagining it and making it our own." Initially released in 1998 on 764-Hero's Get Here and Stay (Up Records), "Loaded Painted Red" has long been a fan-favorite, a softly jagged and charged meditation. The new split 7" pairs the cover with the original, a full-circle release that marks 764-Hero's catalog joining the Suicide Squeeze family. Together, the two versions collapse decades into a single foggy breath riding out the dusky golden-hour light of the Pacific Northwest.

Dutch upstart Epsie pulls a rabbit, or maybe a Roland, from the hat with Rule of Thumb, a
debut EP that’s as wobbly and wide-eyed as a warehouse party at the early morning
hours. It’s a small marvel of mangled synth wizardry and chopped-to-hell drum patterns
that somehow stay locked tighter than your last three-day weekend. There’s a charming
messiness to it all.

“Fedde” kicks things off with a percussive punch to the frontal lobe, big-room bravado
laced with a subtle wink. “Electric” takes a left turn down acid alley, tripping over a
broken beat and landing in a puddle of molten 303 line. But nothing here feels tacked on
or stitched together post-hangover; it’s all curiously cohesive, like chapters in a fever
dream authored by a bedroom producer with a dusty sequencer and an interstellar
agenda.

Nostalgic without being derivative, danceable without chasing a trend, Rule of Thumb is
fit for all forms of dancing, and the roof tops that dare to hold it.

The complete recordings of the legendary Marc And The Mambas run of three live performances given at The Duke Of York's Theatre in London's West End in 1983. Restored from the original VHS tape recordings made by the late Peter 'Sleazy' Christopherson (Throbbing Gristle, Coil), these remain the only recordings that exist of Marc And The Mambas performing live.

Formed in 2010, Magic In Threes is a Nashville, Tennessee based instrumental combo specializing in psychedelic cinematic-soul. Heavy on atmosphere and quite smoked out.

Dave Singleton - guitar, bass, keys, percussion
Nick DeVan - Drums, keys, percussion, horn arrangements

Featuring:
Joe D Douglas - flute, alto sax
Mikie Martel - trumpet, flugelhorn
Andrew Muller - Guitar
Kirk Donovan - trumpet flugelhorn

Acclaimed musician, producer, and multi-instrumentalist Kutiman returns with 'Dreams In Aspamia' - a stunning new 6-track EP of dreamy, instrumental cinematic funk, rich with trip-hop, jazz, and global music textures. Best known for his visionary fusion of groove, psychedelia, and visual art - Kutiman crafts a hypnotic journey here: jazzy guitars, double bass, analogue keys, and otherworldly manipulated vocals flow through lush, panoramic arrangements that recall Khruangbin, El Michels Affair, SAULT, and BADBADNOTGOOD.

This strictly limited one-off pressing comes on deep purple coloured vinyl with a hallucinogenic full-colour sleeve designed by Berlin-based artist Philipp Carbotta. Meticulously mixed by longtime collaborator Obas Nenor, it's a bold yet meditative listen - equally suited for audiophile immersion or chilled late-night sessions.

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

New colour on Enter Shikari’s 2023 number 1 album.

Enter Shikari are a rock band from St Albans, UK. In 2020, they released their sixth album - Nothing Is True & Everything Is Possible - which also gave them their sixth album to debut in the UK Album Chart top 5. Frequently collecting Best Live Artist awards, Enter Shikari’s seventeen-year career thus far has seen them rise from teenagers touring the UK grassroots venues, to festival main stages and arena headliners worldwide.

It was in the Spring of 2022 that the band descended to the coastal town of Chichester, and a delipidated farmhouse, to rebuild their studio setup and capture their renewed momentum on record. Using only solar power to track the album–in what Reynolds says was to “bring back some sense of naivety” – the life-giving properties and Technicolor palate of A Kiss For The Whole World were made real. Reynolds continues: “Back to basics. This band - my best friends - bundled into an old farmhouse, miles away from anywhere. Off-grid, and ready to rediscover ourselves. This album is powered by the sun, the most powerful object in our solar system. And I think you can tell. It’s a collection of songs that represent an explosive reconnection with what Enter Shikari is. The beginning of our second act”.

Mutant is thrilled to partner with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey.

Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy.

The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense. We have pressed two versions of the score, one is a limited edition Lenticular edition strictly limited to 1000 copies pressed on multicolour Monkey splatter vinyl, and the other is an eco vinyl edition featuring a static sleeve. Both versions are housed in a printed outer O-Card. Composer Edo Van Breemen told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

On Rollerstate, Belgian duo Mosley Jr. (Niels Blondeel & Ijsbrand De Wilde) embrace a sound that’s raw and free, yet impossibly refined. This 7-track EP offers a journey through their unfiltered creativity, where analog imperfections, captivating grooves and nostalgic soundscapes collide.

Rollerstate is creatively underground, yet undeniably catchy, capturing an era of old-school dance influence, TV-commercials and vague hazy distant airwaves. Rollerstate is both the state of mind and fictional place we all tend to escape to.

Released on Moodfamily, the EP is available digitally and physically on vinyl and limited edition cassette (MFC001)

Banana Stand vinyl. I Was Trying to Describe You to Someone is Wednesday's second fulllength album & first as a full band. The Asheville, NC quintet (guitarist/ vocalist Karly Hartzman, lead guitarist Daniel Gorham, pedal steel guitarist Xandy Chelmis, bassist Margo Schultz & drummer Alan Miller) maximizes the dark dissonance of a three guitar attack to highlight the emotionality of Hartzman's bell-clear vocals & wisps of half-recalled memories & literary references that make up her lyrics. I Was Trying to Describe You to Someone's eight songs meld elements of shoegaze, grunge, indie pop & southern American culture into a uniquely personal style of modern rock music that resonates with power & tenderness. The ever-darkening & deepening of Wednesdays' sound on I Was Trying to Describe You to Someone owes a debt of influence to The Swirlies, Arthur Russell, Red House Painters, Tenniscoats, Ana Roxanne, Acetone, & their continued collaboration with MJ Lenderman (who lends backing vocals to the songs "Billboard" & "November"). I Was Trying to Describe You to Someone was recorded at Hartzman's home with engineering assistance from her roommate Colin Miller. The depth & clarity of the recordings balance the distorted volume of Wednesday's live performances with the intimacy of Hartzman's voice. Her words hold the center of the chaos, unobscured by the power of the band. Hartzman describes her lyrics as "attempts to access old personal memories & do them justice through prose, with inspiration from the writings of Richard Brautigan, Flannery O'Connor, David Berman & Tom Robbins, & movies like Steel Magnolias."

This compilation record, originally released in 1989, includes songs by Scream, Ignition, Shudder To Think, Soulside, Shudder To Think, Fugazi, and more.

Proceeds from the sales of this album go to We Are Family.

Rise Against melden sich mit ihrer bisher kraftvollsten und belebendsten Musik zurück. Ricochet, das am
15. August bei Loma Vista Recordings erscheint, ist das erste Album der Rockband seit vier Jahren –
und es kommt in einer Welt voller Reizüberflutung, in der Algorithmen uns wütend machen wollen: wie
ein Haufen Murmeln, der hart getroffen wird und unkontrolliert auseinanderfliegt, immer weiter, immer
schneller.
Doch über die zwölf Songs hinweg, produziert von GRAMMY®-Gewinnerin Catherine Marks (Boygenius,
Foals, Manchester Orchestra, St. Vincent) und gemixt von Alan Moulder (Nine Inch Nails, Paramore,
Queens of the Stone Age, The Killers), stellen Rise Against die Frage: Wer profitiert eigentlich von dieser
kollektiven Spaltung und Unzufriedenheit? Sie fordern dazu auf, nicht blind zu handeln, sondern die Konsequenzen unseres Handelns füreinander zu bedenken – während die Machtstrukturen, die uns lenken,
unangetastet bleiben.
Ricochet wurzelt in der Idee von Zusammenhalt – ein Album mit wuchtigem Sound, das sich auf die
kleinen Bewegungen im Inneren konzentriert, die den größten Wandel auslösen können. Alles beginnt bei
einem selbst. Und mit der explosiven ersten Single „I Want It All“ zünden Rise Against den Motor und
starten eine Mission der Selbstbestimmung – leidenschaftlich, ambitioniert und kompromisslos.

Anlässlich des 15-jährigen Jubiläums eines der erfolgreichsten Alben der deutschen Musikgeschichte, „Grosse
Freiheit“, erscheint am 15. August 2025 nun eine ganz besonders wertige Jubiläumsedition.
„Grosse Freiheit“ hat sich alleine in Deutschland über 1,8 Millionen Mal verkauft und wurde 9-fach mit
Platin ausgezeichnet. Auch in Österreich und der Schweiz erreichte das Album mehrfachen Platin-Status
und prägte eine ganze Generation von Fans. Nun kann man dieses Meisterwerk neu entdecken – und das
in zwei aufwändigen und strikt limitierten Editionen!
Die „Grosse Freiheit (15 Jahre Jubiläumsedition)“ erscheint als streng limitierte 3LP in rotem Vinyl mit
Gatefold-Cover – ein absolutes Sammlerstück für alle Vinyl-Liebhaber! Alternativ gibt es die Edition auch
als ebenfalls limitierte 2CD im Digipack.
Doch was macht diese Edition so besonders? Sie enthält nicht nur die bekannten Hits, sondern auch
bisher unveröffentlichtes Material, das die Herzen aller Unheilig-Fans höherschlagen lassen wird:
Den bisher unveröffentlichten Song ”Auf ein schönes Land”, die Kontra K x Unheilig x NESS-Interpretation
von ”Geboren um zu leben”, die frühesten Unheilig-Demos (erstmalig auf Vinyl!) sowie persönlich vom
Grafen verfasste Linernotes.

Deluxe heavyweight sleeve with leather laminate finish Includes insert with liner notes by Steven Spielberg Movie directed by Steven Spielberg, loosely based on Spielberg’s adolescence and first years as a filmmaker Film stars an ensemble cast including Michelle Williams, Paul Dano, Seth Rogen, Gabriel LaBelle and Judd Hirsch Golden Globe nominated score composed by John Williams Film won the People’s Choice Award and nominated for five Golden Globe Awards Exclusive limited edition of 333 numbered copies on turquoise coloured vinyl This is a new colour variant – sales notes and tracks are as the previous version, note new cat number and barcode

Internet's favourite music critic and Youtube star Anthony Fontana aka Needledrop has gotten a liking to the Grande Mahogany vinyl & digital album 'As Grande As'. The bald funny guy has been raving about the album to his millions Youtube, TikTok and Instagram follower on several occasions, also covering the record in his 'one of the great albums of 2024' round up.

The album is also already making waves in the UK with continuous plays on BBC Radio 1 by Jazz Supernova and BBC Radio 6 by Cerys Matthews as well as the New Music Fix show.

If this is the first time you're hearing about Grande Mahogany, now is the time. Behind the alter ego of Grande Mahogany is Finnish-Ghanaian multi-instrumentalist Jesse Essel, who relocated with his family from Finland to Manchester, England, at the age of 11. It was in Manchester where Essel found his own style, drawing inspiration from the city's diverse music scene.

Grande Mahogany's unique blend of Funk, Rock, Afro-Psychedelia, and R&B has already garnered international interest. Singles from the album, such as "Angle of The Dangle," "Thundercurls," and "SUPER ROCKER," have caught the attention of prominent music critics, for example Anthony Fantano of Needledrop.

"As Grande As" stands as a testament to relentless creativity and perseverance, much of it crafted during tumultuous times. It invites listeners to embrace its raw authenticity, serving as a chronicle of the artist's journey towards unfiltered expression. Mastered by Guy Davie, whose credits include work with Kaytranada, Jon Hopkins, and Mikael Kiwanuka, the album ensures a high-quality sonic experience.

Das erste Album von Lionmilk auf Stones Throw ist ein Gegenmittel gegen Depressionen und Herzschmerz.
Der aus Los Angeles stammende Lionmilk ist für seine Arbeit als Pianist, Komponist und Produzent bekannt.
Als unabhängiger Künstler schrieb, produzierte und spielte Lionmilk alle Instrumente auf dem neuen Album und erzählt seine Geschichten in verschiedenen Musikstilen.
Er spielte in den Live-Bands von Mndsgn und John Carroll Kirby.

Für Fans von: Toro y Moi, CARRTOONS, Thundercat, Washed Out, Neil Francis, Khruangbin.