Search:stu w

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Released only eight months after his exhilarating debut, Bruce Springsteen's The Wild, the Innocent & the E Street Shuffle contains rousing dispatches from the boardwalk, the street, the beach, and the bedroom. It explodes with energy, dares to dream, teases with humour, crackles with tragedy, clings to hope, and overflows with discovery, youthfulness, and personality. It features an unforgettable cast of characters — corner boys, teenage hustlers, doomed lovers, jazz men, junk men, factory girls, fortune tellers, alley cats, pimps, escorts, and more — illuminated by vivid colour, breathtaking detail, and poetic action.

Musically, the heartfelt 1973 record is inhabited by sympathetic vignettes and cinematic arrangements steeped in rock 'n' roll, soul, jazz, and R&B. It finds the New Jersey native looking beyond the parameters of his preceding record and seeking to move on from environments he knows well (and chronicles here) by rushing headlong toward unknown territories, adventures, and people. Underpinned by the singer-guitarist's ambitious poetic enterprise and will to succeed, The Wild, the Innocent & the E Street Shuffle is the album on which Springsteen becomes the Boss.

Mastered on Mobile Fidelity's renowned mastering system, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen's sophomore record. Benefitting from SuperVinyl’s nearly non-existent noise floor, superb groove definition, and dead-quiet surfaces, The Wild, the Innocent & the E Street Shuffle plays with a clarity, energy, presence, and openness that complement the expressiveness, dynamics, and scope of the seven restless songs that comprise a work Rolling Stone ranked the 345th Greatest Album of All Time.

Beyond the audiophile sonics that practically place you behind the console at 914 Sound Studios — listen to the separation between the instruments, natural decay of the notes, interplay within the widescreen soundstaging, and nothing-to-lose youthfulness of Springsteen’s voice — this reissue takes seriously this record’s influential merit by presenting it in packaging that underlines its status. Tucked in a beautiful slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. This reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with the invigorating set that busted Springsteen loose from the club circuit and landed him on the radio

Determined to liberate anyone within earshot and unafraid to come on strong, The Wild, the Innocent & the E Street Shuffle serves as the debut of the E Street Band — not only heard but seen for the first time by most of the public courtesy of the back-cover photograph. This is where saxophonist Clarence Clemons, organist-accordionist Danny Federici, and pianist David Sancious step out of the shadows — and drummer Vini Lopez and bassist Garry Tallent again stoke a fiery rhythmic engine that helps drive the untamed, reimagined big-band swing of “Kitty’s Back,” breathless R&B thrust of “Rosalita (Come Out Tonight),” and carefree dance steps of the funky “The E Street Shuffle.”

Of course, the main attraction remains a then-24-year-old visionary on the precipice of becoming a sensation and turning a then-bloated rock scene on its head. Recorded over three months while Springsteen and company were busy touring his debut LP, The Wild, the Innocent & the E Street Shuffle reflects the high-octane approach the vocalist embraced onstage and drifts away from the label-dictated acoustic-based frameworks of his debut. The set also witnesses Springsteen deepening his observational skills, with narratives such as the romantically tinged “4th of July, Asbury Park (Sandy)” and redemptive epic “Incident on 57th Street” mirroring changes taking place in the singer’s own life, small towns, and America at large.

A thrilling collision of memories, reflections, and composites — Sandy, Rosalita, and the latter’s parents are all based on actual people Springsteen knew, as is the community depicted in the opening track — the aptly titled The Wild, the Innocent & the E Street Shuffle resonates decades on due to its truths, authenticity, and spirit. Those characteristics — as well as the fact that many of its lengthy songs come on as the equivalent of sweaty, feverish soul revue that won’t stop until you’ve been exhausted — also explain how this now-iconic album triumphed over the reservations of industry “experts” that both demanded Springsteen re-record it and instructed deejays not to play it.



Yet there’d be no stopping a record that saw the past, present, and future, a band whose will would not be denied, and a phenomenon who was born to run. A never-ending invitation to act real cool and stay up all night, The Wild, the Innocent & the E Street Shuffle always feels alright.

It is the contrasts that make the Iiro Rantala HEL Trio so appealing. As a pianist, Rantala often captivates with great lightness and ravishingly supple lines. On the other hand, Anton Eger, with his irresistibly delicate playing, and Conor Chaplin, with his weighty and agile grooves on the bass, bring their very own idea of sound and design to the music.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

This will be available on ltd edition pink vinyl, with only 250 copies pressed.

We are delighted to welcome the incredible Masal to the Up In Her Room family! Masal is a collaboration between Al Johnson and Ozlem Simsek. Ozlem is a Turkish multi instrumentalist whose middle eastern background is entwined with her western studies in classical music. Al performs psychedelic electronic music as Alien.

As Masal they weave harp, Theremin and electronics into a beautiful aural journeys. Having worked with legends such as Andy Bell & Mark Gardener of RIDE, and Sonic Cathedral, plus enjoyed radio play from the wonderful Simone Butler of Primal Scream on Soho Radio, and Mark Riley and Stuart Maconie on BBC 6 Music, we are very excited for you to see what the pair have been cooking up.

‘The Galloping Cat finds this unlikely pair of “neurodiverse nature lovers” collaborating on six meandering tracks of psychedelic grooves, electronic weirdness and motorik basslines mostly wordlessly exploring themes of self-discovery – and it’s stunning.

Sonic Cathedral – March 2023

The Galloping Cat is a work of compassion and tenderness. It’s also surprisingly funk (see ‘Dying Days’ and ‘Dokuz’) with Al revealing hitherto undiscovered Clyde Stubblefield-style chops behind the (digital) drumkit.’

Even Butterfly’s Make A Sound – March 2023

Meridian Brothers & El Grupo Renacimiento' excavates the forgotten sounds of the fantastical 1970s salsa dura group El Grupo Renacimiento. The group identifies as "B-class" salsa whose music explores human struggles in the urban city landscape, with themes such as police brutality, social marginalization, and addiction. Meridian Brothers collaborated with El Grupo Renacimiento in Bogota's Isaac Newton studios to capture their "fantasy salsa dura" sound. Although the group came out of myth, its members have been created in spirit. Embodied by Meridian Brothers and depicted in the graphic creations of illustrators Glenda Torrado and Mateo Rivano, the members of El Grupo Renacimiento have now come to life.

Another Michael's next chapter begins with Pick Me Up, Turn Me Upside Down, their new album due out this spring on Run For Cover Records. Following last year's sibling album Wishes to Fulfill, Pick Me Up is a more expansive output, patiently unfolding to reveal an exploratory side that brings new hues into the band's vibrant sound. Helmed by lead singer/songwriter Michael Doherty and producer/bassist Nick Sebastiano-along with signature contributions of multi-instrumentalist/vocalist Alenni Davis, drummer Noah Dardaris, and longtime engineer/co-producer/confidante Scoops Dardaris-Pick Me Up, Turn Me Upside Down came to life over three years of intermittent writing and recording sessions that proved unexpectedly fruitful. The band decamped at Headroom Studios in Philadelphia, PA, as well as the same Ferndale, NY house where they made their debut LP, 2021's New Music and Big Pop. The songs on Pick Me Up, Turn Me Upside Down often take the knack for melody that defined Wishes To Fulfill and apply it to left turns like the hypnotic quasi-krautrock of "I've Come Around To That," the sparse balladry of the title track, or the pulsating synth explorations of "The Diner's Spoon." The album's world is weirder and more improvisational, like in the twisting ends of "Hub of Dreams" or the spontaneous performances of "Like I Won A Car"-but Doherty's warm singing and conversational lyricism always keep things grounded. On Pick Me Up, Turn Me Upside Down, the band didn't set out to capture the all encompassing, existential value of music, but they did contribute to it-offering more songs to the world, and with them, chances to create one of those moments.

Limited Pink w/ Purple & Cream Swirl Vinyl. To celebrate the 10 Year anniversary of their album The Things We Think We're Missing, Balance and Composure teamed up with longtime collaborator Will Yip to track the record live for a one-time livestream event in late 2023. That performance has been pressed to vinyl & is now available in a one-time vinyl pressing.

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island KLP119 presents a more accessible view to the humble honesty of their emotive universe. When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. The beautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

The band have released a steady stream of singles over the last few months, receiving international airplay and strong support across the UK Radio network. Their second single, “Cry” was playlisted on BBC Radio 2 for three weeks in early 2024 and was also heavily rotated on BBC 6 Music and KEXP in Seattle. The follow-up ‘Make It Happen’ was premiered on 6 Music by Craig Charles, who touted Wonder 45 as “One To Watch” in 2024.

Now with the release of the stunning single, ‘Nothing’s Gonna Change’, we are delighted to announce Wonder 45’s debut album, “Wonderland” is set for release on Friday 31st May and is available on LP and CD. We’re currently taking wholesale orders and I wondered if you would be interested in stocking some copies?

The delivery should come at the beginning of May so please let me know if you’d like me to put some copies aside for you and if you’d like to put them up for preorder straight away.

Stasis returns to De:tuned with 7 unreleased tracks from his archives for the 'Time Sensitive' LP. Legendary UK techno pioneer Steve Pickton compiles a stunning collection of DAT tape excerpts from the Otherworld studio sessions. Recorded between 1992-1996, this collection represents the peak of the Stasis sound. An in-depth masterclass of emotive techno and simply a must-have for any true techno enthusiast.

Mastered by Matt Colton at Metropolis. Al White created all the graphic work. A separate digital release will also be available at the usual digital shops. Stay tuned!

Es ist das Jahr 2007. Die Welt gehört dir und der Rest deines Lebens beginnt. DIY ist das Motto der Stunde. Nach dem überbordenden Vorgänger „Geräusch“ wirken die ärzte harmonischer und kompakter denn je zuvor. Genau dieser Moment, er ist perfekt. Mit „Jazz ist anders“ präsentiert sich die Beste Band der Welt in exzellenter Spiellaune und vervollkommnet das System BelaFarinRod. Es gibt die irre vielen zwingenden Melodien, die elektrischen Gitarren, den Quatsch, das Nachdenken, das Rausbrüllen, die ganz großen und die ganz kleinen Gefühle.

„Lied vom Scheitern“ ist die schmissige Hymne zur Selbstermächtigung, „Niedliches Liebeslied“ hebt das Genre Rodballade auf ein neues Level, „Licht am Ende des Sarges“ probt den Perspektivwechsel zum lustigen Vampir. „Tu das nicht“ ist ultimatives Statement zur Lage der Musikindustrie im beginnenden Breitband-Zeitalter. Und „Junge“ protokolliert nicht nur pedantisch allseits bekannte elterliche Sorgen, sondern schafft auch ohne Versmaß und echte Reime die Aufnahme in den Klassiker-Kanon der deutschen Popmusik. die ärzte: Jetzt gegen Angst, Hass, Titten und den Wetterbericht. Immer noch ohne Festanstellung und Barry Manilow. Dafür mit Schalala und Schalalu und ein bisschen breit. Und ständig dieser Lärm.

Die »vielleicht letzte wichtige Rock'n'Roll-Band unserer Generation« (Zitat Musikexpress) ist zurück. Wanda, Amore, Bussi, Niente, Ciao! Fünf Alben der österreichischen Kultband Wanda, formal insgesamt weit über 300 Wochen lang in den Charts, mittlerweile 14-mal Platin. Unabhängig davon wachsen die Songs live dargeboten ins Unermessliche; als ekstatische Gewalt auf der Bühne spielt die Band ausverkaufte Konzerte und Festivals in Deutschland, Österreich und der Schweiz.
»Es gab nie einen Plan B, es gab nur das Leben als Problemstellung, Musik und Erfolg, hin oder her«, bringt Sänger Marco Wanda einen Hauch von Bandphilosophie in einem der hunderten Interviews zum Ausdruck. Diese Kompromisslosigkeit spürt man auch. Die Jahre zwischen Bühne, Tourbus und Studio verschmelzen zu einem langen Drahtseilakt ohne Sicherheitsnetz. Und die Energie bei jedem Konzert – jedes Mal spielt die Band als wäre es das letzte Mal – reißt das Publikum ausnahmslos mit.

»Wenn deutschsprachiger Rock'n'Roll tot war, dann haben Wanda ihn wiederbelebt«, sagt detektor.fm über die Anfangszeiten dieser Band, die sich 2014 mit Amore gleichzeitig in die Radio Playlists und die Herzen der Fans katapultierte. In der neuen Single vereinen sich aufgestaute Energie, Sehnsucht und Aufbruchsstimmung, und ziehen gemeinsam durch die Nacht. Die Stadt wird wachgerüttelt, die Botschaft ist klar: »Don't stop the rock«.