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'I Know Too Much' is Ellie Goulding's highly anticipated 6th studio album. The incredible 10 track album features the single 'Black Prada Dress’.

Dub album full of sound system explosives by expert riddim tinkerer Prince Riser – hard rocking, spaced out Kawai synth digi bangers, hitting that sweet spot between analog and digital Reggae while drawing vibes from the legacy of Dread & Fred, Exterminator and Jammy.

Aside from the thunderous Dub epic “Through The Storm” Prince Riser’s debut LP is also featuring the killer vocal cuts “Poverty Ina Russia” by Sammy Gold – a super heavy depth charge of Sly & Robbie proportions – the soulful Wackie’s flavoured anthem “Keep On Trodding” by Madi Simmons (who sadly passed away in 2024) and the plonky digi stepper “Travelling Gal” by Prince Riser himself, each accompanied by a murderous Dub version.

With extra cosmic dust added by disrupt at the Jahtari home studio, "Through The Storm" is crucial gear for any sound system vinyl crate.

Cover art: Robbie Reiser

The quintet NOVA FELLOWSHIP was formed at the initiative of producer Antoine Rajon for a performance at the NUITS SONORES 2026 festival to pay tribute to the short but fruitful collaboration between musicians Kieran Hebden (aka Four Tet) and Steve Reid.

A discreet yet essential figure on the American music scene, the African-American drummer Steve Reid (1944-2010) left his mark on the history of free jazz, funk, and rock. His collaborations included the Sun Ra Arkestra, Albert Ayler and Miles Davis (Tutu), James Brown (on the classic Popcorn), and Martha & the Vandellas.
The end of his career was marked by his encounter with the Englishman Kieran Hebden, an emblematic pioneer of electronic music known as Four Tet, with whom he recorded four hybrid, experimental, and spiritual albums between 2006 and 2010. NOVA FELLOWSHIP, a group of friends who have collaborated in several bands, recorded the album CONTINUUM live at Studio Pigalle in Paris, with Kieran Hebden in attendance, who was captivated by the group's first concert at the Nuits Sonores festival.


On this album, NOVA FELLOWSHIP covers three 1970s classics by Steve Reid & the Master Brotherhood, three tracks by Four Tet, and a composition by the duo Kieran Hebden & Steve Reid, "Morning Prayer," which appears on their first joint album. Missouri drummer Zach Morrow brings to the group the dynamism he has displayed in recent years touring with poet Aja Monet. Heir to the versatility of Steve Reid, his playing is imbued with the full spectrum of Great Black Music. Versatile pianists Tony Tixier, arranger of an explosive version of the Nova/Free Spirits tracks created by Steve Reid, and Rob Clearfield, known for his work with Makaya McCraven, create hypnotic bass lines and captivating synth textures on their shared keyboards and synthesizers. Eritrean/American trumpeter Hermon Mehari and Italian saxophonist Francesco Geminiani, both Parisians and active on the European scene, form a powerful brass section. On ‘Morning Prayer,’ Francesco uses for the first time a flute of his own design, the Nautilus, which resembles an ocarina. This instrument, carved from maple wood and stylized on the album cover, was designed according to the Fibonacci sequence and the golden ratio. Its use celebrates the mystical and exploratory nature of the duo formed by Kieran Hebden & Steve Reid, whose musical alchemy has left its mark on all those who have attended one of their concerts.

The Go’s Free Electricity, the group’s storied, long-lost album, finally gets a proper release! The Go appeared in Detroit in 1996, led by Bobby Harlow and featuring Dave Buick on bass and Jack White on guitar. Following the release of their 1999 debut, Whatcha Doin’, and a few lineup changes, the band hit the studio with Dion Fischer on lead guitar, John Olson (of Wolf Eyes) on saxophone, and Cary Loren (of Destroy All Monsters) to record their sophomore effort. The session found the band and their producer, Matthew Smith (Outrageous Cherry), exploring the outer edges of rock and roll, with blaring lead guitars, copious amounts of reverb, and a heavy jazz influence thanks to a heavy diet of ‘60s free jazz. The results erupt from the speakers with a cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968, often sounding more like records by Pharoah Sanders and Sun Ra than the records being made by The Go’s peers in the ‘00s rock and roll scene.

Free Electricity was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren). Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan. Guest appearances by folks from Destroy All Monsters and Wolf Eyes only reinforced the album's musical direction. Weird or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, it shines through mightily on this album.

Kitsune No Yomeiri, which translates to the fox’s wedding, is an endearing expression used to describe sunshowers. Dawson returned home from a recent tour of Japan with a collection of field recordings documenting the spring rain he encountered throughout his travels. These curious sounds, stretching from peaceful shrines to clattering city streets, underpin the material.

Dawson also credits the wonderful folks he met on that tour with profoundly shaping the direction of the album. After each show he found himself immersed in inspiring conversations about the guitar. Through navigating the language barrier, he discovered he was communicating with an immense sincerity that he would ordinarily avoid at all costs. “I’ve always just made records at home in a vortex, but this time it felt like those conversations were there with me in the studio.”

Musically the album has a slight western slant. It’s not country, but it does see Dawson lean softly into his prairie past. Constellations of stray notes and rusted tones form nostalgic melodies, like chance encounters between old friends. Dawson allows phrases and gestures to repeat across the record, resulting in a collection that’s more akin to turning the pages of a novel than a series of vignettes vying for attention.

Ithā Sajā ist Khaled Kurbehs zweite Veröffentlichung bei Research Records und umfasst neun Klavierstücke. Das Gatefold-Vinyl-Format enthält ein Cover-Artwork sowie ein Booklet mit Zeichnungen von Ida Lawrence – neun Variationen von Khaleds Klavier, die beim Umblättern Gestalt annehmen oder sich auflösen. "Ithā Sajā ist eine Ode an die Dämmerung, den Tagesanbruch und das, was dazwischen liegt. Oder anders gesagt: Ithā Sajā ist eine Sammlung von Klavieraufnahmen, die ich in meinem Berliner Studio gemacht habe – in der Zeit zwischen: Dämmerung und Tagesanbruch, dem Stimmengewirr im Hinterhof, Baustellenlärm, Getrampel aus der Wohnung darüber, dem Grollen der U-Bahn, Kreuzberg und Tempelhof, 2021 und 2022. Danke an Alessandra Peach und Maryos Syawish von Research Records sowie an alle, die zuhören." - Khaled Kurbeh

Felix Walworth wurde in der Broome Street geboren. Bevor sie zu einer festen Größe in der New Yorker DIY-Szene der 2010er Jahre wurden, bevor sie ihr Markenzeichen - das auf einem Keyboardständer montierte BMSS-Schlagzeug - einführten, bevor sie eindringliche Reflexionen über Identität schrieben, die ihnen eine Kult-Anhängerschaft unter den Kids auf Tumblr einbrachten, waren sie ein Kind, das in den verschiedenen Stadtbezirken aufwuchs und eine Stadt liebgewann, die schließlich bis zur Unkenntlichkeit veränderte. ,What's Up" ist Walworths viertes Album als Told Slant, unter diesem Namen haben sie seit 2012 eindringliche Alben mit weitläufigem, nervenblanken Indie-Rock veröffentlicht. Das ist ihr New-York-Album: eine Sammlung von Songs darüber, wie man zusehen muss, wie sich die Heimatstadt verändert, und wie man spürt, wie sie einen im Gegenzug selbst verändert hat. Es ist ein Album über die Hingabe an ein prekäres Musikleben und all die Schönheit und Demütigungen, die damit einhergehen. Während es auf den ersten drei Told-Slant-Alben um Selbstreflexion und den Versuch ging, als Künstler zu überleben, handelt ,What's Up" davon, was passiert, wenn man sich ,fast schon manisch dem Projekt des Selbstausdrucks und der Subkultur in einer der feindseligsten Umgebungen der Welt" verschrieben hat und sich mit all den Menschen, Orten und Träumen auseinandersetzen muss, die auf diesem Weg verloren gegangen sind. In Songs wie ,Manhattan", ,Draw Blood", ,Three Anchovies" und dem Titeltrack fängt Walworth Trauer, Wut, Hingabe und flüchtige Momente der Verbundenheit ein und zeichnet das Verschwinden geliebter Stadtviertel, DIY-Räume, Freundschaften und Lebensweisen mit gleichermaßen schwerer und humorvoller Hand nach.,What's Up" ist zudem das bisher kollaborativste und abenteuerlichste Album von Told Slant. Es entstand über einen Monat hinweg in einem provisorischen Studio im Upstate New York und wurde größtenteils auf einem Acht-Spur-Spulenband aufgenommen - damit ist es die erste überwiegend analoge Veröffentlichung des Projekts, an der Hannah Pruzinsky, Jonny Baker, Ceci Sturman, Hellen Ballentine, Emily Sprague, Mari Maurice und Elijah Wolf mitgewirkt haben. Die Songs entstanden zum Teil aus Walworths Arbeit als Porträt- und Straßenfotograf während der Pandemie, als er die Straßen, Parks, Veranstaltungsorte und Ladenfronten, die sein Leben geprägt hatten, erneut besuchte - nur um festzustellen, dass viele davon verschwunden waren. Dieses Gefühl des Verlusts zieht sich durch das gesamte Werk, das mit ,Still Water" (2012) begann, sich über ,Going By" (2016) und ,Point the Flashlight and Walk" (2020) fortsetzte und seit langem von schmerzlich ehrlichen Songs über Selbstfindung, Freundschaft, Sterblichkeit und den langsamen Verlust der Verbundenheit mit der Gemeinschaft geprägt ist. Auf ,What's Up" richtet Walworth diesen Blick nach außen und dokumentiert nicht nur ihre eigene Beziehung zu New York, sondern auch die Kosten des Bleibens, des Schaffens und des Glaubens an eine Stadt und eine Musikkultur, die sie mitgeprägt haben.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

2026 feiern Mad Max ihr 45-jähriges Bandjubiläum mit »Stories Of Destiny«, einem besonderen Studioalbum rund um Songs, die Bandleader Jürgen Breforth gemeinsam mit bekannten Namen der Rock- und Metalszene geschrieben hat.

Das Album enthält neu im typischen Mad Max-Stil interpretierte Songs mit Verbindungen zu Sascha Gerstner von Helloween, David Readman von Pink Cream 69, Andreas Broon von The Sisters of Mercy und Michael Voss von Michael Schenker. Dazu kommen zwei bisher unveröffentlichte Mad Max-Songs aus dem Jahr 1991: »Til' The End Of Time« und »Weapons Of Love«.

Der neue britische Sänger Alan Clark gibt sein Studiodebüt bei Mad Max, während der ehemalige Sänger Andreas Baesler nach 45 Jahren erstmals zurückkehrt – unter anderem für ein starkes Duett auf »Piece of Candy« und die spanische Version »Dulces Falsos« als Tribut an die Fans in Lateinamerika.

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

Sofie Royer - laut *The Guardian* "einer der faszinierendsten und unterschätzten Popstars Europas, mit fesselnder Stimme und einem eigenwilligen, aristokratischen Glamour" - meldet sich mit einem neuen Album zurück! ,before/after" ist das vierte Studioalbum der österreichisch-iranischen Künstlerin. Es steckt voller Electro-Pop-Ohrwürmer und wurde gemeinsam mit Matt Cohn (SZA, The Weeknd), Jorgen Odegard (Sabrina Carpenter) und Eli Hirsch (Suki Waterhouse) produziert. Nach der Veröffentlichung dreier gefeierter Alben haben sich Songwriting und Produktion der Wiener Musikerin weiterentwickelt: Sie sind komplexer und ausgefeilter geworden, ihre Texte schärfer und humorvoller. *before/after* ist ihr bislang prägnantestes Werk. Es setzt sich mit den Schattenseiten des Künstlerlebens auseinander und verwebt die eigene Selbstreflexion mit kultureller Zeitkritik. Auch wenn sich Sofie von der Lo-Fi-Produzentin zur ernstzunehmenden Popmusikerin gewandelt hat - die bereits als Support-Act für Lana Del Rey, Air und LCD Soundsystem auftrat -, fühlt sie sich nach wie vor nirgendwo so recht zugehörig. Sie nimmt bei ihrer Kritik an der Musikbranche kein Blatt vor den Mund - "Ich bin zu sehr Pop für die Kunstwelt und zu sehr Indie-Liebling für den Mainstream" -, doch am härtesten geht sie mit sich selbst ins Gericht. In zwölf eingängigen Popsongs geht Royer der Frage nach, ob die Konflikte zwischen Vergangenheit und Zukunft nicht eigentlich Kämpfe mit dem eigenen Ich sind. "Wir befinden uns in einem ständigen Kampf zwischen dem Vorher` und dem Nachher`, wir beschäftigen uns intensiv mit diesen beiden zeitlichen Zuständen. Doch indem wir in ihnen gefangen bleiben, stehen wir uns oft selbst am meisten im Weg. Letztlich heißt es im Zustand des Vorher/Nachher immer: Du gegen dich selbst." Für Freunde von Suki Waterhouse, Lykke Li, Smerz, CMAT

Back for its 29th (!) birthday, No Use's fifth full lenght! "Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving 'em wet sloppy ones when they come to your town." No Use for a Name was a melodic punk band from San Jose, California blending blistering skate-punk speeds with deeply melancholic, unforgettable pop melodies. What began as a scrappy late-80s hardcore act grew into a defining pillar of the 90s punk rock explosion, earning fans through relentless international touring and releases that perfectly balance grit and heart. Drawing comparisons to Lagwagon, Millencolin, and Strung Out, No Use for a Name pairs introspective, emotionally raw lyrics with fast-paced, harmony-driven arrangements built for sweaty club shows and massive circle pits. Their songs tackle alienation, broken relationships, and the struggles of everyday life, creating a connectionthat feels both intensely personal and universally cathartic. Their first two albums were released through the New Red Archives label, after which they signed to Fat Wreck Chords where they would remain, releasing seven studio albums and shifting to a melodic punk rock sound. With their fifth album `Making Friends,' the band continued to build on their momentum, delivering their tightest, most emotionally resonant, and career-defining collection of songs in 1997. 2026 it comes in brown vinyl color.

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

Sister Hazel is the American alternative rock band from Gainesville, Florida, onsisting of band members Ken Block, lead vocals/guitar, Andrew Copeland, guitar/vocals, Ryan Newell, lead guitar, Jett Beres, bass, and Mark Trojanowski on drums.

The band’s name pays tribute to Sister Hazel Williams, a beloved local missionary known for her unwavering compassion and community work....Somewhere More Familiar is the second studio album by Sister Hazel, the title of the album comes from a lyric in the song “We’ll Find It”, and was released in 1997.

Anchoring the album is the band’s song “All for You (which is Sister Hazel's biggest hit to date, hitting #11 on the Billboard Hot 100. Meanwhile “We'll Find It” found a second life on the soundtrack of the 2001 film The Wedding Planner, starring Jennifer Lopez and Matthew McConaughey.

…Somewhere More Familiar finally arrives in its debut vinyl pressing and includes an insert with lyrics.

Das Gründungsmitglied von Black Sabbath und der „Godfather of Heavy Metal“ kehrt mit seiner ersten
neuen Solomusik seit 21 Jahren zurück – zugleich seine erste vollständige Studioveröffentlichung seit dem
letzten Black-Sabbath-Album *13*. „World Alone“ ist die erste Single aus dem gleichnamigen Album;
es handelt sich um einen rasanten, gitarrenbetonten Song, der von Tonys unverkennbaren, gewaltigen
Riffs angetrieben wird. Der Track ist hart und doch eingängig, und dank des Textdichters und Sängers
Jørn Lande wirkt er zudem aufbauend. Dies ist klassischer Iommi: Er vereint alle Markenzeichen seines
legendären Gitarrenspiels mit einer modernen Note.

Das zweite Studioalbum der amerikanischen Post-Hardcore-Band – ursprünglich im Mai 2011 veröffentlicht
– erscheint nun als Neuauflage auf schwarzem Eco-Vinyl. Die Aufnahmen fanden bei Interlace Audio in
Portland, Oregon, statt. Produziert wurden die Sessions gemeinsam von Kris Crummett (der auch als
Toningenieur fungierte) und der Band. Das Album enthält die Singles „Do It Now, Remember It Later“,
„Fire“, „If You Can’t Hang“ und „A Trophy Father’s Trophy Son“.

„Ein Lächeln im Gesicht“ ist das fünfte Studioalbum von Farin Urlaub und erscheint am 4. September
2026 auf roter Vinyl, roter CD sowie als Download und Stream und ist vorbestellbar

„Ein Lächeln im Gesicht“ ist das fünfte Studioalbum von Farin Urlaub und erscheint am 4. September
2026 auf roter Vinyl, roter CD sowie als Download und Stream und ist vorbestellbar

Ellie Goulding’s sechstes Studioalbum „I Know Too Much“ erscheint am 04. September 2026. Mit dem
Album hat Ellie Goulding auf ehrliche Weise alles zusammengeführt - wie ein Tagebuch in Musikform,
eine Sammlung von Liedern, die eine bestimmte Zeit in ihrem Leben widerspiegeln. Es markiert das
nächste Kapitel einer Karriere, die von internationalen Erfolgen, zahlreichen Auszeichnungen und einer
unverwechselbaren Mischung aus emotionalen Texten, elektronischen Beats und ihrer charakteristischen
Stimme geprägt ist.
„I Know Too Much“ erscheint auf Vinyl und CD.

Diese Aufnahme von Vivaldis „Vier Jahreszeiten“ aus dem Jahr 1969 mit der Academy of St Martin in
the Fields und Sir Neville Marriner – dem am häufigsten aufgenommenen Orchester-Dirigent-Duo der
Geschichte – ist nach wie vor so frisch und voller neuer Ideen wie bei ihrer Erstveröffentlichung.
Alan Lovedays wunderbar stilvolle Violinsoli und Simon Prestons einfallsreiche Continuo-Bearbeitung auf
Cembalo und Orgel machen diese Aufnahme zu einer der musikalisch befriedigendsten „Jahreszeiten“-
Einspielungen. Transparent, lebendig, tänzerisch.
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden.

Seit ihrer Erstveröffentlichung ist Sir Colin Davis’ mitreißende Aufnahme der „Symphonie fantastique“ aus
dem Jahr 1974 mit dem Concertgebouw-Orchester erste Wahl geblieben.
Davis’ Verbundenheit mit Berlioz ist mittlerweile legendär. Sein Verständnis für Berlioz’ einzigartige Kompositionspraxis kommt in dieser Concertgebouw-Aufnahme voll zur Geltung. Alle individuellen Qualitäten
von Berlioz’ Orchestrierung werden durch Davis’ überragende Musikalität kompromisslos umgesetzt. Er ist
ein wahrer Verfechter des Werks des französischen Komponisten. Packend!
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden.

„Move Along“, ursprünglich 2005 bei Interscope erschienen, ist das zweite Studioalbum von The AllAmerican Rejects. Es ist nun mit drei seltenen Bonustracks erhältlich: „Kiss Yourself Goodbye“, „Bite
Back“ und „Eyelash Wishes“. Mit Hits wie dem Titelsong, „Dirty Little Secret“ und „It Ends Tonight“
verhalf dieses Album der Band zu großem Bekanntheitsgrad, wurde von der RIAA mit 3-fach Platin ausgezeichnet und füllte Arenen auf dem Höhepunkt eines dreijährigen Tourzyklus.
Erhältlich als limitierte 2LP in Weiß

Wir feiern das 30-jährige Jubiläum von Another Level. Das zweite Studioalbum von Blackstreet erschien 1996 bei Interscope Records und markiert den kommerziellen Höhepunkt der Gruppe. Es verbindet
geschmeidige R&B-Harmonien mit Hip-Hop-Produktionen und einem ausgefeilten, radiotauglichen Sound.
Das Album wurde größtenteils von Gruppenbegründer Teddy Riley produziert, einem Pionier des New
Jack Swing, und vereint gefühlvolle Balladen, groovige Midtempo-Tracks und cluborientierte Songs. Dabei
präsentiert es Blackstreets charakteristische Mischung aus romantischen Themen, urbanem Flair und stimmlicher Präzision.
Im Mittelpunkt des Albums steht der weltweite Megahit „No Diggity“ mit Dr. Dre und Queen Pen. Der
Song wurde mit einem Grammy Award ausgezeichnet und entwickelte sich zu einem der prägendsten R&B-
/Hip-Hop-Crossover-Hits des Jahrzehnts. Weitere herausragende Tracks wie „Don’t Leave Me“ und „Fix“
zeigen die Fähigkeit der Gruppe, emotionales Storytelling mit zeitgemäßer Produktion zu verbinden.
Another Level war ein großer kommerzieller Erfolg, erreichte mehrfachen Platinstatus und festigte Blackstreets Position als eine der führenden R&B-Gruppen der 1990er-Jahre. Das Album spielte eine wichtige
Rolle bei der Entwicklung jener Verschmelzung von R&B und Hip-Hop, die den Sound dieser Ära maßgeblich prägte.
Anlässlich des Jubiläums wird das Album neu als 2LP auf klassischem schwarzem Vinyl aufgelegt und
enthält außerdem den bereits zuvor veröffentlichten Bonustrack „No Diggity – Billie Jean Remix“.

Starkes Albumdebut des Surf-Psych-Groove-Instrumental-Trios Goblyns. »Hunki Bobo« brauch sich hinter Größen wie The Meters, W.I.T.C.H, Khruangbin und Can nicht verstecken. The Meters, W.I.T.C.H, Khruangbin und Can: das sind nur einige der Bands, die die Psychrock-Newcomer Goblyns als Einflüsse auf ihren Sound nennen. In Südafrika gegründet leben die drei Bandmitglieder mittlerweile in Berlin und Amsterdam. In Europa schrieben die Drei auch die Songs für ihr Debutalbum. Die acht Tracks auf »Hunki Bobo« wurde in einem fünftägigen Studiorausch im schwülen Juli 2023 unter der erfahrenen Leitung von Andre Leo aufgenommen. Leo ist vor allem für seine Arbeit mit Medicine Boy und Wombed bekannt und hat zusammen mit den Musikern etwas ganz besonderes erschaffen. Das Album hat eine einzigartige Dynamik und steckt voller Energie. Jeder Song strahlt einen Groove aus, dem man sich schwer entziehen kann. Ob düstere Krautrock-Hypnose, grooviger Surf, Psychedelica. Goblyns fesseln den Hörer an das gesamte Album.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

Lisa O"Neill stammt aus Ballyhaise im irischen County Cavan und lebt heute in Dublin. Ihr Album Heard A Long Gone Song, erschienen auf River Lea (Rough Trade), verbindet traditionelle Folk-Lieder mit eigenen Kompositionen. Durch ihre unverwechselbare Interpretation verschmelzen alte und neue Stücke zu einem zeitlosen Ganzen. Das Album eröffnet mit einer puren, unbegleiteten Version von The Galway Shawl, gefolgt von der düsteren Ballade Along The North Strand, die durch Geige und Concertina eindringlich untermalt wird. Ein weiterer Höhepunkt ist das bewegende Duett The Factory Girl mit Radie Peat von Lankum. 2018 trat O"Neill bei Shane MacGowans 60. Geburtstag in der National Concert Hall in Dublin auf. Auf dem Album interpretiert sie zudem Lullaby Of London von The Pogues, dessen Textzeile dem Album den Titel gab. Zu ihren eigenen Liedern gehören Rock The Machine, das die Folgen der Mechanisierung für ehemalige Hafenarbeiter in Dublin thematisiert, sowie Violet Gibson, die Geschichte einer Irin, die 1926 ein Attentat auf Mussolini verüben wollte. Mit diesen Stücken verleiht O"Neill oft übersehenen Menschen und Geschichten eine Stimme. Aufgenommen in einem ländlichen Studio nahe dem Loiretal und produziert von David Odlum und Lisa O"Neill, knüpft das Album an den Erfolg von Pothole In The Sky (2016) an. Es ist eine zugleich politische, poetische und zutiefst persönliche Folk-Platte, deren Lieder zeitlos wirken.

Die australischen Rockband Airbourne war noch nie dafür bekannt, klein zu denken. Auf ihrem
sechsten Studioalbum, der nach der Band selbst benannt ist, hat sie sich allerdings noch mal selbst übertroffen. Airbourne – ein Name, der zum Synonym für bombastischen, biergetränkten, gefährlichen und sexy Rock’n’Roll geworden ist. „Dieses Album vereint alles, wofür wir stehen, in einem einzigen Werk“, erklärt Ryan den Titel. „Es ist das beste Album, das wir überhaupt machen konnten.“

Zusammen mit dem starken Produktionsteam aus Brian Howes (der 2013 "Black Dog Barking" produziert hat) und dem Toningenieur Mike Fraser (der an „Breakin’ Outta Hell“ von 2016 und „No Guts. No Glory.“ von 2010 mitgearbeitet hat), machte sich die Band im Music Farm Studio im „Dschungel“ außerhalb von Byron Bay an die Arbeit. Der Komplex verfügt über das originale Neve-Mischpult aus den Alberts Studios, auf dem Bands wie AC/DC, Rose Tattoo und The Angels ihre wegweisenden frühen Alben aufgenommen haben.

Das Ganze präsentiert sich in einem sorgfältig gestalteten Paket, gemischt von Zakk Cervini (BMTH, Architects), das die Leidenschaft, das Feuer und die schweißgetränkte Gefahr einer Band auf dem Höhepunkt ihrer Kräfte einfängt, komplett mit Schlagzeug, das wie Kanonen knallt, und Gitarren, die wie Kreissägen schneiden.

„Alive After Death“ und „Send Me To Rock’N’Roll Heaven“ sind eine Hommage an die verstorbenen Idole der Band; letzterer Titel bezieht sich auf Lemmy, Doc Neeson von The Angels, John Bonham, Bon Scott, Little Richard und weitere. Joel schrieb den Text zum mitreißenden „Alive After Death“ eines Abends im Tourbus, als er darüber nachdachte, wie die Musik dieser Legenden sie unsterblich macht. An anderer Stelle gibt es Geschichten von unterwegs („Bogota“), Songs über Trotz und Nicht-Aufgeben („Last Man Standing“, „Hell’s Got No Vacancy“, „Gutsy“) und noch mehr Sex („Sky High“). Jetzt müssen Airbourne nur noch auf die Bühne zurückkehren, in der Gewissheit, dass sie ihr bestes Album aller Zeiten mitbringen.

Ondrǣdan is the second aesthetic proposal by Sediments’ owners Pajaro Dune. This work is the result of a deep artistic experimentation and a thorough compositional refinement. Some of these materials have been distlilling in the studio for almost a decade of sound engineering and constant debate to make the experience much more profound.

From old English language, ondrǣdan it is a direct reference to our most primordial fears. Both an emotional yearning and a postapocalyptic kubriesque tale, the five works of this record capture five shades of rhythm and mood, where ambient, dub and downtempo meet in immersive narrative experiences. All them crowned with the luxurious sculptural artwork by Blanco Anyò who forces us look beyond the visceral to intuit the transcendent.

Pajaro Dune is the product that combines the creative minds of Jaime Romero aka Estrato Aurora and David Ortolà aka Syoqh aka d_o_ppelgaenger. More than half a life producing together from València, their multifaceted approach crystallizes in renowned works for Alpenglühen, Grabaciones Perpendiculares, The Monkey Bar, Eleve Music and now their own label.

|| We
become more from what is left,
deliver else than just the now,
build sound stories for the then. ||

The most beautiful thing we’ve ever released?

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. Listen, listen, listen...

A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works.

A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket.

Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times.

Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs.

"When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd’s Echoes, Yes’ Close To The Edge, Klaus Schulze’s Nowhere Now Here, Miles Davis' Shhh/Peaceful and He Loved Him Madly. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ Tales From Topographic Oceans and Tangerine Dream’s Zeit being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album." - Sam Grawe

Phaser For The Ocean Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset - and every colour in between.

Dutch groovemaster Boss Priester debuts on Haven Trax with a raw and hypnotic four-tracker, stripped grooves like we know from him, an analog grit, and late-night energy straight from his studio in the Hague to the dancefloor.

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

»Ampersand Curve« initiates a brilliant new phase of work by North Manchester’s most elusive artist, best known as Michael J. Blood. His string of ruffkut club bangers, as well as jams with Rat Heart & Samizdat over the past seven years, have made his records a true cult property, and now find him signed to one of the UK’s most foundational techno imprints – more of which later this year.

But under the Sees aegis, he swims in very different waters, following his instincts to use the studio-as-instrument to produce his most impressive, deep-minded work, made from – and for – the heart. Where MJB was all about off-the-cuff club jams cooked for immediacy, his new stylistic switch reveals myriad worlds of influence swirling under the hood, where interrelated spheres of spiritual jazz, dub, ambient, and concrète more clearly light up his rich inner world.

As the story goes, MJB was burgled a few years back and lost most of his studio just as the project was hitting its stride. It prompted a personal review of his practice, re-learning new kit, allowing him to bend the rules. Adopting a sort of first-thought, best-thought approach to composition, the new methodology fuelled a renewed imagination in flux, or what he identifies as Sees: a personalised way of conveying complex emotions. That undoing of musical and mental conditioning opens the walls of his music to vast new horizons. Opener »Ithaca« fathoms sonorous midnight jazz with 10 mins of a plangent, searching sax solo in HD widescreen, like some alternate version to the Blade Runner Love Theme, while a resonant vocoder soliloquy, »Unseem«, reaches into space harmonised between Alvin Lucier and Ron Trent, and »Sheer« chases the devil out of labyrinthine dub dimensions.

The floating dream architecture of »Caprices« caps the LP’s underlying narrative and painterly qualities with a romantic conclusion of blushing pads and shivered, metallic echoes of the subtropical that suggest a coming-to-terms with worries, refreshed and good to go again.

Nein, neu im Geschäft ist El Michels Affair nicht. El Michels hat hart gearbeitet, in unzähligen mitternächtlichen Studiosessions und auf einer Welttournee für den Wu-Tang Clan. Und eins ist klar: Die Band ist dabei auf eine gute Art gealtert. Nachdem es 2005 wie aus dem Nichts mit dem Instrumentalalbum "Sounding Out The City" aufschlug, hat sich das Studio-konzentrierte Kollektiv, angeführt vom Multiinstrumentalisten und Komponisten Leon Michels, Fans auf allen Kontinenten erspielt. Die Gruppe ist für ihre schwelgerischen Soul-Instrumentals bekannt, aber auch für ihre Wu-Tang-Covers, wie die explosive Reaktion auf ihre zwei Alben "Enter The 37th Chamber" (2009) und "Return To The 37th Chamber" (2019 beweist. Das alles ist aber längst Geschichte, denn das rundeste und reifste Album der Band mit dem passenden Titel "Adult Themes" beweist, welche neuen instrumentalen Höhen sie erklommen hat. Das Album, das Michels als "Soundtrack für einen imaginären Film" beschreibt, ist eine Sammlung von opulenten, abgründigen, komplexen und oft sehr funkigen Stücken, die die Ohren zum Schwingen und die Köpfe zum Nicken bringen.

Dark Entries helps Suzanne Ciani come out of the closet as Steve! Legendary composer, sound designer, and Buchla maestra Suzanne Ciani has a staggering list of accolades and accomplishments, from scoring Hollywood films to releasing influential new age records to literally designing the Coca-Cola bottle-opening sound. In the late 70s/early 80s, Ciani, while living in New York, acquired an Eventide H 949 harmonizer, which offered high fidelity pitch-shifting. In her words, “When I adjusted the pitch of my voice to 0.80, my natural voice became re-invented as what was clearly a gay man, who I called Steve. I became Steve; and Steve expressed himself as only he could.” Ciani adopted the male persona and collaborated with Peter Baumann of Tangerine Dream on “Steve Goes to a Party.” The track features Ciani-as-Steve adlibbing in decadent and delirious fashion alongside Baumann’s robotically funky beats. Steve would emerge again a few years later at George Louvis’s Stardust Studios in New Jersey, to create “Steve Saves the World,” an absurdist and ecstatic proto-house groover complete with a gospel-esque chorus from the Stardust All-Stars. This EP is rounded out by a birthday wish to Ciani’s then-boyfriend Alfred on “Steve Happy Birthday Wishes” featuring Suzanne. Steve’s Out of the Closet perfectly captures the delirious techno-poptimism of the 1980s downtown avant-garde, with parallels in Robert Ashley’s Perfect Lives or Lynn Goldsmith’s project Will Powers, responsible for the track “Adventures in Success.” The Steve sleeve was designed by Eloise Shir-Juen Leigh, and the record also includes a birthday card with liner notes from Ciani.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

'Palle Mikkelborg (b. 1941) - a spiritual jazz legend, acclaimed composer, trumpet player and electronic music pioneer - is back in the studio recording his first solo album in more than 25 years. Working with him as a producer is Jakob Bro, with whom he has recorded the great ECM albums Returnings with Jon Christensen and Thomas Morgan, and Strands with Marilyn Mazur.
'"When Palle decided to stop touring and performing live, I suggested that we sit down together and listen through the many MiniDiscs and DAT tapes he had tucked away, hoping we might find a new direction for making music together. We went through everything - recordings of orchestras and choirs, soundscapes, and so on - material he had worked on throughout his career,” says Jakob Bro. “I can still remember the first time we said it out loud. Suddenly, it made perfect sense in my mind: a solo album. An album devoted entirely to Palle - his sound, his vision, his voice. It felt like something the world truly needed.”
'This final opus sees Palle Mikkelborg re-interpret and record his own orchestral works and two pieces by Per Nørgaard and Thomas Laub as 'meditations' on solo piano, trumpet and flugelhorn mixed with soundscapes and guest performances by longtime collaborators Helen Davis, Jakob Bro and Thomas Li.
'As a soloist his sound on trumpet and flugelhorn is both much loved and familiar after decades at the forefront of Nordic Music, but on Light one is struck by the weight Palle Mikkelborg has given his soundscapes and the grand piano. Forever curious on what's ahead, the album underlines his spiritual and ever-seeking approach to free improvisation, classical composition, choral works and experimental sound landcapes.'

Released in 1993 and never reissued on vinyl since, this album was recorded at Music Works Recording Studio, which was renamed that same year Anchor Recording Studio, well known among reggae enthusiasts. It was produced by Doctor Dread and mixed at the prestigious Lion & Fox Recording Studio, the American base of the RAS Records label.

The line-up is impeccable, featuring of course Flabba Holt on bass, Tee Bird on keyboards, Dwight Pinkney on guitar, and Sky Juice on percussion—in short, the full Roots Radics line-up.

As usual, Skelly, Wiss, and Apple take turns singing lead while the other two enhance the vocals with high-pitched melodic harmonies.

In a Roots Rock Reggae vein, this album is a cornerstone of the group’s discography, presented to you remastered, with a sound it had never been given before. The 180g vinyl pressing, glossy finish, and 350g sleeve make it a choice piece for all lovers of quality Roots reggae.