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The Rephlex alumni and all around electro legend DMX Krew channels the Minneapolis sound, boogie, and freestyle in this classic 2005 Japan-exclusive, now pressed on vinyl for the first time by the good people at Cold Blow.

Joyous, superb music; the real deal. Hotly recommended.

Scintillating, masterful, roaring, classic Cubanismo, beautifully recorded in 2017 at the storied Areito Studio in Havana.

Descargas, jazz, boogaloo, son… and some ritual music to bring the curtain down. You’ll find yourself hungry for more.

The musicianship is dazzling in every corner of the orchestra; set on fire by the timbales of Changuito (from Los Van Van), and booted along by a hard-swinging, full brass section led by trumpeter Julito Padron, graduate of the legendary septet Nacional de Igacio Pinero, and later Irakere. The sound is steeped in tradition but by no means stuck in the past.

The vinyl is beautifully presented in a heavyweight, high-gloss gatefold.

"Artist, multi-instrumentalist and astral traveller E Ruscha V releases a hypnotic suite of flow-state synth improvisations for Fourth Sounds.

Building on Ruscha’s 2022 collection Thinking A View, also accompanying an exhibition at Cedric Bardawil, Seeing Frequencies is as intuitive and it is experimental, as Ruscha follows melodic and rhythmic modulations like desire paths across 13 spacious recordings.

Drawn in part from the CocoQuantus synth, built by a man Ruscha describes as 'too weird for Buchla', Seeing Frequencies rides high on tremolo waves and organic vibrations, rooted in ambient, Balearic and Kosmische music traditions, while simultaneously engaging in a dialogue with the synaesthetic qualities of Ruscha’ painting practice.

Allowing the music to flow through him, Ruscha describes the optimum moment of creation as one he imagines for the listener too. 'I really love when music forces you to forget,' he explains. 'There's this beautiful moment where everything coalesces, and you just don’t think about anything.'

To immerse yourself in Seeing Frequencies is to understand exactly what he means."

Edition of 300 marbled vinyl with risograph insert, liner notes by Anton Spice.

"Following the resonating success of their initial collaboration, the TLF Trio—comprising Danish cellist Cæcilie Trier (CTM), pianist Jakob Littauer, and guitarist Mads Kristian Frøslev—reunites on Latency with electronic music legend Moritz von Oswald for the follow-up to their debut album, 'Sweet Harmony.'

TLF Trio, along with Moritz von Oswald, once again delves into the realm of chamber music, this time with two new songs further exploring the intricate acoustic dynamics of their instruments with electronics. As the second instalment in this musical journey, 'New Songs & Variations' builds upon the minimalistic, sculptural, and narrative qualities of its predecessor, weaving a tapestry of expressive and plural voices.

Moritz von Oswald, a central figure in the electronic music scene since the early '90s, brings his wealth of experience to the project, reinterpreting two of TLF Trio's previous works. From his early days as a classical percussionist to groundbreaking collaborations in the techno sphere, von Oswald's influence has left an indelible mark. His role in co-founding Basic Channel/Rhythm & Sound and contributions to the Berlin-Detroit-Chicago axis have defined various strains of modern music.

'New Songs & Variations' not only captures the rich history and influence of Moritz von Oswald but also showcases his ongoing exploration into classical, experimental, and improvisational contexts. From recomposing Ravel and Mussorgsky’s music for Deutsche Grammophon to acclaimed collaborations with jazz trumpeter Nils Petter Molvær, composer Laurel Halo, or Afrobeat pioneer Tony Allen, von Oswald's versatility continues to evolve.

TLF Trio and Moritz von Oswald invite listeners to embark on a sonic journey that bridges the past and the present, mirroring the transformative essence of Louise Lawler's distorted image, which graces its cover—a testament to the delicate fluidity and shape-shifting nature of the music contained within.

Compossed by Moritz von Oswald, Cæcilie Trier, Claus Haxholm (beat on Chrome), Jakob Littauer and Mads Kristian Frøslev.
Mastered by Kassian Troyer at Dubplates & Mastering.
Artwork by Louise Lawler. Formica (adjusted to fit, distorted for the times, slippery slope 2), 2011/2012/2015/2017. Courtesy the artist and Sprüth Magers. As adjusted for Latency.

Continuing our exploration of São Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of África Negra Anthology Vol. 2. We've carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group.

África Negra, established in the early 1970s by Horacio and Emidio Pontes, is São Tomé and Príncipe's most renowned musical group. Their blend of Puxa and Rumba, infused with Leonildo Barros' guitar riffs, Armando Tito's bass lines, and vibrant percussion, gained them recognition beyond the archipelago. This volume offers a glimpse into their musical journey, featuring unreleased sessions from 1979 and 1990, showcasing lead vocalists like João Seria and Sergio Fonseca.

Die New Yorker Pop-Experten Charly Bliss möchten, dass ihre neue LP Dich unter der Last purer Gefühle erdrückt. Sie wollen Dich in einen Herzschmerz-Hurrikan stürzen. Sie möchten, dass Du beim Mitsingen bei ihren Gigs und allein in Deinem Schlafzimmer Deine Seele ausschüttest. Kurz gesagt, so Sängerin Eva Hendricks, wollen sie Dich zerstören … aber auf eine unterhaltsame Art und Weise. Co-produziert von Jake Luppen (Hippo Campus) und Caleb Wright (Samia) ist "Forever" Charly Bliss' bisher grösste und hellste Power-Pop-Charge. Voller klanglich dichter, emotional aufgeladener Songs, die die Lustzentren in Deinem Gehirn aktivieren, egal ob allein per Kopfhörer oder bei einer überfüllten Liveshow. Die Songs schimmern und explodieren wie ein Feuerwerk.
LP auf Transparent Clear Vinyl im Gatefold samt Lyrics-Einlage

Die New Yorker Pop-Experten Charly Bliss möchten, dass ihre neue LP Dich unter der Last purer Gefühle erdrückt. Sie wollen Dich in einen Herzschmerz-Hurrikan stürzen. Sie möchten, dass Du beim Mitsingen bei ihren Gigs und allein in Deinem Schlafzimmer Deine Seele ausschüttest. Kurz gesagt, so Sängerin Eva Hendricks, wollen sie Dich zerstören … aber auf eine unterhaltsame Art und Weise. Co-produziert von Jake Luppen (Hippo Campus) und Caleb Wright (Samia) ist "Forever" Charly Bliss' bisher grösste und hellste Power-Pop-Charge. Voller klanglich dichter, emotional aufgeladener Songs, die die Lustzentren in Deinem Gehirn aktivieren, egal ob allein per Kopfhörer oder bei einer überfüllten Liveshow. Die Songs schimmern und explodieren wie ein Feuerwerk.
LP auf Transparent Clear Vinyl im Gatefold samt Lyrics-Einlage

i9M is back with a new old release - what we mean by that is that these tunes were actually first recorded back in 2002 by Ability II aka David Duncan, but you wouldn't know it from listening. They are still future-sounding cuts from the producer who had forgotten about them for many years but who says that lyrically they are even more relevant now than two decades ago. The drums are dubby, the FX are cosmic and the synths bring sleek ambient flow to the energetic low ends. Outta Attercliffe aka the talented Luca Lozano, alongside associate DJ Steve remixes and ups the dub quotient while slowing the groove a touch. Last of all is a tripped-out Underground Dub Mix full of glistening FX and melon-twisting reverb.

Yours Truly melden sich mit der Ankündigung ihres zweiten Albums TOXIC zurück.
Die neue Single 'SOUR' ist der Nachfolger von "Call My Name", das im Januar 2024 veröffentlicht wurde und beim australischen Radiosender Triple J
in die Rotation aufgenommen wurde und dort den Spitzenplatz als meistgespielter Track des Senders erreichte.
TOXIC ist der Nachfolger des 2019 erschienenen Debütalbums Self Care der Band aus Sydney, das auf Platz 19 der ARIA-Album-Charts landete und bei
den ARIA Awards 2021 als "Best Hard Rock/Heavy Metal Album" nominiert war. Die Band wird im August auf dem britischen Reading + Leeds Festival
auftreten.

Portuguese renegades Diogo and DJ Doggo bring us sexy broken beats, in-your-face samples and sumptuous bass on this new EP from Welt Discos. First, Diogo caresses us with the soulful shuffle of ‘I Need U’ and his moody remix of ‘Aileron Pt. 2’ by jazz-funk band Yakuza. On the flip, DJ Doggo hits us with swung party grooves on the garagey ‘In My House There Will Always Be House’ and the body rockin’ ‘Let Me See You Dance’.

Salétile return to the Keroxen tenfold with their second long play of 60’s inspired psychedelia and neo shoegaze tunes.

With its members hailing from a particular area of northern Tenerife with its ever present “panza de burro” —a layer of insistent low clouds overcasting the region—, the tone and feel of Salétile’s music had to be naturally clouded and sombre. A periphery sound from the periphery then, a local approach of a popular sound with a calm and serene atti-tude.

While their first album, Humanoides del abismo (Humanoids of the Abyss), evoked an underwater journey, for their second outing Salétile emerge swiftly into the surface to continue their peculiar sound explorations of their precious surroundings, adding different layers of pressurisation.

A more pronounced melodic intention is present but without abandoning the care for textures and atmospheres that defined their debut, as well as the use of contemporary techniques such as looping and real-time processing, encom-passing influences as diverse and timeless as classical music, 1950s R&B, 1960s pop, hip-hop, dub, 1990s English shoegaze, concrete music, slowcore or math rock.
A loopy pot of sources from a hermetic band that is not afraid of pushing their many influences to the foreground. Emerge!
Salétile are Daniel García, Elsa Mateu and Ruymán García
Mastered by Daniel García
Artwork by Gustavo García

Vinyl pressed in Spain

"IX" ist eine legendäre und unglaublich kraftvolle Black/Thrash Metal-Platte aus dem Goldenen Zeitalter des Metal!

Die italienischen Black/Thrash Metal-Meister Bulldozer wurden fast einhellig als Italiens Antwort auf Venom bezeichnet. Wir würden diesen Vergleich gerne zu den Akten legen, denn Bulldozer blasen Venom auf "IX" aus den Socken. Bulldozer tun das, was die meisten Venom-Verehrer taten, aber auf dieser Veröffentlichung haben sie eindeutig mehr eigene Identität. Bulldozer hatten mehrere gute Alben, aber keines davon erreichte die Qualität von "IX". Die Bulldozer Alben vor "IX" hatten unter einer schlechten Produktion gelitten. Wir wissen, dass eine raue Produktion zur Ästhetik des Black Metal beiträgt, aber wenn sich die Lautstärke der Gitarren ändert, obwohl dies nicht der Fall sein sollte, wird das zu einem Problem. Der Mix ist hier ausgewogen und die Produktion ist immer noch sehr roh. Das erlaubt den Instrumenten zu dröhnen, aber immer noch in der richtigen Lautstärke zu
sein.

The funkiest release on the HDH label and last album from Detroit soul group Chairmen of the Board saw a concerted movement away from harmony soul towards the psychedelic funk-rock sound of Funkadelica.

This record features backing from Parliament-Funkadelic musicians Eddie Hazel (guitar) Bernie Worrell (keyboards and organ), Billy “bass” Nelson (bass) and Tiki Fullwood (drums) who all give the music an enthusiastic funk injection. Reissued on 140g black vinyl with newly mastered audio from Phil Kinrade at AIR Studios, an obi strip and a printed inner featuring a liner note from “Soul Trilogy” author Stuart Cosgrove, enjoy this limited edition 50th anniversary release of Skin I’m In – brought to you with SOUL by Demon Music Group. Get on down with the get down…

This time we present 4 solo tracks by David Oblivion (Interruption Records) from Ireland on the exclusive label of Chris Liberator. Wellknown from Stay Up Forever.
This is a heavy one !!

there’s a nu name on the map. interloot strives to equip the
delicate nightlife companion and savvy dance§oor
connoisseur with heavy artillery. for their long-awaited debut
they team up with the slick bavarian based decent rides who
supply a versatile house in¦ltrated dance voyage. starting of
with the title track »always a choice« the duo delivers an
atmospheric synth heavy opening tune, that forcefully
accelerates into a driving §oor¦lla. the following »stuff in
space« gently makes its way through the groove with a
moody percussive loop soon to be succeeded by a weighty
electric baseline for proper pressure. after §ipping sides
»under the carpet« builds up on a stomping tribal infused
percussion rhythm, steadily unfolding it’s raw and sweeping
energy. the grand ¦nal is completed by well known berlin
based producer johannes albert, contributing an uplifting
take on »always a choice«. so now, choice is yours. cheers.

Wie eine Rauchwolke haben sich Stoned Jesus über die Karpaten erhoben und sind nicht nur die härteste, sondern vielleicht auch die wichtigste Rockband, die aus der Ukraine hervorgegangen ist.

Vor der Erstkommunion von Stoned Jesus war der sympathische Frontmann Igor Sydorenko nur ein weiteres bekanntes Gesicht unter den lokalen Progressive-Rockern. Doch nachdem er inmitten einer stürmischen Zeit in seinem Privatleben seine alte Flamme für den Metal wieder entfacht hatte, begaben sich Igor und seine beiden neuen Bandkollegen auf die Suche nach neuen, erdrückenden Höhepunkten.

Obwohl es erst ihr zweites Album ist, stellt Seven Thunders Roar einen frühen Meilenstein für Stoned Jesus dar. Die Riffs rollen immer noch mit der schlammigen Kraft einer Schlammlawine bergab, aber die Band hat knackige Akustikgitarren hinzugefügt, um ihre neu gefundene innere Stärke zu reflektieren.

Schlechte Laune, schlechte Gewohnheiten und schlechter Atem kollidieren auf diesem Zehn-Song-Haufen auf dem Freeway nach Nirgendwo. "You Get What You Deserve" von 1985, das Neo-Grunge, Swamprock und Noise-Punk in einem Kessel drogengeschwängerter Psychosen verschmelzen lässt, setzt die australische Gefängnis-als-Land-Tradition des Wahnsinns im Angesicht der kulturellen Isolation fort. Atombomben-Nostalgie, Femme Fatale-Scharfschützen, Demolition Derbies und ein Urlaub am Hell Beach erwarten den Hörer.

Schlechte Laune, schlechte Gewohnheiten und schlechter Atem kollidieren auf diesem Zehn-Song-Haufen auf dem Freeway nach Nirgendwo. "You Get What You Deserve" von 1985, das Neo-Grunge, Swamprock und Noise-Punk in einem Kessel drogengeschwängerter Psychosen verschmelzen lässt, setzt die australische Gefängnis-als-Land-Tradition des Wahnsinns im Angesicht der kulturellen Isolation fort. Atombomben-Nostalgie, Femme Fatale-Scharfschützen, Demolition Derbies und ein Urlaub am Hell Beach erwarten den Hörer.

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

Horse Jumper of Love thrive on patient and pummeling songs. Since 2013, the Boston trio of singer-guitarist Dimitri Giannopoulos, bassist John Margaris, and drummer James Doran have slowly stretched the fringes of indie rock across five full-length LPs. Their music unwinds with gutting emotional intensity thanks to Giannopoulos' impressionistic lyrics and how the arrangements violently lurch from delicate to bludgeoning. Disaster Trick, the band's new album out August 16 via Run For Cover, is their most direct and uncompromising LP yet. Its 11 songs tackle self-destructiveness and healing with jolting lucidity. Where the band's last LP 2023's Heartbreak Rules excelled with quiet, bare-bones songwriting, Disaster Trick cranks up the volume and boasts some of the most expansive arrangements of the band's catalog. Recorded at Asheville, North Carolina's Drop of Sun Studios with producer Alex Farrar, the recordings soar with searing guitars and a thunderous rhythm section. "I tried the quiet thing on the last album and I realized there's definitely two parts of me: I like really heavy music, and I like really gentle music," says Giannopoulos. "The two albums I was listening to the most, while we were in the studio were the Leonard Cohen's Songs From a Room and Hum's Downward is Heavenward." Disaster Trick is a dark record but it's never dour. There's a glimmer of hope and humor throughout these 11 songs, written with the grace that only time and growing up can bring. As he sings on "Death Spiral," "I know it sounds dramatic / But I must describe / The way that it felt." There's catharsis when it's needed most. "This album is a reflection on destructive behavior from a lens of more clarity," says Giannopoulos. "A lot of the songs came out of this point where things in my life were going well but I couldn't accept it. I was being a brat. Disaster Trick is me cleaning up my act a bit and reflecting on it."

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks. "Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

Make some music. A noise that’s fun. Dance to it. This is how we do it.

Regrooved Records proudly presents this limited 45 by Mutiny, the band led by the legendary Parliament/Funkadelic drummer Jerome "Bigfoot" Brailey. These tracks, previously only released as a part of the limited J.Romeo edition of the album "Black Hat Daddy and The Silver Comb Gang" on Regrooved Records, now stand alone as a rare collection of fu nk mastery. Experience the raw power and unmatched talent of Mutiny in this essential release for funk aficionados everywhere. Secure your piece of musical history with this must-have 7" record!

THE 7000 DOLLAR ACETATE
The year is 1971, a time when nightclubs still had live bands perform the musical hits of the day. Every city had its local stars and for the club scene of the city of Columbus, Ohio it was the CROWD PLEASERS. Founded in 1968 by June Carey along with her younger brothers, twins El & Al, the seven-piece band grew into an in-demand act that performed all over the city. In April 1971 they went into the studio to record eight songs, but an actual release never materialized. In time the master tape was destroyed and all that was left were two acetates. But as time passed, these too were lost. Over the years, a growing market for obscure funk and soul albums emerged. When one of the acetates went up for sale on eBay in 2011, it sold for $3,900! Eleven years later, in 2022, the last remaining copy also appeared on eBay. Collectors drove the price up until it finally sold for a staggering $7,000! So now, after more than 53 years, Al Carey & Regrooved Records proudly presents the previously unreleased 1971 album of the CROWD PLEASERS featuring renditions of hits by Marvin Gaye, Sly Stone's Little Sister, Neil Young, Gladys Knight & The Pips, Cold Blood, Dionne Warwick, The Lettermen and the original funk break track “Eggs & Bacon”.

Following a string of releases on a who’s who of top labels such as Planet Euphorique, Salt Mines, Haws and Craigie Knowes, prog-trance pioneer Lisene drops a full-length LP on his On Rotation imprint. With 8 hyper-detailed tracks ranging from club-focused techno, progressive and electro to slo-mo downtempo, Lisene brings his A-game to an album sure to cement his place as one of the most exciting producers and DJs in the UK’s underground music scene.

Created over several years with a perfectionist’s attention to detail, “Science Friction” flits between moods and sonic environments with ease while retaining the cohesion of Lisene’s inimitable production style. Despite being an album, this is still very much a record for the DJs, featuring heads-down club tracks and bass-heavy electro crafted with precision and a cinematic sense of scale. For the home listeners, expansive slo-mo soundscapes and cerebral synth odysseys float high above the clouds, with widescreen details revealing themselves ever further with each re-play.

“This album has been 15 years in the making and represents a culmination of everything I’ve worked towards in defining my own sound and style without letting myself be pigeonholed. I’m immensely proud of each track - it really reflects where I was at musically while making this, while giving a glimpse into my future sound. This is a record that deserves to be played on the finest sound systems and hi-fis, and I couldn’t be more happy with how it’s turned out. Dive in and enjoy!”

Combining influences from across the spectrum of dance music with a cinematic sense of psychedelia and his own inimitable production skills, “Science Friction” is sure to see a lot of airtime across the festivals, after-parties and living rooms of the world this summer and beyond.

On Rotation is a Leeds based label, event & mix series run by Chris I’Anson, Lisene & Adam Pits. Artwork illustrated and designed by Patch D Keyes.

Fourth Drawer Down is a compilation album by the Scottish post-punk and new wave band the Associates, released in October 1981. It compiles the A- and B-sides from the six singles the band released that year. The songs that appeared on Fourth Drawer Down had a notably darker and more experimental edge than their debut studio album The Affectionate Punch. The album was well received by music critics, with reviewers commenting on the band's increased experimentalism. Alastair McKay of Uncut called Fourth Drawer Down ""an extraordinary document on which the sense of mystery deepens, and the commitment to sonic experiment becomes more pronounced."" Fourth Drawer Down is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl and is housed in a gatefold sleeve.

Coke Bottle Green vinyl. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life. Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide. Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

Blue and green split vinyl with black splatter. Thotcrime, the intercontinental commotion causers seem to have stuck the landing with their intensely non-conventional cybergrind style. Solid instrumentals, chiptunes, synths, and some absolutely furious vocals all come together create something beautiful under the blipping, glitching anger that's itching to scream out under the very chantable melody.

Doppel-LP auf rotem Vinyl, limitiert auf 2000 Stück. Das lange vergriffene Debütalbum der beliebten Indie-Rock-Band Velocity Girl aus dem Jahr 1993 ist wieder erhältlich, mit einem neuen, von der Band genehmigten Mix und einem kompletten Album mit Bonustracks, das Singles, Outtakes und die Peel Session der Band von 1993 enthält. Velocity Girl gründeten sich etwa 1989 an der Universität von Maryland außerhalb von Washington DC und setzten sich kurz darauf aus Gitarrist Archie Moore (Black Tambourine), Gitarrist Brian Nelson (Black Tambourine), Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), Bassist Kelly Riles (Starry Eyes) und Sängerin Sarah Shannon (Starry Eyes, The Not Its) zusammen. Die Band kombinierte englisch inspirierten lärmenden Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem 60er-Jahre-Pop-Songwriting. Eine Killer-Single auf Slumberland und pausenloses Touren erregten die Aufmerksamkeit der damaligen Indie-Rock-Kenner, und nach einem hitzigen Werben, das sowohl Abendessen als auch Nachtisch beinhaltete, unterzeichneten Velocity Girl in Hoboken, New Jersey einen Vertrag auf einer Motorhaube, und machten Sub Pop zu ihrer Heimat. 1992 begann die Band mit der Arbeit an ihrem Debütalbum "Copacetic" in den Easley Studios in Memphis - einst Heimat der Bar-Kays und anderer klassischer Soul-Bands - unter der Leitung von Bob Weston (Volcano Suns, Shellac), und mischte das Album anschließend mit Weston in Chicago. Obwohl das Album starke Songs enthielt - Popsongs wie "Audrey's Eyes", "Pop Loser" und "Living Well" neben ehrgeizigen Erkundungen wie "Pretty Sister" und "Here Comes" - hatte die Band wenig Erfahrung mit der Produktion und es fehlte ihr an den Fähigkeiten, im Studio "das Boot zu steuern". Infolgedessen war das Album eine eher schlichte Angelegenheit, der es an der Üppigkeit der früheren Aufnahmen mangelte. In den Ohren der Band war das ein Schock, und sie merkten bald, dass dies nicht die Platte war, die sie zu machen hofften. Bob Weston hatte genau das getan, was von ihm verlangt wurde, und die Klänge eingefangen, aber die Band hatte nicht ihren Teil dazu beigetragen, eine klare Vision zu formulieren. Aber die Zeit der Band im Studio war vorbei, und Polvo war gerade aufgetaucht, um an ihrem Album zu arbeiten, also machten sich Velocity Girl auf, um das Video zu Audrey's Eyes" zu drehen. "Copacetic" kam 1993 auf den Markt und die Leute schienen es zu mögen, aber innerhalb der Band gab es ein Gefühl der Enttäuschung bis zu dem Punkt, an dem die meisten Mitglieder es nicht mehr ertragen konnten, die Platte zu hören. Seitdem hat die Band viel über Aufnahmen gelernt, und Archie Moore eine Karriere als Tontechniker eingeschlagen, so dass die Band schließlich beschloss, sich mit "Copacetic" nochmal auseinanderzusetzen. Nach umfangreichen Ausgrabungen tauchten die 2"-Bandspulen im Haus der Mutter von Jims Ex-Frau auf, und im Frühjahr 2023 begann Archie mit der Arbeit an einem Remix. Song für Song entstanden die neuen Abmischungen genau so, wie die Band sie sich vorgestellt hatte. Der erhabene Gesang von Sarah (die am College Oper studiert hat), die klingende Leadgitarre, die saftigen, verwaschenen Rhythmusgitarren und das klare, stampfende Schlagzeug. Die Popsongs sind viel poppiger. Der Klang ist kraftvoller, und die Platte ist ein zusammenhängendes Werk, das von Song zu Song fließt. Der Ansatz war nicht, ein Album zu machen, das nach 2024 klingt, sondern sich auf das Jahr 1992 zurückzubesinnen und das Album zu machen, das die Band damals hätte machen sollen. Das Ergebnis, "UltraCopacetic (Copacetic Remixed and Expanded)", ist eine spannende alternative Geschichte von "Copacetic". Und während sie dabei waren, hat die Band den Rest ihres Studiomaterials aus dieser Zeit ausgegraben und aufgefrischt: "Ultracopacetic" enthält "Warm/Crawl" von der Velocity Girl/Tsunami Split 7", ,Creepy' von der Crazy Town 7", "Stupid Thing" von der Audrey's Eyes 7" und die unveröffentlichte Albumauskopplung ,Even Die'. Abgerundet wird das Ganze durch die komplette John-Peel-Session der Band aus dem Jahr 1993 mit fünf Liedern, darunter zwei Tracks, die seit der ursprünglichen Sendung nicht mehr zu hören waren. "UltraCopacetic" ist wirklich die definitive Version von Velocity Girls erstem Album.

High Roller Records, black vinyl, ltd 300, insert, download code, 425gsm heavy cardboard cover, Cloven Hoof aus den Midlands gehören wohl zu den legendärsten Bands der gesamten New Wave Of British Heavy Metal Bewegung. Die Ursprünge der Gruppe gehen auf das Jahr 1979 zurück, als sie sich zunächst unter dem Namen Nightstalker formierte. Im Jahr 1981 wechselte die Band jedoch zu ihrem neuen Namen: Cloven Hoof. Der ursprüngliche Sänger David Potter, der Gitarrist Steve Rounds, der Schlagzeuger Kevin Poutney und der Hauptdarsteller Lee Payne am Bass nahmen die Bühnencharaktere 'Earth', 'Fire', 'Water' und 'Air' an. Nachdem sie Demo-Versionen von Songs wie "Return Of The Passover" und "Nightstalker" aufgenommen hatten, veröffentlichten Cloven Hoof 1982 ihre erste 12"-Vinyl-EP "The Opening Ritual" auf Elemental Music. 1984 wurde das selbstbetitelte Cloven Hoof-Album veröffentlicht, gefolgt von "Fighting Back" (1986), "Dominator" (1988) und "A Sultan's Ransom" (1989). Nach der Trennung in den 1990er Jahren kehrten Cloven Hoof 2006 in neuer Besetzung und mit einem neuen Album namens "Eye Of The Sun" zurück. Im Jahr 2014 wurde "Resist Or Serve" aufgenommen, gefolgt von "Who Mourns For The Morning Star?" (2017), beide auf High Roller Records. Das Album war eine Art Wendepunkt für die Band, da sie damit zum ersten Mal in ihrer Karriere in Nordamerika auf Tour gehen konnte. Seitdem haben Cloven Hoof zwei weitere Studioalben veröffentlicht, "Age Of Steel" auf Pure Steel Records im Jahr 2020 und "Time Assassins" auf FM Revolver zwei Jahre später.

Mit Songs wie "Do What Thou Wilt", "Sabbat Stones" und "The Summoning" markiert ihr brandneues Album "Heathen Cross" die Rückkehr zu High Roller Records. "Wir sind jetzt wieder da, wo wir hingehören", schmunzelt Lee Payne. "Heathen Cross" ist Cloven Hoofs bisher düsterstes und schwerstes Album! Es hat die satanischen Untertöne unseres Debütalbums, aber mit dem besten Sänger, den die Gruppe je hatte. Für mich persönlich ist es mit Abstand mein liebstes Cloven Hoof-Album. Wir wollten den Geist und die übernatürliche Majestät des Debütalbums wieder einfangen. Wir haben mit den Fans gesprochen und ihnen das gegeben, was sie am meisten wollten: eine Rückkehr zu den Wurzeln der NWOBHM. Sie werden es lieben!" Der Bassist ist in der Tat voll des Lobes für den neuen Sänger der Band, der ausgerechnet einen gewissen Harry "The Tyrant" Conklin verpflichtet hat: "Harry Conklin ist ein Weltklasse-Sänger. Er ist super engagiert und hochprofessionell und wir wussten, dass er nahtlos in die Band passen würde. Seine stimmliche Leistung auf dem neuen Album hebt die Band in neue Höhen, und ich kann es kaum erwarten, dass die Fans ihn hören. Harry ist ein erstaunlicher Sänger, er ist so vielseitig. Er kann hoch, tief und immer mit Kraft und Leidenschaft singen. Er weiß, wie man einen Song lebt und verkauft. Harry ist wie ein Schauspieler, der eine Geschichte erzählt, niemand interpretiert meine Texte so wie Mr. Conklin. Ich kann ihn nicht genug loben. Wir hätten schon vor Jahren zusammenarbeiten sollen."

Lee Payne - Bass Guitar, Harry (The Tyrant) Conklin - Lead Vocals, Luke Hatton - Lead Guitar, Chris Coss - Lead Guitar, Ash Baker Drums / Backing Vocals, Chris Dando - Keyboards / Backing Vocals

The Faint has always been perceived as a series of paradoxes: Nebraskans trafficking in electro pop anthems; a five-person outfit who insist on songwriting democracy; punk rockers laying down their guitars for a decidedly untypical kind of punk rock.

Things that don’t make sense at first often make sense later. In the creation of art, when the process is left up to the subconscious mind, when there is no preconceived concept, patterns still always emerge. Themes and recurring images, blurred in the moment, later become clear.

This is the case with The Faint’s sixth album Doom Abuse, an unexpected but also inevitable addition to their compellingly unusual catalog of music.

Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"

From 2019 to 2023 Lindsay Reamer worked as a field scientist. With a guitar and a bag of books in tow, she would leave her home in Philadelphia for the postcard scenes of the American landscape to gather data on visitation in National Parks. She counted cars and RVs, surveyed visitors, and made a temporary home for a few weeks at a time wherever she landed. All the while, she collected her own observations like specimens and slowly weaved the songs that would form her debut full-length, `Natural Science.' Recorded throughout 2023 by Lucas Knapp, `Natural Science' paints with a full spectrum. Humor rubs elbows with heartbreak. Acoustic guitars brush up against synthesizers, cradling Reamer as she sings about the American Chestnut tree extinction, employee gossip at a Day's Inn, fishing beside a power plant, turf grass farms, and waking up next to day-old take-out. The indifferent beauty of nature is held up next to the everyday as Reamer does her very best to find clues for navigating the latter by musing upon both. Following the release of her self-produced EP `Lucky' (Dear Life Records) in 2021, Reamer assembled a band with musicians from Philadelphia's vibrant music community and began working her once solo-acoustic songs into full band arrangements. After a brief flirtation with dance music which led to 2022's viral single "Touch Tank," Reamer settled into a sound that lies somewhere in the folkrock-pop matrix, explored with the humor and lightness of songwriters like Sheryl Crow or Melanie. Reamer reflects: "When I heard the songs with the band, I knew it was time to make the record. It felt like something I had been working towards my whole life. I grew up around musicians but I never thought I was good enough to be in a band or even to make my own music. My grandmother Joan gave me voice lessons after school, my mom was an opera singer, and my dad a guitar player. But it wasn't until a few years ago that I realized I could do it. It didn't matter if I could shred on the guitar or something. It was like some illusion shattered." Reamer is a sincere storyteller. The self-doubt and heartbreak expressed in songs like "Spring Song," "Sugar," or "Red Flowers" give way to the triumphant moments of self-acceptance and love in "Lucky," "Necessary," and "Figs and Peaches." `Natural Science' chronicles a path to confidence, an honest reflection of someone with the capacity to hold a deep well of emotion who also makes sure to not take it all too seriously. "Gardens on the land / Castles on the beaches / I trust my hand and / Pluck my figs and peaches," Reamer sings, as she works to reconcile the strange difficulty we have at finding happiness despite the obvious beauty all around us.

Lavender Eco-Mix Vinyl. It took more than two years for all of the pieces to come together for Remember Sports' third album. In the time that has elapsed, Carmen Perry (vocals, guitar), Jack Washburn (guitar), and Catherine Dwyer (bass) have relocated from the tiny Midwestern college town of Gambier, OH, to Philadelphia, PA, adding new drummer Connor Perry and retiring their original nom de plume, SPORTS, along the way. Slow Buzz centers around a break up and comes at a crossroads for the band. The record is the first official release under Remember Sports, a moniker that functions as both a question and a command, which foreshadows all of the deeply personal emotions Carmen experiences at the painful end of a good relationship. Recorded in Valatie, NY by Evan M. Marré (Russel the Leaf), Slow Buzz focuses intently on all of the nuances of arrangement and production that Remember Sports has fine tuned over five years of playing together and is their most ambitious record to date.

"Foster The People melden sich nach drei Jahren mit neuer Musik zurück. Just in time für den Sommer veröffentlicht die dreifach Grammy-nominierte Multiplatin-Band einen Song, der strahlt wie die Sonne oder wahlweise wie ein glitzerndes Disco-Outfit, denn „Lost In
Space“ ist getragen von jeder Menge Late-70s-Großartigkeit. „Floating and drifting and flying through the open sky“, hält es auch Mark Foster in den Lyrics kaum am Boden.

Mit „Lost In Space“ feiern Foster The People ihr Debüt bei Atlantic Records und kündigen gleichzeitig ihr viertes Studioalbum an. Es trägt den Titel „Paradise State of Mind“, erscheint am 16. August und wird sieben Jahre nach dem letzten Longplayer „Sacred Hearts Club“ mit Spannung erwartet."

"""Ball Pompös"" 50th Jubiläumsausgabe: -Udo Lindenbergs erstes Goldalbum
-Exklusive Edition für Fans und Sammler
-Highlights: Goldene LP: Prächtige, goldene Vinylplatte
-Remastered Version (2024): Modernste Technik für zeitlosen Sound
-Kassette: Nostalgische MC Version, limitiert verfügbar"

"""Ball Pompös"" 50th Jubiläumsausgabe:
-Udo Lindenbergs erstes Goldalbum
-Exklusive Edition für Fans und Sammler
-Highlights: Goldene LP: Prächtige, goldene Vinylplatte
-Remastered Version (2024): Modernste Technik für zeitlosen Sound
-Kassette: Nostalgische MC Version, limitiert verfügbar"

"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

The Family is the second studio album by Seattle based band Satchel, which was formed by vocalist Shawn Smith and drummer Regan Hagar after their previous band Brad (which also featured Pearl Jam guitarist Stone Gossard) went on hiatus. In total, the band released four studio albums, of which their 1996 second album The Family is considered as their best. It was co-produced by Stone Gossard. The Family is available on black vinyl and includes a 12-page booklet.

“Sotali” (2010) by Swedish folk duo Pettersson & Fredriksson – featuring members of Otyg and Solsaate – becomes available on vinyl for the first time. Renowned for mastery with the keyed fiddle and mandola, the pair bridges their Västerbotten heritage with influences ranging from Sigur Rós’s avant-garde creativity to José Gonzalez’s serene melancholy. “Sotali” emerges as an opus that balances the energy of traditional melodies with the tranquillity of modern folk artistry.

Dom Salvador, released in 1969, is a landmark album by Brazilian pianist and composer Dom Salvador. This instrumental jazz record showcases Salvador's mastery of blending Brazilian rhythms with American jazz influences. The album features a mix of samba, bossa nova, and hard bop, highlighting Salvador's innovative approach and technical prowess. Known for tracks like ""Samba do Malandrinho"" and ""Tio Macrô,"" the album stands out for its vibrant, sophisticated arrangements and improvisational flair. ""Dom Salvador"" is celebrated for its contribution to the evolution of Brazilian jazz and remains a significant work in Salvador's extensive discography. Dom Salvador is available as a limited edition of 500 copies on translucent magenta coloured vinyl.

THE CHURCH's ("Under The Milky Way") main man Steve Kilbey solo Best Of: A stylishly designed anthology of solo and collaborative recordings curated into a deluxe gatefold sleeve double album. Spanning the years 1987 to 2023, the album moves through varying styles and moods all of which are a pleasure to listen to, whether in your car on a long country road or through the city at night or sitting down and absorbing the lush audio experience. Songs taken from 20 albums (one song from each album) all of which will be made available once more. Deluxe gatefold sleeve with full colour printed inner bags. Photos courtesy of Toby Burrows, includes arguably some of the best songs Steve Kilbey has written (and co-written). The very first album of its kind dealing with Kilbey's not unimpressive solo career.

"In the summer of 2021 I was introduced to the French filmaker Émilie Deleuze in Paris. She asked me if I would create a soundtrack for a film she intended to make titled Cinq Hectares. When I asked Emilie what the story of the film was about she replied "It's a comedy and road movie , about a guy driving a tractor across France". I love road movies and I had never composed a movie soundtrack before so I immediately said "yes". I recorded the soundtrack in the summer of 2022 in east London with the help of producers James Rand & Thomas Gorton of @godcolony and a bunch of great young musicians they introduced me to, one of which @alwhite who now plays saxophone with Primal Scream. Émilie's film is an absolute cracker and I'm very proud of the soundtrack. Hope you enjoy listening to it as much as we did making it”

Bobby Gillespie, June 2024

In contemporary usage, genius loci refers to a location's distinctive atmosphere, or a "spirit of the place"...

Genius Loci is a new audio work by sound artist Brian d'Souza (fka Auntie Flo). Referencing the notion of the protective 'spirit of place' from ancient Roman times, d'Souza used a vintage accordion to capture the acoustic properties of the Het Hem building in Zandaam, Netherlands. A former munitions and gun testing factory, Het Hem is a space full of character made up of a range of rooms that each hold a different acoustic property. d'Souza is interested in the connection between sound and space, using the accordion as a sound source with a variety of microphones placed around each room to capture the resonance and reverberation. The results are presented as part of an immersive audio visual website which incorporates generative audio technology developed by d'Souza's Swell Studio in collaboration with The University of Arts in London and is now available at https://thecouch.hethem.nl/genius-loci/ .

The original artist versions of Genius Loci are available on this release for the first time, available on 12 inch vinyl and download.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks.
"Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Standard CD (12 Tracks), als Ltd. Digipak CD Deluxe Edition im Schuber (12+2 Bonustracks), als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus
zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

Das mit Spannung erwartete neue Album von Dark Tranquillity, "Endtime Signals", kanalisiert all die Unruhe, Angst und Verwirrung der Welt in 12 fesselnden, kraftvollen Tracks.
"Endtime Signals" ist Katharsis und Dunkelheit, Entschlossenheit und Zustimmung. Die wiedererstarkte Besetzung - Joakim Strandberg Nilsson (Schlagzeug) und Christian Jansson (Bass) gesellen sich zu Mikael Stanne (Gesang), Martin Brändström (Keyboards) und Johan Reinholdz (Gitarren) - bedeutet, dass eine neue Ära für Dark Tranquillity angebrochen ist. Die Singles "The Last Imagination", "Unforgivable" und "Not Nothing" kündigen dies durch raumgreifende Refrains, fiebrige Aggression und unverkennbare Melancholie an. Mit einem wundervollen Cover-Artwork von Sundin und einer "gelebten" Produktion von Brändström (Rogue Music) und dem Engineering von Alexander Backlund (Fascination Street Studios), sowie einem hochoktanigen Mix und Master von Jens Bogren (Ihsahn, At The Gates), setzt "Endtime Signals" die gesamte innovative Songkunst von Dark Tranquillity in ein unvergleichliches, breitgefächertes Erlebnis um. "Endtime Signals" ist erhältlich als Standard CD (12 Tracks), als Ltd. Digipak CD Deluxe Edition im Schuber (12+2 Bonustracks), als Gatefold 180g LP (12 Tracks) in schwarzem Vinyl sowie als strikt limitierte Gatefold 2LP-Deluxe-Edition mit dem Hauptalbum auf einer mehrfarbigen 12"-Vinyldisc (12 Tracks) plus
zusätzlicher schwarzer Bonus-Vinyldisc (Seite A: 2 Tracks, Seite B: Motiv-Ätzung).

During autumn 2018, after moving to Germany, Aron Ottignon met Senegalese musician and percussionist Bakane Seck, founder and leader of the Jeri JeriBand, in his Berlin studio. This first meeting gave rise to a special connection between their instruments and the start of a musical adventurethat transcends borders, an instrumental conversation of profound simplicity nourished by the richness of jazz, electronic music and Wolof tradition. The brainchild of composer and producer Aron Ottignon and percussionist Sabar Bakane Seck, Aron & The Jeri Jeri Band (A&TJJB) was born at the crossroads between Berlin and Dakar and oscillates between the frenetic rhythm of mbalax, the strength of afrobeat, the warmth of afro funk and the eï¬Çervescence of jazz. Born in New Zealand, the pianist released a series of critically acclaimed jazz albums in the 2000s. As a composer, Aron Ottignonhas collaborated with Stromae, toured the world with Woodkid and worked with a host of artists including Electric Wire Hustle, Louane,Broken Back, Empire Of the Sun and Myele Manzanza. Senegalese musician and griot Bakane Seck"s mastery of the Sabar - "percussion instrument" in Wolof - has taken him all over the world alongsideAfrican music icons such asYoussou N"Dour and Baaba Maal.

Steve Marion, the critically acclaimed-and completely wordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular. Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with Jonathan Rado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby," The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Last Train are an exception on the French indie rock scene. From the Olympia in Paris to the biggest festivals, the four Alsatians have won over a devoted audience with their hypnotic, moving concerts. Independent or nothing, they self-produce their records and tours, as well as their music videos, short films and even documentaries, with rigour and determination. At the end of 2022, the musicians had the luxury of taking their time and the right to experiment. Far from the beaten track, they are rewriting their own repertoire in a cinematic and contemplative way. By collaborating with the Orchestre symphonique de Mulhouse, Last Trainconfirm their viscerallove of large-format sounds and images, and present a veritable compendium of inï¬,uences in twelve tracks.Original Motion PictureSoundtrack is the soundtrack to a film that doesn"texist. From a symphonic chaseto a neo-classical interlude, from an organ requiem to an electronic soaring, the Mulhouse-based band play with the boundaries of genres. Last Train sets the bar ever higher with this unexpected, singular and striking album. It is accompanied by a mini-series documenting the work done in the studio, the collaboration with the orchestra and the day-to-day life of an authentic, inspired band.

Pirates Press Records is proud to re-release Close My Eyes, the 2002 album by NYC ska-reggae legends The Slackers - a complex and nuanced album that shows the band's versatility and capacity for both commentary and introspection. It is often said - to the point of cliche - that New York City is a "character" in the work of the city's most noted filmmakers. A similar statement could be made about the artistic symbiosis between the city and The Slackers. From the Bronx-born accent of lead vocalist Vic Ruggiero to the band's embrace of cosmopolitan musical traditions from a melting pot of cultural origins, New York defines The Slackers at least as much as the band have contributed to defining the sound of New York for well over 30 years.Therefore, it bears mentioning that - aside from a 2002 collaborative album by "The Slackersand Friends" - Close My Eyesis the band's first proper studio LP released after the traumatic terrorist attacks on their home city in 2001, and the band took enough time to reckon with the global fallout of this tragedy. "So feel free go steal and rob, revolution ain't my job," sings Ruggiero on the title track. "And if I sing your happy song, please don't tell me I am wrong." It is the statement of an artist searching for a way to still sing about joy and life in uncertain times of great upheaval. And ultimately the band must reckon with these times. On "Real War," toaster Marq Lyn takes lead vocals as the band addresses the march to war that was omnipresent in those early days of the 21st century, stating in no uncertain terms that it was "Time to fight the real war_ Against hunger and poverty_ For racial equality." The Slackers make it clear that while the machinations of hawkish politicians grind on, the real needs of people all over the world are left behind. This tension between a dangerous world and the struggles of one's personal life are present throughout the record, and the band weaves stories from the whole spectrum of human emotion, war, heartbreak, joy, and everything in between. Bookended by instrumental tracks, opening with the energetic "Shankbon" and ending with moody dub reggae, these veteran virtuoso players ultimately take listeners on a masterful journey through the human experience.

Wayne Shorter - JuJu
Nur knapp vier Monate nachdem er bei Blue Note mit “Night Dreamer” seinen gefeierten Einstand gegeben
hatte, ging Wayne Shorter im August 1964 erneut für das Label ins Studio, um mit derselben Band (minus
Trompeter Lee Morgan) das Nachfolgealbum “JuJu” einzuspielen. Das Ergebnis war ein ausschließlich
aus Shorter-Kompositionen bestehendes Album, das ”nur so vor Ideen sprüht, eine immense Vielzahl von
Einflüssen reflektiert und sie in Form einer Reihe atemberaubender Visionen wieder freigibt” (AllMusic).

Im September 1999 veröffentlichten Creed, eine aufstrebende Rockband aus Tallahassee, FL, ihr zweites
Album Human Clay. Voller hymnischer Hits, darunter ”Higher”, ”What If”, ”Are You Ready?” und das mit
einem GRAMMY® ausgezeichnete ”With Arms Wide Open”, katapultierte Human Clay Creed (Scott Stapp,
Mark Tremonti, Brian Marshall und Scott Phillips) an die Spitze der Billboard-Charts und wurde zu einem
der meistverkauften Alben aller Zeiten. Jetzt, 25 Jahre später, feiert Creed den Jahrestag des Diamantzertifizierten Albums mit einer Neuauflage mit vielen Boni. Die am 16. August erscheinende Deluxe-2-CD
enthält das neu gemasterte Originalalbum sowie eine Fülle von Bonusmaterial, darunter ein kompletter, noch
nie zuvor gehörter Konzertmitschnitt, der 1999 in San Antonio, TX, aufgenommen wurde. Eine digitale
Deluxe-Edition des Albums enthält außerdem sechs zusätzliche Bonustracks, darunter alternative Versionen
von Higher” und With Arms Wide Open” sowie eine Coverversion des Doors-Klassikers Roadhouse Blues”
mit dem Doors-Gitarristen und Gründungsmitglied Robby Krieger (live aufgenommen bei Woodstock ’99)

The second part in Shan’s warehouse series delivers more of the same – but that’s definitely a great thing, if the dish has a great taste. Like it’s successful predecessor, the tracks don’t re-invent the wheel, but cater to all the nameless spaces and places that made raving in defiant and derelict places fun. There is house that sounds like techno (Elevate) and vice versa. Seasoned with break beats (89 Swing or the Future Sound of London-esque Euphony) or breaks for love (Uplift My Spirit) and even dub sirens, it is almost impossible not to find something to suit the customer’s environment. The main focus of attention might be the jack of all trades called Phantazia. Wouldn’t have sounded out of place at the entertainment series of the same name, it melts proto hardcore harmonics with Soul II Soul type of strings and immediate call for „the action“. And as we all know, that always speaks louder than words.

"Two-time GRAMMY Award Winner and multi-platinum selling performing artist Lauren Daigle will release a very special collection of reimagined songs entitled Sessions, on August 16th. Recorded live in front of a limited audience, the 8-tracks highlight the beauty in the songcraft and purity of Daigle vocal prowess. In a first for Daigle, Sessions will be available on numbered limited- edition vinyl variant in addition to digital platforms.
“I love that we’re able to share versions of these songs that people might not have heard before,” shares Daigle. “I think it’s what makes them special. I also thought it’d be cool to add something a little different, something we’ve never done before, so I thought what better, more poignant song is there than Joe Cocker’s “You Are So Beautiful”. It’s up there on my list of all- time favorites.”
Sessions marks the debut release of the recordings captured at SiriusXM, which were previously only heard during the original performances. The Apple Music performances will now be available for the first time across all streaming platforms. Sessions includes her rendition of Joe Cocker’s “You Are So Beautiful,” two new versions of her recently Gold Certified hit “Thank God I Do,” her current radio single, “Be Okay” and the first new recording of her 6x Platinum smash “You Say.”
Daigle recently wrapped the long-awaited European Leg of The Kaleidoscope Nights Tour including sold out performances in London, Manchester, and Amsterdam. The tour will make its debut in the US on July 29th in Columbus, OH with stops in Amphitheaters across the states including Brandon, MS, Colorado Springs, CO, and Santa Barbara, CA before wrapping September 5th in Honolulu, HI. The Kaleidoscope Nights Tour features many of Daigle’s #1s including her groundbreaking 6x Platinum smash “You Say,” 2x Platinum hit “Rescue,” “Look Up Child,” her latest No.1 and Gold Certified GRAMMY Nominated “Thank God I Do.”"

But now it's official: this was no flash in the pan! Voodoo Kiss are back to stay. And their furious second album "Feel The Curse" is even more fun than their debut. With verve, vigor, punky grit and their typical sense of melodic heaviness, Voodoo Kiss blast, fabulate and groove their way through eight powerful examples of how this music of the eighties can be made exciting, original and rousing in the 21st century. Of course, the list of ingredients on "Feel The Curse" also reads like something straight out of the textbook of electric guitar music: the opening title track is a galloping banger with razor-sharp riffs and Pretty Maids flair, "Spellbound By Her Eyes" offers black romanticism and early Maiden vibes, "Dr. Evil" is the semi-acoustic intermezzo with Spanish guitars and eruptive thrash outbursts, "Lords Of Darkness" is a gripping semi-ballad with just the right amount of pathos and the closing "Dead Without A Grave" fires from all cylinders like Motörhead in their prime. Everything in, everything on.

The story of the legendary Summer Breeze Open Air cannot be told without Voodoo Kiss. In 1995, a certain Achim Ostertag founded the band Voodoo Kiss with his buddies, but due to a lack of performance opportunities, he simply launched his own festival. The name of the festival: Summer Breeze. And while the open-air highlight has long been one of the best and biggest metal festivals in the world, Voodoo Kiss soon disappears again. But fortunately not forever: Ostertag got the band back together in 2022. He recruited Steffi Stuber (Mission In Back, Voice of Germany contestant) and Sacred Steel rocker Gerrit Mutz as new members, released a powerful debut album that marked the band's comeback and put on a furious home show at Summer Breeze.

Morgan Wade was feeling the urge to simplify after a period of relentless touring and intense media scrutiny during the last couple of years. Every time she sat down with her guitar, new songs just started pouring out. 'They were just coming to me left and right', Wade says. The Virginia-born singer-songwriter made a choice to return to the basics for her new album 'Obsessed', a solo-written, stripped-down 14-track collection produced by her touring guitarist Clint Wells that showcases Wade at her rawest and most vulnerable. 'I really wanted to get back to doing what I used to do', she says. 'Just make this whatever I wanted it to be'. Wade's third album and follow-up to 2023's 'Psychopath', 'Obsessed' puts the focus on Wade's storytelling abilities and singular voice. She writes with incredible force about the ache for home and the emotion of being reunited with loved ones, of feeling dangerously preoccupied with someone, and of being in situations that society might consider outside the norm. On 'Obsessed', Wade also does a thorough examination and inventory of her journey as a person, not sparing any ugly details when she's been the one at fault. It's a fearless look into the life of one of country music's most exciting talents, arriving right as she's hitting her stride. This is a x14 trk double black LP Vinyl & standard CD. Marketing activity across all media outlets.

Katya Shirskova - David Maranha - Le Héron / A Reuniåo

Stellagedelivers a compelling split LP fromKatya ShirshkovaandDavid Maranha, "Le Héron / A Reuniåo," set for release in July 2024. Created and produced in residence at La Box contemporary art gallery at ENSA - École national supérieure d'arts de Bourges in 2023, this album is a profound exploration of the two artists' respective voices, showcasing their distinctive approaches.

Katya Shirshkovaopens the LP with side-long "Le Héron." This piece is an unadulterated exploration of voice, devoid of any field recordings or added effects. Embracing minimalism, the work revolves solely around vocal loops and re-recordings, creating choral structures that evoke folk traditions while delving into experimental realms. The ASMR-like techniques employed serve not merely as an auditory gimmick but as an intricate tool to illustrate the delicate flight of birds, mirroring the ethereal quality of the entire composition.

"Le Heron" aptly draws inspiration from its avian namesake, weaving birds into its fabric through the concept of vertical polyphony. The piece is underpinned by a profound understanding of this polyphonic approach, demanding meticulous precision in its looping technique. Each fragile construction is crafted in a single, unbroken take, showcasing an impeccable blend of simplicity and complexity.

David Maranhatakes over on the flip side with "A Reuniåo," delivering seven suites of powerful, minimalist drone compositions. Maranha's mastery of sustained tones and evolving harmonics creates a mesmerizing, meditative experience that is both intense and transformative.A dynamic interplay of harmonics creates a dense, immersive auditory environment, a study in sustained tones and subtle variation, leaving a lasting impression.

Mixed and mastered by Giuseppe Ielasi

Colombian-born, New York-raised producer and instrumentalist Felipe Quiroz aka Prince of Queens brings his unique synthesis of trans-caribbean culture with house and techno to RNT on his Merida EP.

Known for releases on Names You Can Trust and his band Combo Chimbita, this lush and varied EP invites you into a world where vintage tropical sounds and modular synthesizers live side-by-side on the dance floor. With 6 songs stretched across two sides, the record explores a wide range of tempos and electronic Latin vibes, and boasts gorgeous cover art that suits the emotion of the music perfectly.

Although he is a seasoned producer, Prince of Queens is still a relatively new name on the club scene…but with this definitive musical statement it’s a name that the heads will remember.

Vomitorium' is the new album from ever-evolving Eindhoven band Radar Men
From The Moon. Due out August 16th on Fuzz Club, it's an eight-track
collection of abrasive experimental punk that unleashes their latest line-up
and musical incarnation in typically confrontational form.
Revelling in cathartic excess and a bludgeoning intensity, they power through
90s industrial electronics, discordant noise-rock and the darkest post-punk
extremes. 'Vomitorium' is the band's eighth full-length in an extensive, shapeshifting discography that has also seen collaborations with the likes of Gnod
(as Temple ov BBV), The Cosmic Dead and 10 000 Russos. INDIE ONLY! Clear
Yellow Vinyl.

Hear the brutal anguish and aural suffering! LG Records has gathered out-of-print and unreleased recordings by two of San Diego’s more infamous and obscure punk bands from the very early 1990’s onto one blistering split LP. Often remembered merely as side-projects of Heroin and End of the Line, Sloog (aka Slug) and Brain Tourniquet were standalone outfits that were beloved locally but barely made any impact outside of the local San Diego scene. Sloog were heavy, tortuous, and disturbing. Fronted by mysterious and odiferous local character “Justinman”, Sloog sounded like they could have been the lovechild of Savage Republic and United Mutation. Brain Tourniquet were a younger thrash band who were noticeably inspired by contemporaries like Born Against and Crossed Out. Primitive and sublime, members went on to bigger things, but this was the not-so-humble beginning. The first release for each band was the 1991 Slug/Brain Tourniquet split cassette, released as Gravity Records #0. Copies of this tape were sold at local shows and during Brain Tourniquet’s west coast tour with Heroin. Sloog would record multiple demos in 1990 and 1991, and in the end they recorded what became their only vinyl release, 1992’s Pigs 7”. The material on this LP was pulled together from all of these recordings. Punish yourself with the Slug / Brain Tourniquet / Sloog vinyl LP out now on LG Records. Caution: this record may emit visible stink-lines into the air of your household. Open a window while enjoying the soothing sounds of Slow Death, circa 1991. 180-gram black vinyl only, 500 pressed, 28 pt tip-on jackets with printed inner sleeve.

Celebrate the 60th Anniversary of Walt Disney’s Mary Poppins. The 1964 original children’s album featuring Marni Nixon, Bill Lee, and Richard M. Sherman, fully restored from the original album master, now available for the first time in over 30 years. Take home 10 Songs from Mary Poppins on blue vinyl.

Handling the Undead, the Original Motion Picture Soundtrack, is the latest in composer Peter Raeburn’s long and multi award-winning body of work. The music scores director Thea Hvistendahl’s extraordinary film. We are taken on an emotional journey experiencing grief, devastation, hope, the unknown and acceptance .Recorded at Soundtree Studios in London and Los Angeles and featuring members of Europe’s renowned 12 Ensemble, Peter Raeburn’s score offers unique textures and virtuosic performances amongst the ever-growing and transcendent sense of life and death that the score, as a whole, brings to the film. Raeburn’s score for Handling the Undead was awarded the World Cinema Dramatic Special Jury Award for Original Music at the 2024 Sundance Film Festival, and has been nominated for Best Score at Norway's Amanda Awards.

2024 Repress

Der isländische Multiinstrumentalist und Komponist Ólafur Arnalds hat bereits mit seinen früheren Alben
„For Now I Am Winter“, „The Chopin Project“ und „Island Songs“ große Erfolge gefeiert.
Doch mit dem Soundtrack zur dritten und letzten Staffel der britischen Krimiserie Broadchurch“ beweist
Ólafur Arnalds einmal mehr, dass er noch viel mehr kann. Das Erfolgsdrama mit David Tennant und Olivia
Coleman in den Hauptrollen erreichte mit rund 10 Millionen Zuschauern den Status der meistgesehenen
Serie auf den britischen Inseln.
Die Euphorie, die die Serie ausgelöst hat, spiegelt sich auch in den 13 Millionen Streams des Soundtracks
wider. Die Musik von Ólafur Arnalds haucht der Serie Leben ein und kann als ihr künstlerisches Fundament
betrachtet werden. Arnalds ist es gelungen, einen bedeutungsvollen, bewegenden und atmosphärischen
Soundtrack zu komponieren, der sowohl mystisch als auch melancholisch ist.

2024 Repress

Die erste Staffel der Erfolgsserie verzeichnete rund neun Millionen Zuschauer pro Folge - das macht „Broadchurch“ zu einer der beliebtesten Fernsehserien im Vereinigten Königreich. Ólafur Arnalds wurde für seine
Musik mit dem prestigeträchtigen Bafta Award ausgezeichnet.
Die düstere und kühle Atmosphäre, die in dem verschlafenen englischen Küstenstädtchen Broadchurch
herrscht, wird von Arnalds auf musikalischer Ebene hervorragend umgesetzt. Der isländische Komponist
beweist einmal mehr, dass seine Musik zu den spannungsgeladenen Bewegtbildern mehr ist als nur ein
illustrativer Klangteppich.
Der Multiinstrumentalist verbindet elektronische Klänge mit Elementen aus Klassik, Jazz und Pop. Der
neue Song „So Far“, interpretiert von dem isländischen Sänger Arnór Dan, ist der musikalische rote Faden,
der sich durch alle Episoden der zweiten Staffel zieht. Gänsehaut pur!
Lange vergriffen und jetzt zum 16.08. wieder auf Vinyl erhältlich!

Following a stunning introduction to the world with her 'Sometimes I Forget You're Human Too' EP release in early 2021, Bored At My Grandmas House (AKA Amber Strawbridge) is back with the compelling new single Detox.

It's a tale of navigating change with Amber explaining it’s about “feeling alienated, not knowing who you can and can’t trust, and figuring out how to be yourself whilst also discovering who you are”. “The lyrics represent exactly how I felt in that current moment, numb, confused to who I was and overwhelmed by all the changes I was starting to encounter”.

While Detox retains a lot of the indie and shoegaze elements prevalent in Amber's debut EP, it also shows growth and maturity in sound, with more contemplative lyrics asking questions of the listener. It's a stunning synth-laden track which broods and swells.

Lyrically, there is a deep introspection and a philosophical desire to question and understand human nature, culminating in the "I think we need to Detox" hook.

The track will be released on a limited edition 7" vinyl via Clue Records with a bottle green vinyl available from the artist and label and a toxic yellow version available at all good indie record shops. Following the first 2 pressings of Amber's debut EP selling out ahead of release date, these will be highly sought after.

The track was recorded by Amber at home in Cumbria before being sent to Alex Greaves (bdrmm, Working Mens Club) to add some elements and mix the track. Amber and Alex worked closely together on the final revisions.

The origins of 21 year-old Amber Strawbridge's bedroom shoegaze project Bored at My Grandma's House are perhaps unsurprising given the name. Facing an extended stay with relatives after a trip to Cambodia, Amber used the spare time to start making beats on her phone with Garageband. Fast forward to 2022, the home set up's more than evolved, she's released her debut EP 'Sometimes I Forget You're Human Too' to critical acclaim ,and now steps back into the light with new single Detox.

Kannon is an album which was composed in the aftershadow of SUNN O)))’s most recent successes in immersive collaboration (the group worked with Scott Walker on Soused, Ulver on Terrestrials in 2013 and 2014) and also from the broad and influential wake of their epitimous Monolith’s & Dimensions . Kannon emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realised years later, in 2015. The album is 36 minutes in length and consists of three pieces of a triadic whole : Kannon 1, 2 and 3.

The album celebrates many SUNN O))) traditions ; Kannon was recorded and mixed with SUNN O)))’s close colleague and coproducer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast! ; and the LP includes performances by long term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, Steve Moore and others. And at the core the composition centers around the dynamic and intense guitar and bass interplay of SUNN O)))’s founders : Stephen O’Malley & Greg Anderson.

It’s possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright “metal” in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight of the Gods again to the forefront of consciousness. At the third time it is very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert face of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.

The literal representation of Kannon is as an aspect of Buddha : specifically “goddess of mercy” or “Perceiving the Sounds (or Cries) of the World”. She is also sometimes commonly known as the Guanyin Bodhisattva (Chinese: 觀音菩薩) amongst a plurality of other forms. There is a rich lineage behind this idea tracing back through many asian belief systems, with as many names and cultural personifications of the idea .

SUNN O))) commissioned critical theorist Aliza Shvartz to write a text / liner notes around these ideas and topics. She also explores the relations and perceptions to their approach to these ideas via the metonym of music and SUNN O)))’s place/approach within the framework of music and metal overall.

SUNN O))) also commissioned Swiss designer/artist Angela LaFont Bollinger to create the cover artwork, an abstracted sculpture of vision of Kannon, and the French photographer Estelle Hanania to capture portraits of the core trio (Csihar, Anderson, O’Malley) in the impressive and obscurant Emanuel Vingeland mausoleum in Oslo.

The LP is packaged in immaculate tip on gatefold sleeve by our long time comrades Stoughton Printing, and pressed at Cascade in Portland, Oregon. CD, download and coloured vinyl versions are also available

Brazilian singer, poet, guitarist Joao Gilberto made his 1959 debut with the now legendary LP, ‘Chega de Saudade,’

For fans of Blink 182, Green Day and Power Punk! PUMP5 is a touring rock band hailing from southern California that has kept its wheels turning for the last 10 years. PUMP5 is comprised of respected talent such as Alex Kane (Shark Island, Enuff Z’nuff, Starz, etc….) on guitar, Andre Bonter on drums, Andrew Cates on the bass and Steven Todd Barnett on guitar and vocals. PUMP5, has been touring the lower 48 and Canada, and have no plans of slowing down. PUMP5 has found its place in American rock, and represents the brand with a high energy, in-your face live show. Full Service was independently released in 2017 and boasted stand out tracks “Flight Song”, “Painted Flowers”, and “Pills”. Now it is getting its worldwide release through Deko Entertainment. Critics and fans are taking notice, “The entire group shines with exceptional musicianship, brilliant ideas, impressive creativity, and talent. All these qualities shape their catchy, familiar, but entirely unique sound that will satisfy even the pickiest fans of the genre.”

Neues Studioalbum der Neuseeländischen Independent-Helden unter der Leitung des rätselhaften Martin Phillipps. Mit Artwork von Trees' David Costa, meerblaues Vinyl mit Mamor-Effekt, LP inklusive DLC. Dunedin's finest, The Chills, veröffentlichen ihr siebtes Studioalbum "Scatterbrain" zweieinhalb Jahre nach dem enorm erfolgreichen "Snowbound" (2018) und des von der Kritik gefeierten Films "The Chills: The Triumph And Tragedy Of Martin Phillipps' im Jahr 2019. "Es geht um künstlerische Integrität, Selbstverwirklichung, Selbstakzeptanz, und es ist eine Reflexion über Sterblichkeit." (The Guardian) Jetzt, im Jahr 2021, zieht Phillipps Bilanz - über alles. Ja, alles. Das Ergebnis ist das triumphale neue Chills'-Album "Scatterbrain", eine nachdenklich stimmende Aufnahme von einem Mann, der gute und schlechte Zeiten erlebt hat.Eine reife und ehrliche Reflexion über das Leben, das Schicksal und die Geschicke unserer Zeit, vorgetragen in wunderschönen Melodien und mit Phillipps' typischer, prägnanter Wortwahl.Aus der Sicht eines Mannes, der sich seines Alters und seiner eigenen Sterblichkeit bewusst ist, wirft das neue Album einen reifen Blick auf die Dinge, die da kommen, durchaus mit Perspektiven. Scatterbrain" ist ein Leben, das vor Ihren Ohren vorbeizieht, während die Ungewissheit zunimmt und die Fake News weiter rumoren, während Aliens eindringen, Verlassenheit groß wirkt, Welten innerhalb der Welten sich auftun und die Sanduhr sich füllt. Ein bahnbrechendes Album von einem der großen modernen Songwriter, es ist pure Popmusik für eine neue Normalität, spannend zu hören, wie all dies endet...oder weitergeht.

Beneath the steel strings and steely demeanor exemplifying the spirit of bluegrass lies the heart of a wanderer: the heartbroken rambler looking for the next big break and the next story to tell. The Po’ Rambin’ Boys’ Wanderers Like Me is a quintessential bluegrass record, full of melodies that burst with energy and emotion and music driven by melancholy but refusing to succumb to it. They confront their losses with original songs that resonate poignantly across the hills and hollers where bluegrass was born. For The Po’ Ramblin’ Boys wandering is anything but aimless: they ramble not to escape the past but to experience the future.

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

Exciting News for Roulette Fans!

It's been quite a journey since the release of the album "Now!". Over the years, Roulette shared several singles digitally, each one a piece of our evolving musical story.
Now, as anticipation builds for our upcoming summer single "Love's The Drug", we believe it's the perfect moment to gather all our recent hits into one special collection.

Introducing the brand-new EP, "From Now Until Today". This EP brings together all the singles released since "Now!", capturing the essence of Roulettes latest musical explorations. And because fans deserve something truly unique, we've included a bonus track that you won't find anywhere else-exclusively available on this EP.

Available in both CD and vinyl formats, "From Now Until Today" is more than just a collection; it's a reflection of the journey and a gift to our incredible supporters.
Thank you for being a part of our story. We can't wait for you to hear it.

- Ltd. Col. 12": (Red Vinyl)

Repress

Songs ’94-’98 is a smart selection of material from The Cat’s Miaow, an Australian indie-pop group that gifted their decade with some of its finest songs. Released on World Of Echo, the album draws from the group’s string of excellent seven-inch singles, a small clutch of compilation contributions, and features one previously unreleased song, “I Take It That We’re Through”, recorded in 1998. Part of the burgeoning international pop underground of the nineties, The Cat’s Miaow’s legend has only built over subsequent decades, as more people discover this most quixotic and curious of groups: a recent appearance on A Colourful Storm’s compilation of Australian indie-pop, I Won’t Have To Think About You, is testament to their enduring influence. In part emulating the selection of tracks on the 1997 CD-only compilation, Songs For Girls To Sing, Songs ’94-’98 is also the group’s first ever full-length 12” vinyl collection. The Cat’s Miaow started out in 1992 as a home-recording duo, Bart Cummings (guitar, bass, vocals) and Andrew Withycombe (bass, guitar) taking time out from duties with Girl Of The World and The Ampersands (respectively), knocking out songs on Withycombe’s four-track. Soon joined by Kerrie Bolton (vocals) and Cam Smith (drums), the quartet spent the next five years quietly, slowly working away in the suburbs of Melbourne, recording gem after gem of independent pop. Like many of their Australian precursors or peers – The Particles, Even As We Speak, The Cannanes – The Cat’s Miaow were more successful overseas, a sadly typical phenomenon within the Australian musical landscape. The Cat’s Miaow were always worldly and stylish, anyway, each seven-inch single a refined artifact, each song a peaceable jewel. You could hear some relationships with other music – someone (if not everyone) in The Cat’s Miaow was a Galaxie 500 fan; there’s a minimalism to the playing and melodies that recalls Young Marble Giants, Marine Girls, Beat Happening – but the spirit in these songs is endearingly individualised, the result of a hermetic vision, an ideal of what a simple, unadorned pop song could be. They had a winning way with simplicity, songs like “Autumn”, “Crying” and “I Can’t Sleep Thinking You Hate Me” passing by in the blink of a moistened eye, and when they stretched out, as on “Firefly”, you can hear hints of the drifting ambience they’d perfect in their other band, Hydroplane. It’s not much of a surprise that The Cat’s Miaow found a receptive audience, and no small amount of support, from the networked communities of indie-pop labels and fanatics that developed in the nineties – they released records on imprints like Drive-In, Darla, Bus Stop and Quiddity, shared a flexi-disc with Stereolab, and appeared on countless compilations over the years. But they also understood the importance of the local: their first few cassettes reached the world’s mail routes via Wayne Davidson’s legendary Melbourne tape label, Toytown; they turned up on a split single with Davidson’s group, Stinky Fire Engine; they appeared on a tribute cassette for one of Australia’s finest, The Sugargliders, and indeed that’s Josh Meadows of said group playing wah guitar on “Stay”. The Cat’s Miaow also rarely played live – one launch gig, for the Munch video compilation, and a few parties – which is a great way to maintain mystique. Cosmopolitan yet homely, dedicated to their craft, The Cat’s Miaow always felt a little like a group moving in slow motion, using that pace and focus fully to embrace the art of the perfectly stated pop song – every element in place, no flash and no fuss, no excess, just the core of the thing. Few managed to tease such fierce poetry from such understated, elegant means. From Australia or anywhere.

"It’s hard to believe it’s been 15 years, give or take a few, since we tried our hand out at writing, recording, and playing our songs. We had a wild ride and feel privileged, but mostly grateful, to pursue music in the way that we did. A lot of life happened during our tenure as a band and that didn’t stop since our last show or record.

The people and places the band introduced us to continue to serve as the most incredible memories and to add to that, Kingfisher is turning 10 years old. The nostalgia is real. We had been toying around with the idea of reuniting for quite some time, so there seemed no better time to do it than now.

Having Topshelf in our corner as we began preparing to do this was a no brainer. After talking to Kev and the TSR crew of our plans, it was like no time had passed as they’ve always been great friends and a support system to us. Topshelf repressing Kingfisher in its original intended format, as a double LP, feels like a very monumental way to commemorate a record that means so much to us.

We can’t wait to get back out there to commemorate 15 years of Prawn and Kingfisher’s 10th Birthday. We will be having original members (welcome back Vilchez) to help celebrate with a run of shows that we feel very fortunate to do. Cheers to the last 15 years and all of you reading this for being part of our journey. Let’s see what the next 15 hold in store!

All our love,

Prawn"

2024 Repress


Mysterious UK Garage imprint Time Is Now returns for its second outing, this time equipped with four club weapons from rising talent Interplanetary Criminal.

2024 repress !

One of the leading names in the current UKG revival Prozak returns to DJ Mag's 'breakthrough label of the year' Time Is Now with another weighty cut of bass driven goodness. TIP!

Das neue Album des „Isis“-MCs aus Massachusetts, Not Now I'm Busy, ist bei Erscheinen im Jahr 2024 sein erstes Album seit drei Jahren. Es stellt
Joyner Lucas' außergewöhnliche Fähigkeiten als Geschichtenerzähler und sein künstlerisches Wachstum unter Beweis.

Idle Race is the second studio album by British rock band Idle Race, released in 1969. This album follows their 1968 debut, The Birthday Party. Fronted by Jeff Lynne, who later became famous with Electric Light Orchestra (ELO), the album features a whimsical pop-rock style with psychedelic influences. Key tracks like ""Come With Me"" and ""Please No More Sad Songs"" showcase Lynne's melodic songwriting and playful lyrics. Despite critical acclaim, Lynn left shortly after the album release to join The Move. However, Idle Race is a cult classic, celebrated for its inventive arrangements and quirky charm. This album is a hidden gem in the late 1960s British rock scene, highlighting the band's unique blend of catchy tunes and imaginative storytelling. Idle Race is available as a limited edition of 750 individually numbered copies on crystal clear.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

Blood Red w/ Cyan Blue Splatter Vinyl. Remember Sports is a Philadelphia-based band, originally conceived in the tiny Midwestern college town of Gambier, OH, comprised of members Carmen Perry (vocals, guitar), Jack Washburn (guitar), Catherine Dwyer (bass), and Connor Perry (drums). Their peppy indie power pop encapsulates the melancholy and excitement of growing up while Carmen's writing is diaristic and intimate; a strange amalgam of both melancholy and joy. Remember Sports recorded Sunchokes in 2014 with school mates Teddy Farkas and Alex Evans while Carmen, Catherine, Benji Dossetter (drums) and James Karlin (bass) attended Kenyon College. Sunchokes (Deluxe Edition) is a remastered version of the original album plus eight bonus demo + original versions of some of the songs.

Buzzkunst ist PETE SHELLEY (Buzzcocks, solo) & HOWARD DEVOTO (earliest Buzzcocks, Magazine, solo). 'SPECIAL SAUCE' ist größtenteils eine Neukonfiguration des 2002er CD-only-Albums 'Buzzkunst' von ShelleyDevoto. JETZT (!) zum ersten Mal auf VINYL, mit einer neuen Reihenfolge und zwei (2) bisher unveröffentlichten Tracks - 'Psychosomatic' und 'Punk Of Me'. Und als ob das noch nicht genug wäre, gibt's noch ein zweites Mini-Album: 11 NEVER BEFORE RELEASED HOWARD DEVOTO ARCHIVE RECORDINGS aus der gleichen Zeit, mit dem Titel 'DESIGNOID'. Instrumentalstücke und Songs, eigenwillig wie immer, inklusive eines 21st century re-work von 'Breakdown', das ursprünglich auf der selbstveröffentlichten Debüt-EP der Buzzcocks, 'Spiral Scratch', enthalten war. "This Shelley is Pete Shelley _ old punks will remember him from the legendary Buzzcocks, while '80s rockers may recall his electro-pop hit Homo Sapien. The Devoto is Howard Devoto, Shelley's old Buzzcocks partner who went on to form the arty post-punk outfit Magazine. Now working together again for the first time in 25 years, the duo have achieved a sound that incorporates most if not all of their previous endeavours without reverting to cheap nostalgia. Their 14-track reunion album Buzzkunst is a progressive step forward, combining the grinding guitars of Shelley's youth and the poppy synthesizers of his middle age with the artsy sonic sculptures and post-punk yelp of Devoto's past." - Tinnitist,2002/2022

Ein Jazz-Trio ist eigentlich nicht mehr als ein Pianist, ein Bassist und ein Schlagzeuger. Im Falle von Bill Charlap ist ein Jazz-Trio viel mehr: eine ganze Welt aus Rhythmus, Melodie, Kontrapunkt, zupackendem
Drive und ausgefeilter Eleganz. Der mit dem GRAMMY ausgezeichnete Pianist gründete sein langjähriges Trio mit Bassist Peter Washington und Schlagzeuger Kenny Washington bereits 1997 und konnte es schon bald als eines der führenden Ensembles im Jazz etablieren.
Obwohl Bill Charlap und seine beiden Mitstreiter sich „nur“ im Kosmos aus bekannten Jazz Standards und Broadway Tunes bewegen, ist ihre Musik auch nach 27 Jahren und beinahe 20 Alben noch immer so spannend und erfrischend, als hätte man all diese Ohrwürmer noch nie zuvor gehört – besonders wenn man das Trio live erleben kann, so wie bei diesem energiesprühenden Mitschnitt aus dem New Yorker Village Vanguard.

Lee Morgan - The Gigolo
Nachdem Lee Morgan 1964 mit “The Sidewinder” und dem als Single ausgekoppelten Titelsong neue
Verkaufsrekorde bei Blue Note aufgestellt hatte, setzte der Trompeter seine musikalische Erfolgssträhne
mit Alben wie “The Gigolo” fort. Zu den Höhepunkten dieser 1965 eingespielten (aber erst 1968 veröffentlichten) schwungvollen Hardbop-Sammlung gehören der groovige Opener “Yes I Can, No You Can’t”
und die swingende Up-Tempo-Nummer “Speedball”.