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Die aus Miami stammenden und seit langem in Nashville ansässigen Americana-Ikonen The Mavericks melden sich mit ihrem mit Spannung erwarteten 13. Studioalbum "Moon & Stars" zurück. Es ist die erste Veröffentlichung seit dem erfolgreichen Projekt "En Español" aus dem Jahr 2020 und die erste englischsprachige Veröffentlichung seit dem gefeierten Album "Brand New Day" aus dem Jahr 2017.

The Mavericks, die bereits für ihre unverwechselbare Americana/Roots-Fusion aus Alternative & Outlaw Country, Rock, Blues, R&B und Tejano/Tex-Mex-Einflüssen bekannt sind, nahmen die Tracks von "Moon & Stars" passenderweise kreuz und quer durch die USA auf: In den Blackbird Studios (Nashville, Tennessee), den Frogville Studios (Santa Fe, New Mexico) und dem Dockside Studio (Maurice, Louisiana). Das Ergebnis ist ein lang erwartetes Album, das sowohl das zeitlose Gefühl einer klassischen Mavericks- eröffentlichung hervorruft, die sich nahtlos in die Reihe der Werke
ihrer Karriere einreiht, als auch einmal mehr Genre-Konventionen herausfordert und die Grenzen ihres Schmelztiegel-Sounds immer weiter verschiebt.

Zu den Gästen auf dem Album gehören Sierra Ferrell, Maggie Rose, Nicole Atkins und das "Fantastic Five"-Mitglied der Band, Max Abrams. Zu den Songschreibern gehören Bernie Taupin, Sam Hollander, Wally Wilson und andere.


b Live Close By (Visit Often) [with Nicole Atkins]


[b] Live Close By (Visit Often) [with Nicole Atkins]

On "Intertextural", Manuel Tur delves into more cinematic ambient and trip-hop realms, reminiscent of short interludes from 1990s classic electronica albums. 12 tracks of shifting beat structures, meandering loops and interlocking dubs, oscillating between sample-based and digital textures, form an atmospherically dense tapestry already familiar from Tur's productions for the dance floor.
Originally recorded in the midst of the Covid 19 pandemic and self-released as a digital-only album, "Intertextural" is now available for the first time in a physical format, specially remastered and cut to 180g vinyl.

1982 wurden Universe in Schweden gegründet. Nach dem Ausstieg aus der Band Moon gehörte Leadgitarrist Michael Kling zu den Gründungsmitgliedern, Bassist Hasse Hagman, der zusammen mit dem Schlagzeuger Anders Wetterström und dem Gitarristen Per Nilsson in der ersten Band von Joey Tempest spielte, kamen alle aus der Band Twilight. Keyboarder Fredrik Kriström und Sänger Kjell Wallen komplettierten die Band. Die Band löste sich Anfang 1988 auf, die Bandmitglieder tauchten hier und da in unterschiedlichen musikalischen Kontexten auf. 2002 trafen sich alle Mitglieder zum ersten Mal seit 14 Jahren. Zuerst fehlte UNIVERSE ein Sänger, aber plötzlich war eines Tages Andreas Eklund (ex-House Of Shakira) da. Seine erzählerischen Texte und geschmackvollen Melodien öffneten die Tür zu einer anderen musikalischen Dimension. 2018 kehren sie mit "Rock Is Alive" zurück. Jetzt also endlich das 3.Album und die Band ist wild darauf auf den Konzerten die neuen Songs und die alten Klassikern zu spielen.

Melodischer Death Metal mit Frauengesang! Düstere Hymnen der Rebellion Ancient Settlers haben sich in der europäischen Melodic-Death-Metal-Szene dank ihrer unermüdlichen Live-Aktivitäten schnell einen guten Ruf erspielt und wollen nun mit ihrem zweiten Studioalbum die Messlatte höher legen. Angeführt von den dämonischen Vocals der Frontfrau Argen Death beherrscht die venezolanisch-spanische Band das Thema Melodic Death mit absoluter Sicherheit durch stürmische Heavy-Riffs, fette Grooves
und eingängige Hooks (genau wie die Schwedischen Paten es uns allen beigebracht haben). "Oblivion's Legacy" ist ein konzeptionelles Werk, das in die Tiefen der menschlichen Existenz vordringt und das Vermächtnis erforscht, das wir als Individuen und als Spezies hinterlassen. Die Texte befassen sich mit den Auswirkungen unseres Handelns, den Kämpfen, denen wir uns stellen müssen, und dem endgültigen Schicksal, das uns alle erwartet. Vor dem Hintergrund kosmischer Wunder und existenzieller Introspektion dient jeder Song als Kapitel in der sich entfaltenden Erzählung der Reise der Menschheit durch Zeit und Raum.

For more than twenty years, Ka Baird has explored the outer dimensions of sound through performance. Extending far beyond their roots in the psychedelic folk movement of the early aughts, Ka is known for their raw, boundary pushing solo performances that bridge experimental sound, performance art, and ritual. Their tool set in the live arena includes extended voice and microphone techniques, electronics, flute and piano. Bearings follows their 2017 debut Sapropelic Pycnic and Respires, their acclaimed 2019 album.

Initially conceived as a twenty minute composition and presentation commissioned by Lampo in Chicago in the spring of 2022, Ka first explored the concept of “bearings” through a series of intimate performances where they shifted guises between magician, shaman, clown, and athlete, all enduring ongoing states of groundlessness through a physically demanding performance that entailed both play and struggle. This piece, in tandem with the heaviness of caring for a dying parent during the subsequent year, laid the groundwork for Bearings, with the album’s final narrative structure revealing itself in the months after their mother’s death the following September.

Enlisting a cast of contributors including Andrew Bernstein (alto saxophone), Max Eilbacher (flute processing, electronics), Greg Fox (percussion), gabby fluke-mogul (violin), Henry Fraser (contrabass), Joanna Mattrey (viola), John McCowen (contra clarinet), Camilla Padgitt-Coles (bowls, waterphone) Troy Schafer (strings), Chris Williams (trumpet), Nate Wooley (trumpet), and their beloved cat, Nisa (purrs) to create a collective hum and thrum, Ka and company create sprawling minimalist densities, punctuated by abrupt starts and stops, complex harmonics and textures, percussive flourishes, and a single, cyclical lyrical phrase: “Here. Disappear. Poof!”

Ka considers the album to be a deviant nod to a song cycle, throughout which certain motifs are repeated in different configurations. In the album’s sonic lexicon, a trumpet blast signifies a birth or death, or a distant string motif denotes a memory. Bearings is a durational work of profound abstraction and focus, within which sonorous elements, structure, and meaning reach a single, unified form. This amounts to nothing short of a creative high-water mark for one of the most dynamic and uncompromising artists working in the landscape of music today.

Die aus Miami stammenden und seit langem in Nashville ansässigen Americana-Ikonen The Mavericks melden sich mit ihrem mit Spannung erwarteten 13. Studioalbum "Moon & Stars" zurück. Es ist die erste Veröffentlichung seit dem erfolgreichen Projekt "En Español" aus dem Jahr 2020 und die erste englischsprachige Veröffentlichung seit dem gefeierten Album "Brand New Day" aus dem Jahr 2017.

The Mavericks, die bereits für ihre unverwechselbare Americana/Roots-Fusion aus Alternative & Outlaw Country, Rock, Blues, R&B und Tejano/Tex-Mex-Einflüssen bekannt sind, nahmen die Tracks von "Moon & Stars" passenderweise kreuz und quer durch die USA auf: In den Blackbird Studios (Nashville, Tennessee), den Frogville Studios (Santa Fe, New Mexico) und dem Dockside Studio (Maurice, Louisiana). Das Ergebnis ist ein lang erwartetes Album, das sowohl das zeitlose Gefühl einer klassischen Mavericks- eröffentlichung hervorruft, die sich nahtlos in die Reihe der Werke
ihrer Karriere einreiht, als auch einmal mehr Genre-Konventionen herausfordert und die Grenzen ihres Schmelztiegel-Sounds immer weiter verschiebt.

Zu den Gästen auf dem Album gehören Sierra Ferrell, Maggie Rose, Nicole Atkins und das "Fantastic Five"-Mitglied der Band, Max Abrams. Zu den Songschreibern gehören Bernie Taupin, Sam Hollander, Wally Wilson und andere.


b Live Close By (Visit Often) with Nicole Atkins


[b] Live Close By (Visit Often) [with Nicole Atkins]


[b] Live Close By (Visit Often) [with Nicole Atkins]

Donny McCaslin is an artist consistently at the forefront of musical innovation. Building on the foundation laid by his critically acclaimed 2023 album "I Want More," described by Mojo Magazine as an "emotive electro-jazz" masterpiece and celebrated for its adventurous spirit by De Volkskrant, Donny McCaslin continues to chart new territories in sound with his latest 7in vinyl and digital release, "Kid." This new project, encompassing the tracks "Kid" and "Maxine," which not only encapsulates the direct, bold, and charismatic essence of McCaslin's sound but also signals his relentless pursuit of artistic growth, refusing to rest on the laurels of past achievements.

"Kid" is a testament to the fruitful collaboration between McCaslin and Tim Lefebvre, reflecting a deepening of their artistic development as collaborators, writers, and bandmates. This instrumental track, enriched by David Fridmann's visionary production, explores the complexities of musical narrative through its intricate harmony and dynamic saxophone lines. The bass subs introducing an electronic vibe into the track signify the duo's forward-thinking approach, blending genres and sounds into a cohesive whole. The saxophone, treated with effects of delays and reverb, veers away from traditional jazz solos, creating textures that support an overarching sound world, inviting listeners to immerse themselves in the music rather than focusing on individual performances. "Maxine", on the other hand, presents a more introspective journey. Originating from a track sent by Colby Keyz, McCaslin develops this piece into a poignant love song, layered with saxophone melodies and solos that evoke a deep sense of longing and emotional depth.

The production, handled masterfully by Steve Wall, enhances the track's unique sounds, demonstrating McCaslin's ability to create profound musical experiences even in the absence of live band interaction. Together, "Kid" and "Maxine" highlight McCaslin's virtuosity and innovation as a musician. His commitment to evolving his sound and the depth of his collaborations exemplify why he remains a progressive force in the music world. With "Kid", Donny McCaslin reaffirms his position as an artist unafraid to explore, develop, and redefine the boundaries of contemporary music, making this release an essential addition to the collections of aficionados and newcomers alike.

ZOMBEAST erheben sich von den Toten und präsentieren "Heart Of Darkness", ihr bisher härtestes, düsterstes und wildestes Album!
Beeinflusst von Danzig, AFI, Mercyful Fate und 80er Jahre Punk, Death Rock und Thrash Metal, haben ZOMBEAST eine perfekte Crossover-Mischung aus Dark Punk und Thrash erschaffen. Die von Mario Montechello geschriebenen Texte handeln von den echten Schrecken des Lebens, vom Okkulten und von Lykanthropie.
Mit Alex Young (Leadgitarre) und Kyle Smith (Schlagzeug) betritt die Band auch in technischer Hinsicht Neuland, das sie bisher noch nie betreten hat.
Donnernde Drums und sich duellierende Gitarren treffen auf diesem lang erwarteten neuen Album auf Gesang mit Kultcharakter - lasst euch das nicht entgehen!

ØXN pron. ox-en exist at the uncharted intersection of its constituent parts, melding Lankum’s experimental doom folk (Radie Peat), the motorik euphoria of Percolator (John ‘Spud’ Murphy’ & Eleanor Myler) & Katie Kim’s glorious Lynchian meta-verse. They create a peerless new sound which exists somewhere between the traditional, the future and the eternal. Try to imagine the missing link between Enya, Ennio Morricone, Richard Dawson and Neu! And then add a pinch of something you never thought of and you’ll start to have a sense of this gloriously unique sonic universe which ØXN inhabit



What began as a side project duo between Radie Peat & Katie Kim in 2018, blossomed into a full-on multi-textured tapestry, with the addition of Myler & Murphy during lockdown. This resulted in one of the streaming highlights of the Covid era with an unforgettable live performance from a Martello tower in Dublin in conjunction with visual artist & Lankum collaborator, Vicky Langan. Now they are set to release their highly anticipated debut album CYRM.



CYRM pron. sy-rum was recorded by Murphy (Lankum/Black Midi/Junior Brother) at the Hellfire Studios in just 5 dizzying days in 2022 and set for April 2024 release on the relaunched & rejuvenated Claddagh Records

Solo Throat is the first solo LP from vocalist, composer and movement artist Elaine Mitchener. Drawing on the work of African-American and African-Caribbean poets Edward Kamau Brathwaite, Aimé Césaire, Una Marson and N. H. Pritchard, these twelve new vocal compositions disrupt semantic sense, play with the margins of lyrical translation, and give rise to new voicings. Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material - challenging classical ensembles with her piece (“the/e so/ou/nd be/t/ween”), and commissioning composers Matana Roberts, Jason Yarde and George Lewis to respond to the work of Sylvia Wynter (“On Being Human as Praxis”, Donaueschinger Musiktage, 2020). Her performance of Umbra poet N.H Pritchard’s text FR/OG at OTO in 2021 was a revelation - a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic ‘sense’. Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aimé Césaire and Una Marson as its source material. Its compositions are a loose translation - a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Michener’s exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning. Solo Throat comes together as much through difference as similarity. Mitchener’s own solo improvisations sit alongside the work of Brathwaite, Césaire, Marson and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasising what Anthony Reed calls, “the play on and the surplus of margins of lyrical translation to resituate other pathways of expression”. Just as the poets cited use white space to complicate our act of reading, so Mitchener utilises silence and multiphonics to complicate the act of voicing and the way we listen. Genre: Experimental / Vocal / Poetry

20th anniversary of Jim White’s haunting outer space alt.country classic that has a title so long nobody can remember the name of it. Featuring Aimee Mann, M. Ward, Bill Frisell and the Barenaked Ladies. Now it’s on vinyl for the first time, pressed on Substrate Black in a gatefold jacket plus three additional bonus tracks

Significant Other unveils a new project: Pain Management. A new imprint presenting music and visual media across a variety of formats. The outlet launches with an original 4 track EP: When It Rains.

Christening the label with his first full length release since 2021, the subversive producer steps out from behind the curtain with a batch of tracks guaranteed to soothe psychic woes and challenge sound systems alike.

True to the name of the label, this debut release delivers a healthy dose of leftfield club weight. Tough and tender in equal measure, it’s a record that explores in-between zones. A fever dream of narrative experiments at the outer edges of club music, packing enough punch to shake a dancefloor, but enough delicacy to soundtrack the ride home. The final product is a meeting of outsider sonics and sleazy dance tropes, body music for restless minds.

The record begins with the lead single ‘RPG’ (A1). A smoked out, drug chug power ballad featuring fellow NYC underground alum James K. Anchored around a growling 4/4 battle beat, swells of dub and inchoate vocal cries rise intermittently from the haze. Within the fever dream fugue of thuggish sub weight and engine-room crud, a tender, sustained warmth shimmers.

A2’s ‘I Get Such Bad Headaches’ is a twisted club thumper built around a questioning vocal refrain. It’s a tongue in cheek nod to the label’s origins that takes shape in a sleazy beat track with some serious club weight. Slowed n’ chopped to the maximum, it’s a low slung sleeper-hit with attitude. DJ Screw meets Tylenol PM, a bass-boosted anthem for the neural punishment enjoyer.

The B-side opens with the title track, ‘When It Rains (It Pours)’, a droned out mess of distant voices and textural grit. Anchored around the titular looping axiom, the track has a deathly, abyssal weight to it. A claustrophobic hymn of surrender, faithful to its stark refrain.

‘Bad Blood’ wraps the record on a tender note. A sluggish heartbeat pumps beneath the fog of dub delays and distortion, propelling forward a lethargic rhythm. Out of nowhere a blissed out synth line pierces the tension. A sharp, emotive melody disrupting the paramnesia with something new. If the record’s title track suggests a downward spiral through some psychic storm, then ‘Bad Blood’ shows the outline of dry land coming slowly into focus.

Art Direction by Ciaran Birch

Jonah Matranga has been making music for over 30 years. A prolific artist, he has become an enduring institution in the scene with a devoted fan base, rich lineage, and varied music career. Jonah has often straddled the line between the underground and mainstream. He’s worked with indie labels like Jade Tree and majors such as Atlantic, having fronted the bands FAR, NEW END ORIGINAL, and GRATITUDE. His music has influenced bands from Deftones to Blink-182, and he was there for emo and post-hardcore giants in their earliest beginnings–taking bands such as Thursday and Dashboard Confessional on tour. Simply put, the scene cannot be separated from Jonah’s art. Jonah has always written from the heart and performed in an intimate way that few others have accomplished. From basements to massive festivals, he brings the same energy to them all: raw honesty and an ability to make every show unique and personal. This is most apparent in Jonah’s solo and collaborative project ONELINEDRAWING. Jonah’s solo performance has always been about connecting with fans in an intimate setting, where they often perform with only a guitar and R2D2 sidekick. Sketchbook is the latest release from ONELINEDRAWING, featuring a collection of songs from Jonah’s early solo years, 1999 - 2001, completely remastered for vinyl. The album features originals and renditions of the likes of 7 Seconds and Jawbox, as well as the Sensefield split honoring the late Jon Bunch (Sense Field / Further Seems Forever). The LP also includes liner notes and zine by Norman Brannon (Texas is the Reason / New End Original). Sketchbook exists as both a time capsule and thank you letter to fans and music itself–a combination of the period in which Jonah first embarked on his solo journey and a celebration of the vitality that music and community not only affords him but all of us. Available in the EU/UK from Thirty Something Records and in the US from Iodine Recordings. Genre: Alternative / Emo

Meine Damen und Herren, entdecken sie mit uns das Bernsteinzimmer der guten Musik: Christian Steiffen ist der Künstler, den unser Land in dieser schwierigen und orientierungslosen Zeit braucht. Sein übernatürliches Selbstbewusstsein und sein klares Weltbild können Hoffnung und Vorbild sein, Halt und Trost spenden. In seinen Texten ist er oft schonungslos, auch sich selbst gegenüber! Mit Hymnen wie "Ich hab die ganze Nacht von mir geträumt", "Sexualverkehr" und "Eine Flasche Bier" hat er sich schon zu Lebzeiten unsterblich gemacht.
Und wenn er sagt: "Ich fühl´ mich Disco"!, dann tut er es auch!

Ollie Spalding and Jack Watts were friends first, and songwriting partners second, and this quality sets them apart. They're marked by that peculiar alchemy when two voices become one, a special sense of human connection wrought through harmony and emboldened with experience.

New album 'Redsetter' is their coming- of- age moment - gilded indie- folk with an optimistic sense of maturity, it dares to look towards the light. "We had literally no idea what was gonna happen!" Ollie gasps when looking back on the pair's self-titled debut album. Sculpted over the pandemic and released on Real Kind Records - the boutique Communion imprint chaired by Lucy Rose - the record displayed their core values. "The emotion has to be right," says Oliver.

"When we record songs, we want to stay true to the emotion - as though those songs had just been written seconds before they were recorded." The success of their debut brought fresh experiences - writing with Flyte, collaborating with everyone from Matthew & The Atlas and Victoria Canal to Talos and Olafur Arnalds - but also new challenges.

New LP 'Redsetter' takes them from their base in Brighton to a remote part of Texas (and back again); it's a record that's driven by a special kind of determination, dealing with intimate bonds, familial connections, and a quiet sense of renewal. Looking for perfect moments within our imperfect lives, Memorial have displayed extraordinary sense of character to drive themselves forwards. "We've let go of trying to make everything sound perfect," says Jack. "Being vulnerable in that way means that the end product is truer to you than it ever could be. There's a realness to it." Memorial have taken true ownership of their lives, pushing through enormous challenges to unlock new aspects of their artistry, and actualise their dreams.

This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night."

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Since releasing on Reinforced at the age of 16, Dominic Stanton has always remained one of most influential producers in the west London broken beat scene. Those early adventures via numerous successful aliases laid the foundations for Dom's sound, eventually leading to the launch of 'Sonar's Ghost' in 2013.

Welcoming Sonar's Ghost to Metalheadz is now long overdue, so it's a pleasure to be showcasing 'The Fall and Rise Of...' as part of the Metalheadz Platinum series this July. Consisting of 5 collabs, 4 of them making the vinyl cut, the release draws inspiration from the rich heritage of jungle and breakbeat, effortlessly weaveing together intricate rhythms and immersive textures. Outrage & Scale feature on 2 tracks each, whilst Acid_Lab also gets in on the virtual collaboration bringing together a complimentary selection of styles.

Soul Jazz Records’ new 10th anniversary one-off limited-edition heavyweight special-edition orange coloured vinyl pressing (+ download code) exclusively for Record Store Day 2024 of their long out of print Punk 45: Kill the Hippies! Kill Yourself! Soul Jazz Records’ debut Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. This album is fully remastered, relicensed with new tracks exclusively for RSD 24 and includes new tracks from Iggy & The Stooges, Nervous Eaters, The Angry Samoans and more!


The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Electric Eels, The Pagans, The Deadbeats, The Randoms, The Lewd and many more - a lightning-rod journey across the states of America - Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia – tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork.

Snakes of Russia ist das von Joseph Holiday - Ektronischer Musik mit zeitlosem Appeal. Seine Reise begann mit der EP 'At Home Alone With Lions', was zu Remixen, Filmkollaborationen und Auftritten für Ableton und Spitfire Audio führte. Nun steht sein Debüt-LP 'True Surrender' im Mittelpunkt, eine Zusammenarbeit mit dem Metal-Produzenten Kurt Ballou. Aufgenommen im God City Studio in Salem, MA, erforscht es einen schwereren, texturierten Sound, der Synthesizer mit Gitarrenverstärkern und Drum-Maschinen verbindet. Während der kreative Prozess im God City begann, spielte Josephs Heimstudio in LA eine entscheidende Rolle bei der Verfeinerung und Fertigstellung der Produktionsphasen. Der letzte Schliff kam von Justin Weis bei Trakworx Mastering in San Francisco, um die makellose Erhaltung jeder klanglichen Kontur und emotionalen Essenz zu gewährleisten.

Following 2020’s 'Point Vacancies', the debut EP from Jamie Paton and Mike Bourne’s collaborative act Metal, the duo return with a trio of dubwise remixes from Mr Paton himself as well as a peak-time stormer from fellow Bristolian artist, Hodge. The latter immediately sets the record ablaze with a driving-tempo kick thump, a duo of grain-textured 16th note hi-hats and chalky clap. He layers an anthemic three-chord pad progression with layered octaves, peppering in arpeggiated bleeps and articulate lead melodies, then tops it off with a few modular elements that retain the character of the original, before climaxing in true rave fashion. Proper. The following three mixes by Metal’s own Jamie Paton make clear his sonic obsession, the type of infinite tweaking that sees some artists/producers to the edge of madness, or at the very least satisfies some dragon-chasing addiction. There’s a successive deconstruction from 'Remix' to 'Dubwise' to 'Dubwise II', most notably in the reduction of rhythm and drum machinery, but also in the general tonality. The melody remains central but is gradually obscured, taking on a less and less recognizable form, and by the end we’re left with a skeleton of the track, quips and cranks, an assembly line of aluminum sheeting punctuated by an array of demented nuts and bolts. As with the previous EP, the sparsity of elements illustrates just how far one can twist an aesthetic, proving that self-imposed limitations can often propel an artist’s process and land them somewhere unfamiliar, somewhere foreign, somewhere enchanted.

Killer unreleased 1973 post-bop, avant jazz album from Argentina, with highly political texts.

The missing link in Argentina's jazz history finally sees the light.

Coraje Buenos Aires was recorded in 1973, conceived as a follow-up to the historic Bronca Buenos Aires (1971). More explicitly than its predecessor, the texts in Coraje denounced the atrocities of the military junta that ruled the country, and the album was inevitably censored before being released. The tapes, thought to have been burnt and forever lost, were recently discovered in the archive of the late Jorge López Ruiz, allowing us to finally listen to Coraje fifty years after being recorded.

Mastered from the original tapes by Pablo López Ruiz.

Includes foldout sheet with bilingual notes by author José Tcherkaski and an English translation of the album's song texts.

IVANHOE melden sich mit ihrem neuen Album "Healed By The Sun" und einigen neuen Bandmitgliedern zurück.
Der Songwriting-Prozess erwies sich als eine Reise zurück zu den Wurzeln der Band, wobei alle früheren IVANHOE-Alben wieder aufgegriffen wurden, mit tatkräftiger Unterstützung durch die neuen Bandmitglieder Chris (Gitarren) und Mathias (Schlagzeug).
Laut IVANHOE sind die Songs auf dem neuen Album eingängiger und zugänglicher und die Kompositionen anspruchsvoller.
Die Texte sind geprägt von kritischen Beobachtungen der Gesellschaft, darunter Themen wie COVID, Verantwortung für das eigene Handeln, Drogenmissbrauch oder der Stand der Kirchenskandale. Einige der Texte reflektieren auch tiefe persönliche Erfahrungen und Traumata.

Recorded in both Memphis and Texas and prominently featuring the amazing Bill Willis on Hammond B-3 (who doubles on bass pedals -- leaving this as one of the few blues albums without an official bassist), Jimmie's more subtle approach leaves lots of spaces to nail a groove that gets deeper as the album progresses.

Guests like James Cotton on harp and longtime associate singer Lou Ann Barton (who just about steals the show on the songs where she duets with Vaughan) inject extra spice, but the singer/ guitarist has crafted a compelling slice of contemporary blues that blends traditional elements in a distinctive way....Rootsy yet polished tracks like the R&B swamp of "Without You" and the Texas soul of Johnny "Guitar" Watson's "In the Middle of the Night" (featuring Stevie Ray's Double Trouble rhythm section) crackle with taut energy and low-down soul. By forging an individual musical style, Jimmie Vaughan not only avoids all Stevie Ray comparisons, but has produced a remarkable album that truly sounds like no one else."

Ozel AB's inaugural self release highlights a new and refined sound. With 4 deep excursions into UK techno, distorted textures, rolling sub bass and his trade mark dubbed out atmospherics.

Das exquisite neue Album entfaltet O'Briens typisches melodisches Gespür, seine Gabe für gleichzeitig lebendige und subtile Arrangements und Texte, die seine Hoffnungen, Ängste und Träume in fesselnde Poesie kleiden. “That Golden Time” ist nach dem fünften Albumtrack benannt, das gleichzeitig die Leadsingle des Albums ist. "Ich wollte, dass sich die Wärme des Albums in seinem Titel widerspiegelt", erklärt O'Brien. "Der Song berührt auch ein Thema, das immer wieder auftaucht: Romantik versus Realismus. Wie kann man ehrgeizige Vorstellungen von sich selbst und der Welt um sich herum haben, während man gleichzeitig mit der harten, kalten Realität konfrontiert wird? Diese Reibung hat mich interessiert."

Das exquisite neue Album entfaltet O'Briens typisches melodisches Gespür, seine Gabe für gleichzeitig lebendige und subtile Arrangements und Texte, die seine Hoffnungen, Ängste und Träume in fesselnde Poesie kleiden. “That Golden Time” ist nach dem fünften Albumtrack benannt, das gleichzeitig die Leadsingle des Albums ist. "Ich wollte, dass sich die Wärme des Albums in seinem Titel widerspiegelt", erklärt O'Brien. "Der Song berührt auch ein Thema, das immer wieder auftaucht: Romantik versus Realismus. Wie kann man ehrgeizige Vorstellungen von sich selbst und der Welt um sich herum haben, während man gleichzeitig mit der harten, kalten Realität konfrontiert wird? Diese Reibung hat mich interessiert."

Ein Albumtitel, der gleich in doppelter Hinsicht perfekt passt: ‚Silver Romance‘ heißt die neue Scheibe der süddeutschen Melodic-Powermetaller Freedom Call. Der Name symbolisiert nicht nur das 25-jährige Bestehen der Band – von Sänger/Gitarrist und Bandgründer Chris Bay augenzwinkernd als „unsere Silberhochzeit“ bezeichnet –, sondern trifft auch inhaltlich zu: „Dem Edelmetall Silber werden Eigenschaften wie Klarheit, Freiheit und Leichtigkeit zugeschrieben“, erklärt Bay und fügt hinzu: „Außerdem soll Silber das Selbstbewusstsein und die Fantasie stärken können. Allesamt
Attribute, die auch zu Freedom Call passen und die wir sowohl musikalisch als auch textlich in unseren neuen Songs haben einfließen lassen.“

Veröffentlicht wird ‚Silver Romance‘ als CD, Doppel-LP, Box-Set und digitaler Download am 10. Mai 2024 über Steamhammer/SPV, bereits wenige Tage später starten Bay und Co. ihre 2024er Konzertaktivitäten. Um den Fans die Wartezeit bis dahin zu versüßen, werden vorab gleich vier Singles ausgekoppelt: Am 21. Februar startet die Reihe mit dem Titeltrack ‚Silver Romance‘ inklusive eines Making-Of-Videos, am 20. März und 10. April folgen ‚In Quest Of Love‘ bzw. ‚High Above’ jeweils mit Lyric-Clips. Zwei Tage vor dem Album-Release, genauer gesagt am 8. Mai 2024, rundet dann der Song ‚Supernova‘ mit einem sehenswerten Video das Single-Quartett ab

One of the shining beacons of the UK post-metal scene, Bossk have steadily built up an unrepentantly loyal following since 2005. Before they reach the big 20, the band are taking this opportunity to take pause and reflect on their past and all the hard graft that has led them to become one of the most lauded bands in the genre. .4, the latest in a series of numbered releases that presents material outside the remit of Bossk’s full-length album output, is a celebration of those 20 years and provides an enticing aperitif for their 3rd album proper, to be released sometime in 2025. As is tradition with these numbered releases, .4 is not a Bossk album in the conventional sense, instead forging a more experimental path by presenting re-worked versions of some old favourites, as well as a smattering of re-recorded songs that only the most obsessed Bossk fan will be familiar with. One deciding factor that emboldened Bossk to celebrate their past is the amicable departure of vocalist Sam Marsh due to his permanent relocation to the United States. The band wanted to give Sam an epic recorded send-off and the colossal 13-minute Events Occur in Real Time provides a fitting farewell for the vocalist, who’s guttural razor-wire screams have provided tectonic shifting textures to the band since their inception in 2005. Acting as the centrepiece of .4, this is the first studio take of the song ever recorded, conceived as it was in 2008, just months before the band went on temporary hiatus.

Following two acclaimed European and Asian tours, UK producer Tom VR returns to "all my thoughts" with a special vinyl release of his latest single, "Acheless."

The vinyl features the original tracks "Acheless" and "Couldn't Find the Words," plus a brand new VIP edit
exclusive to the format. This edit showcases Tom VR's signature sound: a tapestry of textured electronica that's both driving and dark, yet punctuated by flourishes of vibrant color.

While the original "Acheless" unfolds melodies within its framework, the VIP edit takes a different approach. Here, the focus shifts to the pulsing rhythm section, with the signature plucky melodies subtly restrained.