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"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

NOW is pleased to announce the next addition in the Millennium series NOW –the ultimate celebration of the finest pop hits from the 2000s . NOW – Millennium 2008-2009, bringing the first decade to a close – out September 27th! Available on STD 4CD set and a special edition 84-track 4CD set is housed in ‘hard-back-book’ packaging, including a 28-page booklet summary of the years and a track-by-track guide and 30 tracks across 2LP’s, pressed in a Gorgeous Gold and a White Vinyl, showcasing some of the most iconic sounds of the noughties!

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

Last month’s Eddie Parker ‘I’m Gone’ 45 release reused the Pied Piper backing track from the Hesitations album-only recording ‘That's What Love Is’. Both versions of this great 60s Detroit soul stomper are adored on the northern soul scene; to see it on our Pied Piper label will be quite a buzz.

We’ve plundered another of the group’s LP-only tracks for the B side. ‘Soul Superman #2’ has never been on a 45, though its brother ‘Soul Superman’ was one of the few Pied Piper chart hits. #2 has a similar macho theme with a different, though recognisable, Pied Piper track.

Spacey Jane are an Australian indie rock band formed in Fremantle in 2016. Following a year-long hiatus from live performances, Spacey Jane announced in January 2025 that their third studio album, If That Makes Sense, would be released in May. It was announced alongside the release of lead single "All the Noise". If That Makes Sense explores the difficulty and uncertainty that arises when articulating any feeling across the full spectrum of human emotion. Having total knowledge that nobody is able to truly comprehend the complexities that life has presented to you, but still trying to get the words out anyway. If That Makes Sense is an emotional flip book through time, a set of flashbacks and vignettes, an attempt to rearrange the disorder into something ordered. Where you are today is the result of all these fragments and experiences. -Caleb Harper

Die Saarbrücker Singer-Songwriterin Colletti, bekannt als Gastsängerin bei PASCOW, meldet sich mit "Cabin In The Woods" solo zurück. Die Single ist eines von zehn Liedern ihres Debütalbums "Anything That Burns", die sie - wie auch schon die 2022 erschienene EP "Searching For Former Solace" und die 2023 veröffentlichte Single "Weeki Wachee (ft. Bo)" - mit Marco Kallenborn aufnahm. Kallenborn, selbst als Solo-Künstler Citizen Tim auf Barhill Records unterwegs, übernahm auch erneut das Mixing und Mastering des Albums.

Für Superfans und Neugierige ist dies der von der Band kuratierte Einstiegspunkt und gleichzeitig das karriereumspannende Best-Of-Album der einzigartigen Rilo Kiley, die in den 2000er Jahren eine ganze Generation geprägt und den Indie-Rock nachhaltig geprägt haben. Nach langer Abwesenheit meldet sich das Quartett aus LA mit ausgestreckten Armen wieder zurück. "That's How We Choose To Remember It" umfasst all ihre Key-Songs, darunter "The Execution Of All Things" (2003), "The Moneymaker" (2007), "Silver Lining" (2007) und das durch die TV-Serie "Grey's Anatomy" populäre "Portions For Foxes" (2005). Die neue Sammlung feiert die Musik, die vielen von uns so am Herzen liegt. Auf Rilo Kiley, ihre Wiedervereinigung und die nächste Generation von Zuhörern, die diese Band genauso lieben werden wie wir.

- "The directness of Rilo Kiley’s storytelling aims straight for the heart." - Pitchfork

Amerikan Kaos ist der Gitarrenvirtuose Jeff Waters (am besten bekannt von Annihilator). Jeff Waters hat insgesamt +1 Million Follower auf sozialen Medien. Amerikan Kaos ist einer der Hauptdarsteller im Handyspiel Rock Kommander. Das Album 'All That Jive' wurde bei Sterling Sound in Nashville von Ted Jensen gemastert.

Amerikan Kaos ist der Gitarrenvirtuose Jeff Waters (am besten bekannt von Annihilator). Jeff Waters hat insgesamt +1 Million Follower auf sozialen Medien. Amerikan Kaos ist einer der Hauptdarsteller im Handyspiel Rock Kommander. Das Album 'All That Jive' wurde bei Sterling Sound in Nashville von Ted Jensen gemastert.

Transparent Caracao Vinyl. To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

To All The Ones That I Love wurde im bandeigenen Studio im Westen Melbournes aufgenommen, wobei Gitarrist Greg Rietwyk für Produktion und Mix zuständig war, bevor das Album von Kris Crummett (Closure in Moscow, Dune Rats, Currents) gemastert wurde. Dies ist das vierte Album von Press Club, und die Reife der Band spiegelt sich in den zehn Tracks wider. Dem Hörer wird ein Ritt durch verschiedene Genres geboten, während das Album Themen wie Introspektion, Entwicklung, Veränderung und das Lernen aus vergangenen Fehlern durchläuft. Die Band beschreibt die Entstehung des Albums als eine unglaublich spannende, kreative und befreiende Erfahrung: Die Songs wurden alle gemeinsam in ihrem Studio über mehrere Monate hinweg geschrieben. Diese Art des Schreibens gab der Band die Freiheit, mit verschiedenen Genres zu experimentieren und die Tiefen all ihrer Einflüsse auszuloten.

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

Purple Vinyl

House music, nightlife entertainment and DJ/Producer virtuoso Louie Vega has proven over and over again that he's a master chemist in the studio. His latest release is an uptempo and speaker-knocking remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' (produced by George Clinton and & G Koop) from the album 'First Ya Gotta Shake the Gate'.
The original version is nothing short of a classic, but it's as if the song had never been invited to a Louie Vega post-midnight global extravaganza. Was the song not aware that spellbound dancing and high BPMs were the standard for House Music Normally, such a blaring disregard for nightlife decorum would relegate a song to the pits of sonic hell, but we're talking about George Clinton here!The original opens up with a G-funk groove that screams Westside and lowriders. The listener is then blessed with Clinton as he adds his sage, soulful and pimpadelic vocals, complemented by Funkadelic singers asking him about the pains of the funk. The semblance of a beat that could drive the dancefloor into the morning hours is there, but in no way has it blossomed into its full glory. Enter Louie Vega.
His remix immediately greets listeners with a decadent spread of instrumentation and chutzpah. The original song's DNA populates the first thirty seconds of the remix but then an explosion takes place and the song assumes a new identity. The transcendent experience is akin to taking the elevator to a rooftop party and once the doors open- boom! The remix begs you to dance, the G-funk groove is now in your face instead of being laidback and percussion takes a front seat to take you away. The song is alive, there's no other way to describe it.
Be sure to buy your vinyl at an outlet near you! the Louie Vega remix of Funkadelic's 'Ain't That Funkin' Kind of Hard on You' on Vega Records!

Mint Green Vinyl. Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. "Everywhere your eye lands, there's another curio to marvel over," noted Pitchfork's Philip Sherburne when he visited Jonson's recording space for a Rising feature just after the release of his "strikingly original" 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that's universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn't help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.