Cerca:the cook

Rocko Garoni knows what a techno dance floor wants. He’s learned it through countless hours spent on the floor himself as a punter, and through DJing at some of the best clubs and festivals in his hometown Berlin and all over the world. He knows exactly the type of productions that thrill crowds, and he brings this wealth of knowledge and experience to his third EP for Second State, Ammoniak.

The title and first track ‘Ammoniak’ drags you straight into the zone; a pounding, take no prisoners cut laced with stormy synths creating a vague sense of paranoia. ‘Gece‘ cranks the energy up with trancey, bouncing synths and a cool, clipped female vocal. Instantly, you’re pulled into the very sort of club that Garoni knows so well. ‘No Border‘ is the kind of expansive track that seems destined for huge warehouses or vast festival dancefloors. There’s an insistent, brooding bassline, robotic repeated vocals and a mid-track shift in tone that will send the crowd to a heightened state of reverie. The blend of post-punk vocals and eerie beats on ‘It’s All Yours‘, a track featuring Cook Strummer on the vocals, is at once highly unusual and completely compelling. It’s the track to play when the crowd are losing themselves in the best possible way. Closing the EP is ‘Helio‘, another completely different track that showcases the extent of Garoni’s range. Faint, echoed chanting lends the track an almost holy atmosphere. Combined with tunnelling synths and spindly percussion FX, the effect is euphoric, acting as a delicious palate cleanser between heavier tracks.

Put simply, Ammoniak is another first-class EP from a dynamic act who’s fast becoming a Second State star.

2 artists, 2 tracks, 2 remixers. I am very proud to present this DUAL release from artists A_GIM and Alex Mine who both deliver some hard hitting peak time stompers for the dance-floors around the globe. And I am equally proud to have the 2 remixers I admire Yan Cook and Moteka onboard for the more underground remixes of the tracks. I honestly love all versions. The involved artists really delievered some special treats for Noir Music and I am so happy with the end results for this release. People who have attended my gigs the past 5-6 months have heard these tracks out loud. Now its time to unleash the goodness to the world. Dual is here.

Comet presents the first release from its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco reedits by LeonxLeon and Leo Nanjo.

Founder of Comet Records, Eric Trosset, started working with those great heroes of West African music, back in 2010. Taking on the role of manager/publisher, Comet teamed up with Strut Records
and musician/producer Ben Abarbanel Wolff to revive Ebo Taylor‘s international career with a string of album releases: Love & Death, Appia Kwa Bridge and Life Stories. In 2014, he collaborated with
Pat Thomas & The Kwashibu Area Band on a new album, gathering together the old ‘pals’ (Ebo Taylor, Pat Thomas, Tony Allen) in producer Kwame Yeboah’s studio in Accra.

It is with great pleasure that Comet launches this new series. Let's make this beautiful and timeless music the soundtrack to an unforgettable summer!

On side A, comes “Enye Woa” by Pat Thomas, originally released in 1988 on Nakase Records and taken from the album Me Do Wiase. It’s killer disco cut, and as innovative a piece of highlife as it
was 30 years ago. Paris-based producer LeonxLeon has been cooking up songs in his Parisian home-studio since 2013. He did a remarkable remix of Cerrone's "Funk Makossa" and more recently released his new Rokanbo EP on Cracki Records. His remix of “Enye Woa” is a classy modern disco cut with funky bass and spacey synths.

On side B is “Atwer Abroba” by Ebo Taylor, a stand out up-tempo track from the album Twer Nyame, originally released in 1978 on Philips West African Records. Tokyo-based multi
instrumentalist/producer/arranger Leo Nanjo formed the first Japanese afrobeat group, Kingdom
Afrorocks. Since the band broke up in 2014, Leo has been producing and arranging music with various collaborations, such as DJ Muro, Pushim and Misia. This is a trippy afro-futurist, broken
beat reedit with highlife grooves flying to deep space

Following the reissues of their 4 albums on vinyl earlier this year, French band and pioneers of the fusion of World and Alternative music Les Négresses Vertes continues to celebrate the 30th anniversary of their first album 'Mlah' with a new re-issue of their album '10 Remixes'. Repressed by Because Music, '10 Remixes' features remixes of their classics ('Sous Le Soleil De Bodega', 'Voilà L'Eté', 'Zobi La Mouche', etc.) by Massive Attack, Gangstarr, Clive Martin, Kwanzaa Posse, etc.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2017 has already seen releases from Adam Beyer Vs Pig&Dan, Alan Fitzpatrick, Ilario Alicante, Julian Jeweil, as well as a debut album from Layton Giordani. The label continues push forwards; bringing fail-safe, club-ready music to the techno community.
Perennial pushers of the techno envelope, Dense & Pika are renowned for their standout studio output that seems to constantly conjure up a particularly unique take on their distinct sound, D&P have rather outdone themselves in 2017.
Kicking off the year with a selection of back catalogue remixes from the likes of Danny Daze, Scuba, Slam and Yotam Avni that illustrated the high esteem in which D&P are held by their peers right across the spectrum; From heritage acts to current headliners and cutting edge talent, the duo have gone on to drop bomb after bomb after bomb.

Their universally lauded remix of Tiga's 'Louder Than A Bomb' was the first of a run of chart topping cuts; With a remix of ME & her's 'Wild Rage' on Jamie Jones' Hottrax imprint and their own 'Casino' single both challenging the norm of what techno sounds like in the here and now.
Cooked up with a more melodic vibe and fusing elements of house and techno, Dense & Pika's latest outing on Drumcode offers something different compared to their previous work.

There is still that vintage feel to each of the tracks with analogue sounds and arrangements born and developed from experimental studio jams. Indeed, 'Suki' heavily utilizes the distinct harmonic tones of the Dave Smith Prophet 8 keyboard. While 'Little Sun' - A staple of D&P performances over the last three months - delivers a more classic Drumcode sound. 'Lanky' closes out the release with an infectious slab of wonderfully wonked-out raw funk.

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

LTD Color repress !

Curtea Veche returns with this 3 track vinyl only release! 'Ganduri Spirituale' 3 huge techno Groovers from an exclusive unknown artist... Huge support coming from the likes of Archie Hamilton, Nu Zau, Georgia Girl and more!

"From The Kitchen To Your Ears" is the debut Various Artists release from Home Kitchen Records, a project rooted in the same spirit as cooking: raw ingredients, patience, instinct, and creativity. Like a dish made with care, each track has been shaped and refined to deliver its own sonic identity.

This VA brings together a special selection of artists, including a track from the label’s founder Z-ID, alongside Briki, Ghazi, Ahmet Mecnun, Shkedul & Salma, all connected through a shared passion for music. Each contribution brings its own flavor, forming a diverse yet cohesive journey from the studio to your ears

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

Esteemed soul crooner Sam Cooke achieved much in a short space of time, notching 29 top-40 singles in his seven-year solo career. On Night Beat, released in 1963, Rene Hall’s tasteful arrangements allow Cooke’s voice to shine, most notably on ‘Lost And Lookin’; jump blues standards ‘Shake Rattle And Roll’ and ‘Little Red Rooster’ are playfully rendered, with Billy Preston’s organ on the latter. Originals ‘Mean Old World’ and ‘Laughin’ And Clownin’ remind of his strong song-writing ability and his spirited take of ‘Nobody Knows The Trouble I’ve Seen’ recalled his days with the Soul Stirrers. A prime album for all Cooke fans!

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

The album was produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) who became a believer after just a few songs of a ’68 set while the band was touring with Stone Sour last year.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

Legendary DJ, producer, radio host, and founder of the Acid Jazz and Talkin' Loud labels, Gilles Peterson, has curated another exceptional collection of tracks and rare versions from the renowned Dutch Timeless Jazz label, which celebrates its 50th anniversary in 2025. The Timeless Jazz Classics Vol. 2 double album features tracks and standout performances by Louis Hayes, Machito And His Salsa Big Band, Mike Nock Quartet, George Adams - Don Pullen Quartet amongst others. Notably, it includes two special tracks, the previously unreleased version of "Morning Song" (Live In Bremen 1978) by Eric Kloss & Barry Miles and bonus track "La Placita" (Live In Willisau 1978) by Marion Brown Quartet.

Timeless Jazz Classics Vol. 2 is available on black vinyl, includes an insert with liner notes, track-by-track information by Gilles Peterson and affixed on the protective sleeve is the 50th Anniversary Timeless Jazz sticker.

Nach einem bahnbrechenden Jahr hat die GRAMMY-Preisträgerin, Sängerin, Songwriterin und Multiinstrumentalistin Sierra Ferrell beendete ihre Tournee 2025 in ihrer Wahlheimat Nashville, Tennessee. Live aufgenommen, direkt auf Acetat im Blue Room von Third Man Records, fängt diese einzigartige Performance die rohe Energie, den feurigen Geist und die fesselnde Bühnenpräsenz ein, die Ferrell an die Spitze des modernen Bluegrass und Country katapultiert haben.

Pure Tribe, oldschool in the hardfloor massive vibe !
Dance or die !

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven"s second album II & III saw the folk-punk of the band"s debut LP morphing into an even wider melting pot of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band"s most defining songs. Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads ("Sad Lovers" Waltz") to call-backs to the European folk instrumentals of the debut ("No Krugerrands For David", "4 Year Plan"). Also featured is the band"s bluegrass-Americana take on Sonic Youth"s "I Love Her All the Time", feeding their appetite for cover songs. This deluxe double CD set brings together the original II & III album with a 17 track live album of material from Camper Van Beethoven shows supporting REM on their Life"s Rich Pageant tour. This audio was mostly recorded at the Lincoln, Nebraska show from October 10th, 1986, but is supplemented with audio from other shows of the tour. The Teal Vinyl re-issue features a newly revisited collage version of the artwork, plus a reproduced 11"x11" insert, designed by Victor Krummenacher using original photos, lithograph prints, lyrics and leaflets.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

British alt-rock favourites A return with PRANG, their first studio album in over 20 years, released via Cooking Vinyl. Sparked by the effervescent lead single "Hello Sunshine," the album finds the band rediscovering their identity with the carefree spirit and stylish sloppiness that defined their early days. Written and recorded free from expectation or pressure, PRANG is a vibrant, hook-laden reaffirmation of A"s enduring appeal - balancing punchy, riff-driven anthems with heartfelt, soul-baring moments. Frontman Jason Perry, now a Grammy Award-winning producer known for his work with Don Broco, McFly and Kids In Glass Houses, helms production to preserve the band"s DIY ethos and singular personality. Lyrically, PRANG is A"s most open and reflective work to date. Drawing on two decades of life experience, Perry explores gratitude, resilience, mental health and friendship with warmth and disarming honesty. The result is an album that feels both nostalgic and strikingly modern - each track its own colourful island, yet unmistakably A. Twenty years in the making, PRANG is more than a comeback; it"s a rebirth. Cathartic, melodic and life-affirming, it marks a bold new chapter for one of Britain"s most beloved rock bands.

Eine Hommage an das bahnbrechende Debütalbum von Irlands beliebtester Alternative-Band, The Cranberries. Mit neu remastertem Tonmaterial, das vom ursprünglichen Produzenten des Albums, Stephen
Street, in den Abbey Road Studios in London überarbeitet wurde.
Die spezielle 2CD-Deluxe-Edition enthält neu remastertes Material vom ursprünglichen Produzenten des
Albums, Stephen Street, sowie einen komplett neuen Mix des Albums, beides aufgenommen in den Abbey
Road Studios in London. Diese Ausgabe umfasst Titel, die während der ursprünglichen Sessions aufgenommen wurden, unveröffentlichte Live-Aufnahmen von ihrem Konzert im Londoner Astoria II im Jahr 1994
sowie den gefeierten Iain-Cook-Remix von „Linger“.
Erhältlich als CD, 2CD Deluxe Edition und LP

Mildred have announced their debut album Fenceline (out 24 April via Memorials of Distinction / Dog Day Records), they have also shared the Nick Roberts directed video for lead single ‘Fish Sticks’. Speaking of ‘Fish Sticks’ and the album, Mildred say: “Fish Sticks is a song of scenes from two worlds. Conversations with your boss. Acute workplace mediocrity. Riding home and eating fish sticks with your friends. For UK audiences, a fish stick is a fish finger, ideally Alaskan-caught cod. The song comes packaged in Fenceline, an album about conversations with old friends, little cousins, ceaseless piles of dust in your crumbling duplex, loves and theologians and their books. Fencelines mark two places but belong to neither. Neither nor, either or.”
Ahead of Fenceline, at the end of last year Mildred released their debut twin EPs mild and red, an insatiable collection of songs birthed before Mildred even knew they were a band. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, Uncut (‘We’re New Here’), The New Cue, Clash, DIY and more. Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time.

The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. Summed up neatly by Clash “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc.
Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

The Portcullis draws on dungeon-synth textures, medieval ambience, and the imaginative pull of folklore. Taking the listener on a focused journey through shifting eras, symbols, and atmospheres. It plays like a lost fantasy soundtrack, inviting the listener into an adventure that feels both ancient and newly invented.
Released on Fire Records, ‘The Portcullis’ sees composer Graham Reynolds on an ancestral journey back to Launceston Castle.
"For The Portcullis, I took a deep dive into the history of my family’s patrilineal side. Starting with my grandfather, an ironworker who built the Hartford Cathedral, to my great great great Grandmother, who was a galley cook on a Welsh sailing ship, to the enlightenment era celebrity portrait painter, Joshua Reynolds, and finally to twelfth century know Richard Reynell (before the Reynolds spelling was standardized). Reynell was the Sheriff of Devon and the custodian of Lauceston Castle. While King Richard I was away on the crusades, Reynell made his name defending the castle from the usurper Prince John. I started making sketches of the scenes and stories I imagined. The Portcullis follows Reynell from castle to castle, sequentially as they were built after the Norman invasion. On Reynell’s chest and shield is the symbol and crest of the Reynolds family: The Portcullis."
Graham Reynolds creates an “ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” New York Times.
Known for his wide-ranging versatility, from film and television scores to classical ballet, Graham has scored over seventy films and TV episodes to date. His ongoing collaboration with Richard Linklater the most notable.

Cowboy Junkies are set to release Open to Beauty, a collection of songs from their 21st century albums to date. This "Best Of" set will revisit selected tracks from albums "Open", "One Soul Now", "Early 21st Century Blues", "At The End of Paths Taken", "Renmin Park", "Demons", "Sing In My Meadow", "The Wilderness", "All That Reckoning", "Songs of the Recollection" and "Such Ferocious Beauty". Speaking about the new collection, Cowboy Junkies" Michael Timmins said: "We are now 25 years into this century, the beginning of which saw us leave the world of major labels and return to making music as an independent band. We figured this was as good a time as any to look back, reassess, and reflect on the music that we have recorded over these past two and a half decades and, hence, "Open to Beauty - The Best of the 21st Century".

Der US-amerikanische Musiker Anjimile Chithambo (ann-JIM-uh-lee) hat sich in den vergangenen Jahren als eigenständige Stimme etabliert. In der Indie-Szene Bostons bekannt geworden, entwickelte er einen persönlichen, ehrlichen Stil, der Spiritualität, Identität und Nähe miteinander verbindet. Mit dem gefeierten Album "Giver Taker" (2020) setzte sich Anjimile mit Zugehörigkeit und Selbstverständnis auseinander. "The King" (2023), sein erstes Album auf 4AD, thematisierte Selbstbestimmung und seine Erfahrungen als schwarze Trans-Person in einer Zeit tiefgreifender persönlicher und gesellschaftlicher Veränderungen. Diese Themen führt Anjimile auf seinem neuen Album "You"re Free to Go" weiter. Im Mittelpunkt steht die Frage, was geschieht, wenn man Kontrolle loslässt und neue Formen von Bindung und Freiheit zulässt. Das Album verarbeitet Trennungen, neue Beziehungen, Verluste und Neuanfänge und beschreibt einen Weg zurück zu Vertrauen ins eigene Leben. Der Titel spiegelt eine offenere Sicht auf Beziehungen wider, geprägt durch Erfahrungen mit non-monogamen Modellen. Produziert von Brad Cook (Bon Iver, Waxahatchee) und unterstützt von Gästen wie Sam Beam (Iron & Wine), entfaltet sich "You"re Free to Go" organisch und intim. Musikalisch verbindet Anjimile Folk mit Alternative-Pop-Einflüssen der späten 1990er-Jahre. Auch stimmlich zeigt er sich weiterentwickelt - eine bewusste Veränderung, die der emotionalen Tiefe des Albums zusätzliche Kraft verleiht.

Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate. Emerging unexpectedly from the epicenter of trap music, the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production that couldn't be further from the monotonous sounds echoing Around Him. With Just A Few Projects To His Name, Tha God Fahim Was Still A Hungry Young Talent On The Rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Followed by an equally compelling sequel released just a few
months later, the overall saga became an important moment in Tha God Fahim's rise, evoking shadowy street corners and smoke-filled hallways. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself.

In 2006, "Undiscovered" introduced the UK to one of its most distinctive new voices. Powered by the breakout single "You Give Me Something", the album debuted at No.1 in the UK Albums Chart, and went on to become 5x Platinum in the UK, and achieved Platinum and Gold certifications across Europe, Australia and beyond. Blending soul, acoustic pop and classic British songwriting, "Undiscovered" delivered a string of enduring tracks including "Wonderful World" and "The Pieces Don"t Fit Anymore", establishing James Morrison from the outset and laying the foundation for a successful international career. To celebrate its 20th anniversary, the album returns in new formats for collectors. The vinyl has been cut by John Webber at AIR Studios to showcase the warmth and depth of the original recordings, and a deluxe CD edition features 4 bonus tracks, available exclusively on CD. A landmark British debut of the 2000s, "Undiscovered" remains a defining release of its era.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

"Invaders Must Die" is The Prodigy"s 5th album, and is 40 minutes of having your head battered by future nostalgia, serotonin levels twisted by feel-good horrorcore and your synapses snapped by whiplash attitude. It"s the sound of The Prodigy mixing up genres, contorting the past and rewiring the future, ram-raiding through the tranquility of music"s status quo like a blot on the landscape of England"s dreaming. The first thing you notice about "Invaders Must Die" is how complete it sounds, a consistent collection of bangers all firing from the same cannon. The next thing you notice about "Invaders Must Die" is just how melodic it is. Not just melody in the vocal sense but in the heyday-of-hardcore keyboard-hookline sense. Yes, if The Prodigy have learned anything from the hugely successful live shows it was that those old skool rave anthems still rock hard - and are every bit as iconic to their generation as punk was to the nation"s forty-somethings. So "Invaders Must Die" is awash with references to the free party generation, thundering along like the mother of all E-rushes, all hairs tingling, spine jumping and lips buzzing. But not a retroactive arms-in-the-air, water-sharing nostalgia trip, but a set fuelled by punk"s saliva-dripping rabid snarl. "Invaders" also features Dave Grohl drumming on "Run With The Wolves".

Born in Victoria, B.C., and shaped by formative years in Vancouver, artist and producer Sophia Stel found a rapt cult fanbase with her 2024 debut EP Object Permanence, a fiercely vulnerable collection of genre-agnostic earworms fueled by her full-bodied, affecting alto. By following her intuition and going against the grain of online fads, Stel is setting trends, not chasing them - always creating from a place of true originality. Her self-directed, sometimes spurâÇ`ofâÇ`theâÇ`moment digicam visuals for tracks like "I"ll Take It" and "You Could Hate Me" have the fuzzy realism of vintage photos or cherished memories: effortlessly cool without ever trying to be. In addition to earning co-signs from Troye Sivan and A.G. Cook and being selected for this year"s DAZED 100, she recently made her runway debut at Ann Demeulemeester"s PFW SS26 show and embarked on her first headline tour, which included a performance at Pitchfork Festival in Paris, following the release of her sophomore EP How to Win At Solitaire. Continuing to push the boundaries of today"s music landscape while honing a truly singular, post-genre sound that"s all her own, Stel is currently working on her debut album.

After his work with Miki Curtis & Samurai and just after joining the British rock band Free, Tetsu Yamauchi recorded his first solo album during a brief return to Japan in 1972.
This remarkable record is packed with standout tracks: the razor-sharp guitar riffs of “Wiki Wiki,” the groovy funk-rock vibes of “First Time,” “How To Cook,” and “Orange Dog,” and the sultry, melancholic vocals of Eleanor on “Alexander Stone,” “Why,” and “Baby Blue.”
Now beautifully reissued and remastered by Makoto Kubota, this hidden gem is a must-listen for fans of early ’70s Japanese rock.

US-Vinylversion auf HHBTM Records (12")! Anfang 1996 veröffentlichte The Wedding Present "Mini" über Cooking Vinyl Records, eine EP mit sechs Titeln, deren Songs alle einen Bezug zum motorisierten Fahren hatten. Fast dreißig Jahre später hat David Gedge dieses Konzept wieder aufgegriffen! "Maxi" enthält wieder sechs Stücke, deren Titel/Inhalte sich alle auf diese Thema beziehen. Maxi erscheint über Clue Records und folgt kurz nach der Veröffentlichung von 40 - der Zusammenstellung, die den komplexen und faszinierenden Katalog von The Wedding Present in einem Box-Set mit vier Vinyl- und/oder vier CDs widerspiegelt. Der letzte Titel der Compilation ist "Hot Wheels" - ein Song, der nun auch auf Maxi zu finden ist, zusammen mit fünf weiteren Stücken. Obwohl Maxi dem gleichen Konzept wie Mini (1996) folgt, klingt The Wedding Present 2025 deutlich größer. Dies ist wirklich eine Band in ihrer kreativsten Phase, die sowohl die Grenzen ihres eigenen Stils/Sounds als auch die Erwartungen der Zuhörer erweitert, während die Texte auf provokative Weise Bilder zeichnen, wie es nur David Gedge kann. "Wie ich in meinen Sleeve Notes zu 40 gesagt habe, wurden die Songs, die wir für Maxi aufgenommen haben, relativ schnell geschrieben, weil ich mich besonders inspiriert fühlte, sowohl textlich - durch Situationen in meinem Leben - als auch musikalisch - durch das Schreiben mit der damals neu hinzugekommenen Rachael. Die daraus resultierenden Tracks wirken größer angelegt und stimmungsvoller als alles, was wir seit langem gemacht haben ... und sie sind dank der neuen Rockqueen von The Wedding Present und ihrem Arsenal an Gitarren und Pedalen auf jeden Fall temperamentvoller!" (David Gedge). Schwarze oder limitierte klar rote Vinyl-12"-Maxi-EP!

US-Vinylversion auf HHBTM Records (12")! Anfang 1996 veröffentlichte The Wedding Present "Mini" über Cooking Vinyl Records, eine EP mit sechs Titeln, deren Songs alle einen Bezug zum motorisierten Fahren hatten. Fast dreißig Jahre später hat David Gedge dieses Konzept wieder aufgegriffen! "Maxi" enthält wieder sechs Stücke, deren Titel/Inhalte sich alle auf diese Thema beziehen. Maxi erscheint über Clue Records und folgt kurz nach der Veröffentlichung von 40 - der Zusammenstellung, die den komplexen und faszinierenden Katalog von The Wedding Present in einem Box-Set mit vier Vinyl- und/oder vier CDs widerspiegelt. Der letzte Titel der Compilation ist "Hot Wheels" - ein Song, der nun auch auf Maxi zu finden ist, zusammen mit fünf weiteren Stücken. Obwohl Maxi dem gleichen Konzept wie Mini (1996) folgt, klingt The Wedding Present 2025 deutlich größer. Dies ist wirklich eine Band in ihrer kreativsten Phase, die sowohl die Grenzen ihres eigenen Stils/Sounds als auch die Erwartungen der Zuhörer erweitert, während die Texte auf provokative Weise Bilder zeichnen, wie es nur David Gedge kann. "Wie ich in meinen Sleeve Notes zu 40 gesagt habe, wurden die Songs, die wir für Maxi aufgenommen haben, relativ schnell geschrieben, weil ich mich besonders inspiriert fühlte, sowohl textlich - durch Situationen in meinem Leben - als auch musikalisch - durch das Schreiben mit der damals neu hinzugekommenen Rachael. Die daraus resultierenden Tracks wirken größer angelegt und stimmungsvoller als alles, was wir seit langem gemacht haben ... und sie sind dank der neuen Rockqueen von The Wedding Present und ihrem Arsenal an Gitarren und Pedalen auf jeden Fall temperamentvoller!" (David Gedge). Schwarze oder limitierte klar rote Vinyl-12"-Maxi-EP!

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

Celebrating the 5th anniversary of Conway's legendary tape with DJ Green Lantern "Reject On Steroids" with a vinyl reissue in collaboration with Drumwork Music. Tape features guest appearances by Royce Da 5'9" and Benny, and productions by DJ Green Lantern. For the occasion we have two different artworks by Shk, limited to 1500 units each.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.

Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).

“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi

The Evolution Has Begun. Dedicated with love and honor to the memories of Peter Steele and Keith Alexander, Carnivore A.D. emerged as a post armageddon neo barbaric soundscape - a relentless force keeping the primal energy of Carnivore alive on stages and festivals around the world. Formed by NYC Hardcore and Metal veterans Baron Misuraca (vocals & bass – ex-SHEER TERROR), Chuck Lenihan (guitar – ex-CRUMBSUCKERS), and Joe Cangelosi (drums – ex-KREATOR, WHIPLASH, MASSACRE). Co-founded with full endorsement by original drummer Louie Beateaux, Carnivore A.D. has honored its roots by performing the explosive and brilliant works of Peter Steele with intensity, respect and raw power. But now, with the release of their first-ever studio EP "Transmutation", Carnivore A.D. transcends tribute.

They have challenged themselves to write new material - not to replace the original legacy, but to continue its spirit through their own lens. While the legacy of Carnivore remains sacred, Carnivore A.D. has become something more than its origin - a band with its own scars, its own instincts, and now, its own songs. “Think of Carnivore AD as a renowned dining establishment where it’s Chef passed on years ago but the recipes remain and folks still want to dine there instead of cooking the food themselves. And Chef Pete wouldn’t mind because his friends are making it with love.”- Louie Beateaux.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formats, including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from Eric Woolfson"s rarely played, mint condition duplicate masters run at the time of the original sessions in 1980. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight Clear Vinyl LP, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formatsincluding a Limited Edition Clear Vinyl LP, half-speed remastered by Miles Showell at Abbey Road Studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Anfang 1996 veröffentlichte The Wedding Present "Mini" über Cooking Vinyl Records, eine EP mit sechs Titeln, deren Songs alle einen Bezug zum motorisierten Fahren hatten. Fast dreißig Jahre später hat David Gedge dieses Konzept wieder aufgegriffen! "Maxi" enthält sechs weitere Stücke, deren Titel/Inhalte sich alle auf diese Thema beziehen. Maxi erscheint über Clue Records und folgt kurz nach der Veröffentlichung von 40 - der Zusammenstellung, die den komplexen und faszinierenden Katalog von The Wedding Present in einem Box-Set mit vier Vinyl- und/oder vier CDs widerspiegelt. Der letzte Titel der Compilation ist "Hot Wheels" - ein Song, der nun auch auf Maxi zu finden ist, zusammen mit fünf weiteren Stücken. Obwohl Maxi dem gleichen Konzept wie Mini (1996) folgt, klingt The Wedding Present 2025 deutlich größer. Dies ist wirklich eine Band in ihrer kreativsten Phase, die sowohl die Grenzen ihres eigenen Stils/Sounds als auch die Erwartungen der Zuhörer erweitert, während die Texte auf provokative Weise Bilder zeichnen, wie es nur David Gedge kann. "Wie ich in meinen Sleeve Notes zu 40 gesagt habe, wurden die Songs, die wir für Maxi aufgenommen haben, relativ schnell geschrieben, weil ich mich besonders inspiriert fühlte, sowohl textlich - durch Situationen in meinem Leben - als auch musikalisch - durch das Schreiben mit der damals neu hinzugekommenen Rachael. Die daraus resultierenden Tracks wirken größer angelegt und stimmungsvoller als alles, was wir seit langem gemacht haben ... und sie sind dank der neuen Rockqueen von The Wedding Present und ihrem Arsenal an Gitarren und Pedalen auf jeden Fall temperamentvoller!" (David Gedge). Transparente Vinyl-10" oder CD im Digipak.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using a 1:1 archive transfer from the original SONY 1610 format digital mastertape recorded in 1984. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

Limited Edition 180gm heavyweight clear vinyl, Half-speed remaster by Miles Showell at Abbey Road Studios, Insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including a Limited Edition Clear vinyl LP, half-speed remastered by Miles Showell at Abbey Road studios. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

"Saint Cloud" von Katie Crutchfield alias Waxahatchee ist das fünfte Album der Indie-Songschreiberin und wurde im Sommer 2019 auf der texanischen Sonic Ranch in Tornillo und Long Pond in Stuyvesant, NY, aufgenommen und von Brad Cook (Bon Iver, Big Red Machine) produziert. Mit unerschütterlicher Ehrlichkeit unterzieht sich Crutchfield auf "Saint Cloud" einer offenen Selbstprüfung. Das Album entstand nach Crutchfields Entschluss Alkohol und Drogen hinter sich zu lassen, entsprechend widmet sie sich lyrisch dem Thema Sucht. Das schlägt sich auch klanglich in einer klareren und traditionelleren Ausrichtung des Albums nieder: "I think all of my records are turbulent and emotional, but this one feels like it has a little dose of enlightenment. It feels a little more calm and less reckless." gibt die Musikerin zu Protokoll. Auch musikalisch beschreitet Crutchfield neues Terrain, während die letzten beiden gefeierten Alben "Out In The Storm" (2017) und "Ivy Tripp" (2015) noch von lärmenden Gitarren bestimmt waren, streift "Saint Cloud" diese Wall of Sound Schicht für Schicht ab, um Platz für Crutchfields Stimme und Texte zu schaffen. Das Ergebnis ist ein Album geworden, das von klassischen Americana-Sounds durchwoben ist, aber mit einem modernen Touch. Auf "Saint Cloud" präsentiert sich Crutchfield erneut als eine der talentiertesten Geschichtenerzählerinnen der Gegenwart und sitzt so selbstsicher im Songwriter-Sattel wie noch nie zuvor.

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling album The Turn of a Friendly Card (1980), their celebrated prog pop tour de force, is reissued in a variety of formats, including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from Eric Woolfson"s rarely played, mint condition duplicate masters run at the time of the original sessions in 1980. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s multi-million selling critically acclaimed album Eye In The Sky (1982) is re-issued in a variety of formats, including including this 2LP heavyweight, 45 RPM Audiophile edition. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek, Elmer Gantry as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

2LP 180gm heavyweight 45 RPM Audiophile Edition, Featuring a half speed remaster by Miles Showell at Abbey Road Studios, Housed in polylined inners, Printed insert with sleevenote. The Alan Parsons Project"s million selling album Ammonia Avenue (1984), is re-issued in a variety of formats including this 2LP heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios on a customised Neumann VMS 80 lathe at half speed using a 1:1 archive transfer from the original SONY 1610 format digital mastertape recorded in 1984. Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Chris Rainbow, Colin Blunstone, Lenny Zakatek as well as Eric Woolfson himself. Plus, a selection of session musicians such as guitarists Ian Bairnson and David Paton and drummer Stuart Elliott with arrangements by Andrew Powell.

The box set includes:
Randy Weston & African Rhythm Orchestra - Brooklyn Acadamy Of Music 1985
(180g gatefold LP / CD)
Randy Weston Big Band - Montreux Jazz Festival 1985 (180g gatefold 2LP / CD)
Randy Weston & Monty Alexander - Montreux, Zaragoza, Ratatuelle Jazz Festivals
1988 (180g gatefold 2LP / CD)
4-page LP sized booklet
liner notes by producer Jacques Muyal
hand signed by Jacques Muyal
embedded brass med

Detroit's Big Strick for his 7 Days Entertainment label has assembled of collection of Motor City leaning sounds from local and international artists here across four vital sides of wax. Generation Next opens with taught, pinging kicks and tinny melodies on deep house gem 'Senza Via D'Uscita' then Flabaire from Paris brings more bleeping sci-fi synths to a churning and dubbed out low end. Big Strick himself layers in electrically charged, fizzing synths and ticking hi-hats to his raw and gritty 'Bang My Shit' and Ron Cook ups the pace with the blissed out bumps of heady hymn, 'Again And Again.' Pegasvs from London also stands out with his great drum programming on '808 Jazz'.

Remastered from the original recordings and now presented on a 45rpm 2 LP deluxe audiophile edition, this is first time the complete 7-track album has been available on vinyl. 'In My Own Sweet Way', recorded during a month- long European tour in 1987, captures Woody Shaw in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players.

Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke , a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cook

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

The Best Of Miles Davis is a new compilation released to celebrate the legendary jazz trumpeters centennial in 2026. Designed as an introduction to this influential artist, it covers his prime years between 1956 and 1961, during which time he recorded albums including Workin', Cookin', Steamin' and Relaxin'. The 8 cuts included feature " 'Round Midnight," "My Funny Valentine," "Just Squeeze Me (But Don't Tease Me)" and more.

Fast-rising Los Angeles band The Silvertone make a splash on the modern soul scene with Mistakes—their most soulful statement yet. Retro-laced and dripping with smoky vocals, dusty grooves, and late-night cool, this souldie record blends vintage R&B, classic soul, and a touch of psych—Sam Cooke meets Durand Jones under neon lights.

Psychotronics is arguably one of the finest creations from a quite unique Dutch formation called Normally Invisible. In the primordial, early nineties phase of what we now call electronic music, a fellowship of students at the prestigious The Hague Institute for Sonology was formed. Not to become superstars, as there was no real commercial scene to speak of, but driven by sheer artistic curiosity and intrinsic passion for this new way of musical expression.

Nico, Olaf, and Thiemo demonstrate their interest in a broad range of tempos, feelings, and styles across their discography, with Psychotronics as one of the more dance floor oriented releases. Anacalypto Records brings you this former promo EP in a transformed and remastered official re-release. To complete the label's 5th release, the B-side of Psychotronics is topped off with the formerly unreleased "Cookie" from the same year, 1995.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

Clear vinyl 2LP + insert. Volume 3. Personal Computer Music for the Third Millennium. A compilation of hits from 2018-2021 alongside upcoming, unreleased and unreleasable music.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

The analog LP reissue of the original soundtrack album from the anime Mr. Ajikko, which aired in 1987. The original LP catalog number is K28G-7379, and the original
CD catalog number is K32X-7125, released on June 21, 1988 (the tracklist differs from the CD released in 2004, which included eight newly added tracks).
The original manga, created by Daisuke Terasawa, was serialized in Weekly Shonen Magazine from autumn 1986 to the end of 1989, and was adapted into an anime
series that aired on TV Tokyo from October 1987 to September 1989.

This is the only soundtrack album for the anime series. It features the opening theme “Renaissance Jounetsu” and the ending theme “Kokoro no Photograph”, both
composed and sung by singer songwriter Wataru Kuniyasu, who is also known for composing Akina Nakamori’s “Gypsy Queen”. Lyrics were written by Ikki Matsumoto,
and arrangements were done by Tatsumi Yano.

The album includes image songs, eyecatch music, and preview tracks, with contributions from renowned comedy song artists Masayuki Yamamoto (Side A tracks 4 and 6)
and Tatsuo Kamon (Side B tracks 1 and 7). The album was structured, scripted, and directed by the anime’s director Yasuhiro Imagawa, making it a variety style album.
The main background music (BGM) was composed and arranged by Daito Fujita (Side A tracks 1, 3, 5, 7; Side B tracks 3, 5). The original manga author Daisuke
Terasawa also contributed lyrics for two songs (Side B tracks 3 and 5). Voice actor Tomohiro Nishimura participated both as a singer (Side A track 8; Side B track 7)
and as an arranger (Side B track 7).

Voice actors Minami Takayama, Yoko Kawanami, Miki Narahashi, Hirotaka Suzuoki, and Kenyu Horiuchi also participated in min dramas and chorus segments.
This album, which comically and dramatically portrays cooking battles, is a “Bravo!” anime soundtrack that closes out the Showa era in style. After 37 years, it is finally
being reissued as an analog LP a long-awaited release for anime connoisseurs!

“Mi Manifesto” = “I just show up”. No warning.

MI MANIFESTO is an album slow-cooked—actually, really slow-cooked—pretty much over a match flame. It’s a little peek into my everyday life. If you stumble into it, you might bolt… or sit down, watch it unfold, and let this train hit you head-on. It’s not an album for everyone—only for those who walked in, got it, and decided to stay.

Pressed on a brilliant acid-yellow 12”, this special release is packed with surprises:
Each copy includes a custom insert by Pan Dan featuring the album’s lyrics. Inside every package, you’ll also find a personalized surprise gift — a small creative token straight from Pan Dan’s imagination. It might be playful, poetic, unexpected… or all of these at once. In any case, it will always be yours alone.

L.A.-based soul singer Leela James started out singing backup vocals on Hip-Hop albums in the late 90s and early 2000s. In 2004, she recorded the song "No Tears" on Pete Rock's "Soul Survivor 2", shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, "Music," is an ode to the soul singers of yesterday, with a Hip-Hop feel. She performs a soulful R&B cover of No Doubt's "Don't Speak" and alternates between funky uplifting tracks like "Good Time" and "Soul Food" with downtempo, soulful ballads like "When You Love Somebody" and "My Joy." Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down is proud to present this underrated gem for the first time on vinyl. The album is pressed on "Golden Pearl" colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers.

Inspired by the soundtrack from the motion picture American Graffiti, this 3LP collection captures the sound of late night cruising, jukebox romance and early rock ’n’ roll rebellion. Spanning doo wop, rockabilly and classic pop, the set brings together era defining hits from the mid 1950s to early 1960s, featuring timeless favourites by Chuck Berry, The Beach Boys, Dion, Little Richard, Sam Cooke, The Platters and many more. Pressed across three vividly coloured vinyl records, red, blue and yellow, this set is both a nostalgic listening experience and a striking collector’s piece, celebrating the golden age of American rock and pop in authentic style.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

Since 2018, Less J’s been laying it down on local labels and pushing his own imprint, Law Heart Records. No shortcuts, no polish — just rough-cut soul and heavy samples, stacked brick by brick into a sound that hits as hard as the city he comes from.
Bricklayer by day, bedroom producer by night, Less J builds grooves the same way he builds walls — with patience, grit and a touch of soul.
Some call him Adrià, others Lessito — but around here he’s simply L'Hospitalet’s own Moodymann. A nickname not given lightly, earned release after release through effort and persistence.
Rather than a weight to carry, it’s fuel — a reason to push harder, sharpen the sound and prove it every time.
This EP oozes truth. Three solid cuts, slow-cooked and straight to the point, topped off with a Mistanomista remix for dessert. No garnish, no tricks — just real music, meant to be listened to properly.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.