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Muito Kaballa return in style with a refined modern sound on "Tomorrow A Flower" for the London-based imprint Batov Records, blending indie pop, soul, hip hop, jazz, Brazilian rhythms, and West African grooves.

Akhira Sano is a Tokyo-based artist working across sound, drawing, installation, and video. His practice finds generative potential for music in life's fleeting incidents, etching meaning from unassuming spaces and resonances. With releases on 12k, LAAPS, IIKKI, and The Trilogy Tapes, Sano has steadily carved out a distinctive voice within minimal and experimental music - one that privileges attentiveness and patience over spectacle.

"To Material Past", Sano's debut for SWIMS, carries this thread with a single 30-minute work built solely using glockenspiel tones and field recordings from his local neighbourhood. This is a night walk with no map or end point; Sano follows irregular, coiling fragments that extend to form a tessellating luminous whole - like a subliminal mass of tree roots quietly shifting the concrete slabs beneath our feet.

Under this faded gauze of gestures and interactions, Sano's glockenspiel interjects like a grandfather clock, softly marking the partitions that make up a day's collected experience; clicking and chiming like the sleeping brain, as it sifts and catalogues a lifetime's ephemera of thoughts, faces and puzzles.

Limitierte Auflage von 1000 Deluxe-Doppel-LPs mit 11 unveröffentlichten Titeln und Versionen auf "Glacial Blue" Vinyl. "Life in Slow Motion" stieg sowohl in Großbritannien als auch in Irland direkt auf Platz 1 ein und wurde zu einem kommerziellen Erfolg und erhielt begeisterte Kritiken. Aber noch wichtiger war, dass Gray damit wieder Freude am Musikmachen fand - am Schaffen von etwas Bleibendem. Jetzt, zwei Jahrzehnte später, wird "Life in Slow Motion" mit seiner ersten Veröffentlichung auf Vinyl gefeiert, zum 20-jährigen Jubiläum des Albums. Die Neuauflage wird in drei Editionen erhältlich sein: als Standard-Schwarzvinyl, als Farbvinyl und als Deluxe-Farbdoppelvinyl mit unveröffentlichten Demos und zwei bisher unbekannten Tracks aus den Original-Sessions. Diese Neuauflage von "Life in Slow Motion" bietet die Gelegenheit, ein wegweisendes Album wiederzuentdecken - nicht nur ein Produkt seiner Zeit, sondern ein Werk, das noch immer tief nachhallt. Weitläufig, nachdenklich und voller stiller Überzeugung.

Am 12. und 13. Oktober 2024 gaben American Football zwei ausverkaufte Konzerte im El Rey Theatre in Los Angeles als Teil ihrer Tour zum 25. Jubiläum ihres selbstbetitelten Debütalbums. Mit Gastauftritten von Ethel Cain und M.A.G.S. wurden diese besonderen Konzerte für das erste und einzige Live-Album der Band aufgezeichnet. Zeitgleich erscheint gemeinsam mit Prophet Media und Regisseur Steph Rinzler ein abendfüllender Konzertfilm mit Interviews. Sowohl der Film als auch das Album fangen das Erbe und die unerwartet anhaltende Stärke einer Band ein, die ein Genre mitgeprägt hat.

Nachdem American Football 1999 während des Studiums in aller Stille ihr Debütalbum veröffentlichten, lösten sie sich auf, um sich anderen Projekten zu widmen. 15 Jahre später kehrte die Band jedoch mit einer Fangemeinde zurück, die in der Underground-Emo-Szene stetig gewachsen war. Das Album landete später auf #6 der Rolling Stone-Liste "40 Greatest Emo Albums Of All Time", während Pitchfork der Deluxe-Neuauflage den Titel "Best New Reissue" verlieh und die LP als "einflussreichstes Album des Genres" bezeichnete.

Zwölf Jahre nach dem gefeierten Album All Is Fever melden sich Naked Lunch mit Lights And A Slight Taste Of Death eindrucksvoll zurück. Die österreichische Band um Sänger und Songwriter Oliver Welter präsentiert ein Werk, das tief geht - musikalisch wie emotional. Der Titel deutet es an: Licht und Tod, Hoffnung und Abgrund, Intimität und Explosion - alles ist da. Welter verarbeitet persönliche Krisen, Krankheit und Wiedergeburt, aber auch Liebe und Lebensfreude. Die Songs sind radikal ehrlich, poetisch und musikalisch vielschichtig. Von zarten Balladen wie Come Into My Arms bis zu hymnischen Popmomenten wie To All And Everyone I Love oder We Could Be Beautiful entfaltet sich ein Klangkosmos, der berührt und fordert. Produziert wurde das Album gemeinsam mit Wolfgang Lehmann, dessen sensibles Verständnis für Musik Welters Vision perfekt ergänzt. Unterstützt von langjährigen Weggefährten Alex Jezdinsky (Drums) und Boris Hauf (Keys/Sax), entstand eine Platte, die sich kompromisslos in die eindrucksvolle Diskografie von Naked Lunch einreiht. Lights And A Slight Taste Of Death ist eine musikalische Tour de Force - intensiv, verletzlich, kraftvoll. Ein Album, das zeigt: Naked Lunch sind lebendiger denn je

Zwölf Jahre nach dem gefeierten Album All Is Fever melden sich Naked Lunch mit Lights And A Slight Taste Of Death eindrucksvoll zurück. Die österreichische Band um Sänger und Songwriter Oliver Welter präsentiert ein Werk, das tief geht - musikalisch wie emotional. Der Titel deutet es an: Licht und Tod, Hoffnung und Abgrund, Intimität und Explosion - alles ist da. Welter verarbeitet persönliche Krisen, Krankheit und Wiedergeburt, aber auch Liebe und Lebensfreude. Die Songs sind radikal ehrlich, poetisch und musikalisch vielschichtig. Von zarten Balladen wie Come Into My Arms bis zu hymnischen Popmomenten wie To All And Everyone I Love oder We Could Be Beautiful entfaltet sich ein Klangkosmos, der berührt und fordert. Produziert wurde das Album gemeinsam mit Wolfgang Lehmann, dessen sensibles Verständnis für Musik Welters Vision perfekt ergänzt. Unterstützt von langjährigen Weggefährten Alex Jezdinsky (Drums) und Boris Hauf (Keys/Sax), entstand eine Platte, die sich kompromisslos in die eindrucksvolle Diskografie von Naked Lunch einreiht. Lights And A Slight Taste Of Death ist eine musikalische Tour de Force - intensiv, verletzlich, kraftvoll. Ein Album, das zeigt: Naked Lunch sind lebendiger denn je

Forget the Rush ist das lang erwartete Debütalbum von flypaper, dem Soloprojekt des in London lebenden Singer-Songwriters Rory Sear, das nach zwei gefeierten EPs über das Stockholmer Indie-Label PNKSLM Recordings (ShitKid, Clutter, 7ebra etc.) erscheint. Nachdem er als Frontmann der Indie-Rockband Beachtape aus Brighton bekannt geworden war, gründete Sear flypaper, nachdem er nach London gezogen war und begann, zu Hause selbst Songs aufzunehmen, inspiriert von Songwriting-Größen wie Randy Newman und Elliott Smith. Nach der Veröffentlichung von zwei gefeierten selbst aufgenommenen EPs, big nada und another orbit, löst flypaper mit Forget the Rush das Versprechen seiner frühen Aufnahmen ein und liefert einen ausgereifteren Sound, der die Intimität seiner frühen Werke bewahrt und gleichzeitig seine Songwriting-Fähigkeiten und Melodien in den Vordergrund rückt.

Magnetism markiert das Zusammentreffen zweier einzigartiger Künstler der experimentellen Musik. Es vereint Drew McDowalls Wurzeln in der industriellen Avantgarde von Coil und Psychic TV mit Kali Malones Fundament in zeitgenössischer Orgelkomposition, reiner Intonation und elektroakustischer Musik und verbindet zwei Generationen in einer sich tief ergänzenden Partnerschaft. Auf Magnetism manifestieren sich Malones ergreifende Melodien in McDowalls charakteristischer Klangfarben-Synthese und bilden eine einheitliche Stimme, die mit Klarheit und Vitalität mitschwingt. Obwohl das Projekt innerhalb weniger Tage aufgenommen wurde, entstand es aus einer jahrzehntelangen Freundschaft, geprägt von fortwährenden Gesprächen über Musik und das Leben und von Jahren, in denen sie sich gegenseitig in ihrer künstlerischen Praxis und persönlichen Entwicklung begleitet und unterstützt haben. "Wir vertrauen einander, unseren jeweiligen Fachgebieten und unseren einzigartigen Stärken", sagen sie über den Aufnahmeprozess. Es war eine Erfahrung voller Intuition und Zuversicht, die sie ihrer Freundschaft zuschreiben. Das Album entstand spontan in McDowalls Studio in Brooklyn, wo die Grundlage der Musik fast augenblicklich entstand. Die beiden beschlossen, ihren Improvisationen gewisse Grenzen zu setzen: Sie programmierten maßgeschneiderte Stimmungen auf einem monophonen modularen Synth-Patch und nahmen die Performance-Takes ohne Overdubs auf. "Diese Musik zu spielen fühlte sich an wie Singen, da ich meiner inneren Stimme frei folgte", sagt Kali. Das Erreichen dieser Melodien war wiederum etwas, das sich instinktiv anfühlte, wie das Aufdecken einer längst vergessenen Erinnerung. Sie fährt fort: "Ich hatte viele dieser Melodien so lange in mir behalten." McDowalls Syntheseansatz verwendet Karplus-Strong-Synthese, Delay und Verzerrung, die er mit einem intuitiven Touch formt und Malones Motive elegant verwandelt. "Die Musik ist überraschend zugänglich, obwohl einige der Klangfarben extrem sind", sagt Drew, "sie ist nicht bedrohlich oder gar undurchsichtig. Wir spielen vielleicht sogar mit Pop-Elementen." Nachdem sie die Aufnahmen ein Jahr lang unberührt gelassen hatten, kehrten sie zurück und fanden die Musik verwandelt vor: "Es fühlte sich an, als hätte sie eine unheimliche, mystische Qualität angenommen." Angetrieben von der Anziehungskraft der Wiederholung, Resonanz und Sättigung pulsiert Magnetism als lebendige Musik, die die Sinne fesselt und noch lange nach dem Verhallten der letzten Töne im Gedächtnis nachhallt.

Late great guitar legend recorded live in 1988 in New York City at the Lone Star Roadhouse. Features special guest appearances from Warren Haynes, Jack Bruce, Mick Taylor and Rick Derringer on Allman Brothers classics and Dickey Betts solo material. The set was broadcast on classic rock NYC radio station WNEW-FM. Double LP set available on limited-edition marijuana green splatter vinyl.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger"s Oblivion Express. The band - Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas - was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory. Critics took notice, with Billboard praising the album as "excellent in development and inventiveness", and it found its way onto multiple charts at once.

The Planets von Gustav Holst ist das meistgespielte Werk der britischen Musik des 20. Jahrhunderts und übt eine unmittelbare Anziehungskraft auf Musikliebhaber aller Generationen aus. Diese hochkarätige Live-Aufnahme aus dem Jahr 2006 war für die Berliner Philharmoniker längst überfällig, denn seit der legendären Karajan-Aufnahme von 1981 hatten sie Die Planeten nicht mehr aufgenommen. Entgegen der landläufigen Meinung ist The Planets kein typisch „englisches” Werk. Holsts eklektische musikalische Welt wurde durch seine Faszination für Astrologie, Mythologie und Horoskope sowie durch Sanskrit-Schriften geprägt. Nun erscheint diese Aufnahme auf Vinyl.

Am 15. April 2023 erreichte Gary Numan mit seinem 1.000. Live-Auftritt im Electric Ballroom in Londons Stadtteil Camden Town einen monumentalen Meilenstein in seiner langen Karriere. Die Show, die
letzte von drei ausverkauften Konzerten in der legendären Veranstaltungsstätte, war ein Beweis für Numans anhaltenden Einfluss und die unerschütterliche Hingabe seiner Fans. Die Setlist war eine sorgfältig
zusammengestellte Reise durch Numans umfangreiches Repertoire, die klassische Hymnen („Down In The
Park”, „Cars”, „Are „Friends” Electric?”) mit Auszügen aus seinen neueren Alben Savage: Songs From A
Broken World (2017) und Intruder (2021) wie „The Gift” und „My Name Is Ruin” verband.
Die 1000. Show war mehr als nur ein Konzert, sie war eine Feier der bemerkenswerten Karriere von Gary
Numan und seines tiefgreifenden Einflusses auf die elektronische Musik. Mit einer Karriere, die sich über
mehrere Jahrzehnte erstreckt, sprengt Numan weiterhin Grenzen und inspiriert Generationen von Musikern.
Als die letzten Töne von „Are ‚Friends‘ Electric?“ in der Nacht verklangen, war klar, dass Gary Numans
einzigartige Klangsprache sich auch in den kommenden Jahren weiterentwickeln und begeistern wird.
Dieses besondere Konzert wird hier in zwei physischen Formaten präsentiert: als 3LP mit dreifacher
Gatefold-Hülle (nur Audio) und als 2CD+Blu-Ray-Paket mit dem Konzertfilm und dem Audio

[v] 9Have No Fear Bond Is Here (Single Version) [feat. Mike Redway]
[w] 10The Look of Love (Film Version) [feat. Dusty Springfield]

3xLP (1x Rot / 1x Weiß / 1x Blau) 140g Vinyl in stabiler Box mit abnehmbarem Deckel, UV-Glanzlackierung + 24x12-Poster

From the album 'Song of the Lark and Other Far Memories'. The B-side features an iconic Roxy Music cover.

Tristen stammt aus der lebhaften Roots-Rock-Szene von Nashville, Tennessee, und hat sich in den letzten zwei Jahrzehnten als produktive und vielseitige Musikerin etabliert. Ihr Talent für das Komponieren fesselnder Melodien und scharfsinniger Texte hat ihr hochkarätige Kooperationen eingebracht. Sie war Co-Autorin von ,Love is an Art", dem neuesten Album von Vanessa Carlton, und tourte mit Jenny Lewis als Teil ihrer Band Voyager. Ihr folkiges Debütalbum ,Charlatans at the Garden Gate" aus dem Jahr 2011 brachte ihr das Lob als ,Nashvilles bestgehütetes Geheimnis" (The Boston Globe) ein, während sie sich mit ,CAVES" aus dem Jahr 2013, das von Stephen Hague co-produziert wurde, als hypnotische ,Synth-Pop-Sirene" (SPIN) neu erfand. Sneaker Waves erschien 2017 und markierte ihren Übergang zur vollständigen Produktion ihrer Musik und Musikvideos in ihrem Heimstudio zusammen mit ihrem langjährigen Kollaborateur und Ehemann Buddy Hughen. Rolling Stone beschrieb es als ,Nilsson-würdige Powerballade", während Ann Powers von NPR es als ,voller großartiger Melodien und eingängiger Arrangements, die das Ohr kitzeln und nicht mehr aus dem Kopf gehen" bezeichnete. 2021 erschien Aquatic Flowers, woraufhin Talkhouse verkündete: ,Sie ist eine dieser Songwriterinnen und Performerin, die von anderen Musikern absolut geliebt werden, und das aus gutem Grund. Sie ist eine Risikofreudige im Studio, wagt sich in unbekanntes Terrain vor und findet fast immer etwas, das zumindest interessant und oft unglaublich ist." Ihr fünftes Studioalbum ,Unpopular Music" erscheint im Oktober und enthält Beiträge von Pat Sansone von Wilco, Vanessa Carlton, Becca Mancari, Erin Rae und Natalie Prass. Damit kehrt sie auch endlich wieder auf die Bühne zurück und setzt ihre Karriere fort, in der sie bereits mit Robyn Hitchcock, Television, Ezra Furman und den Mountain Goats aufgetreten ist.

Das Cover von ,Liquorice", dem dritten Album der australischen Indie-Pop-Künstlerin Hatchie, zeigt ein Nahporträt von Harriette Pilbeam, die lächelt, wobei ihr verschmierter roter Lippenstift auf die glorreiche Folge eines Kusses hindeutet. Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer einfachen Digitalkamera aufgenommen und fängt eine Erinnerung ein, die etwas unvollkommen ist und von Sehnsucht, Begierde und Bedauern geprägt ist Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer kleinen Digitalkamera aufgenommen und verkörpert ein Album, das rau und voller Freude ist und sich mit Themen wie Sehnsucht, Begierde und Reue befasst. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich Mitte 2024 fertigstellte. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hat, bemühte sich Pilbeam, von Grund auf neu zu schreiben, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich , und stellte die Demos schließlich Mitte 2024 fertig. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hatte, bemühte sich Pilbeam, ganz von vorne anzufangen, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben, und ließ den Songs wochenlang Zeit zum Atmen, anstatt Ideen zu überstürzen. Sie fühlte sich von der melodischen Einfachheit ihrer frühen Songs angezogen und akzeptierte ihre musikalischen Unsicherheiten: ,Ich wollte meine Grenzen als Stärken betrachten, die meinen Stil prägen." Nachdem sie mit den Produzenten Jorge Elbrecht (Caroline Polachek, Japanese Breakfast, Sky Ferreira) und Dan Nigro (Olivia Rodrigo, Chappell Roan) an ,Giving the World Away" gearbeitet hatte, wollte Pilbeam ,Liquorice" mit einem einzigen Kollaborateur fertigstellen, idealerweise einem nicht-männlichen Produzenten, der auch sein eigenes Musikprojekt vorantreibt. Im September 2024 kehrten Pilbeam und Agius nach Los Angeles zurück, um mit Melina Duterte zusammenzuarbeiten, die unter dem Namen Jay Som Indie-Rock aufnimmt und an einer Reihe von Projekten mitgewirkt hat, darunter das mit einem Grammy ausgezeichnete Album ,The Record" von boygenius. ,Mein letztes Album ist sehr düster und introspektiv geworden, und das ist zwar ein Teil von mir, aber es gab noch eine ganz andere Seite, die ich nicht zum Ausdruck gebracht habe", sagt Pilbeam. ,Ich bin eine hoffnungslose Romantikerin und eine sehr alberne Person, manchmal sogar bis zum Äußersten." Die heute 32-jährige, verheiratete Pilbeam stellte fest, dass ,ewige Gefühle" der Sehnsucht und des Herzschmerzes schnell zurückkehrten, als sie über ihre Erfahrungen als jüngere Frau nachdachte. Gleichzeitig ließ sie ihre Vorliebe für tragische Liebesfilme einfließen, in denen die Figuren nicht unbedingt ein gemeinsames Happy End finden. Liquorice beschäftigt sich mit der Endlichkeit des Ewigen. Diese Songs fangen die überwältigenden, berauschenden und transformierenden Nebenwirkungen der Verliebtheit ein, auch wenn die gesamte Liebesgeschichte nur eine einzige magische Nacht dauert. Wie die reichhaltigen Aromen der gewundenen, titelgebenden Süßigkeit - süß, salzig und bitter in einem Bissen - bestätigt Liquorice, wie Sehnsucht und Besessenheit in der Selbstfindung einer jungen Frau miteinander verflochten sind.

Steve Gunn ist seit über einem Jahrzehnt einer der Vorreiter der amerikanischen experimentellen / gitarrenorientierten Rockmusik. Nach drei gefeierten Alben, die er für Matador aufgenommen hat, erscheint sein siebtes Studioalbum - und erstes seit vier Jahren - bei No Quarter. Mit "Daylight Daylight" wollte Gunn etwas von der Intimität des Solospiels einfangen, das Gefühl der Möglichkeiten und Entdeckungen, das entsteht, wenn er sich hinsetzt, um zu schreiben, und gleichzeitig eine reichhaltige Klangwelt schaffen, in die der Hörer eintauchen kann. Anstatt wie bei früheren Alben eine Band zusammenzustellen, um die Songs auszuarbeiten, holte er sich einen einzigen Hauptmitarbeiter an Bord: den Produzenten James Elkington, einen alten Freund und langjährigen Mitarbeiter, der auch Gunns Album "The Unseen In Between" aus dem Jahr 2019 produziert hat. Elkington ist als Gitarrist bekannt, aber Gunn bat ihn, Arrangements für Streicher und Holzblasinstrumente beizusteuern, inspiriert zum Teil von der Musik, über die sie im Laufe der Jahre gesprochen hatten (z. B. Mark Hollis, Ennio Morricone, The Fall, Basil Kirchin), und von der Entwicklung ihrer eigenen Beziehung beim Aufnehmen von Platten - sowohl zusammen als auch mit anderen. Sie fanden schnell einen fruchtbaren Arbeitsprozess für "Daylight Daylight": Gunn nahm Solo-Demos auf und schickte sie an Elkington, der freie Hand hatte, die Arrangements selbst zu entwickeln. Sie arbeiteten hauptsächlich in Elkingtons Nada Studios in Chicago und fügten von dort aus weitere Elemente hinzu - einen Hauch von Synthesizer, eine Gitarren-Overdub, eine gedämpfte Percussion-Linie -, blieben aber ihrem ursprünglichen Ansatz der relativen Sparsamkeit treu. Macie Stewart (Violinen und Viola), Ben Whiteley (Celli), Nick Macri (Kontrabass) und Hunter Diamond (Holzblasinstrumente) leisteten ebenfalls Beiträge.

Auf ihrer Debüt-EP ,Future Perfect" singt die britisch-amerikanische Songwriterin Jenny Hirons von Kindheitsvisionen und kapitalistischen Überbauten, von rasanten Fahrten über schmale Landstraßen und dem sanften Verschwinden im Äther wie ein erfüllter Traum. In fünf gedämpften Pop-Tracks, die an Sakamoto & Hosono, Bowie & Eno erinnern, beschwört Hirons Pop-Fantasien herauf und konfrontiert die Realität mit strahlenden Augen und eiserner Entschlossenheit. Der Titel ,Future Perfect" bezieht sich auf Handlungen, die abgeschlossen sein werden. Nachdem man das musikalische Debüt von Jenny Hirons aufgenommen hat, wird der aufmerksame Zuhörer das Gefühl haben, seine Zeit sinnvoll genutzt zu haben. Die Analyse der Texte ist völlig optional, denn bei genauer Betrachtung entsteht ein facettenreiches Bild des Lebens, betrachtet aus allen Blickwinkeln der Zeit - ein Kind stellt sich das Erwachsenenalter vor, ein Erwachsener kehrt zur Autonomie zurück, eine Stimme von einem anderen Ort blickt zurück auf die Zukunftsfantasien eines Kindes. Die Wirkung dieser Songs ist jedoch alles andere als schwerfällig. Hoffnung, Streben, Überwindung sind die Kernaussagen, und musikalisch spiegelt der Ton die Künstlerin selbst wider - ironisch, intellektuell, ausgeglichen, absolut charmant. Die Wirkung dieser Songs ist jedoch alles andere als schwerfällig. Hoffnung, Sehnsucht und Überwindung sind die Kernbotschaften, und musikalisch spiegelt der Ton die Künstlerin selbst wider - ironisch, intellektuell, gelassen, absolut charmant. Hirons nennt Astor Piazolla, die Beach Boys, Elliot Smith, Deerhoof und Rachmaninoff als musikalische Einflüsse. (Für diejenigen, die es nicht wissen: Piazolla ist Akkordeonist.) Hirons ist auch eine äußerst versierte bildende Künstlerin und Designerin. Das Ergebnis mehrjähriger Arbeit, Future Perfect, ist auch ein Album über Trennung, Arbeitslosigkeit und eine ungewisse Zukunft. Nachdem sie es nun in die Welt hinausgebracht hat, blickt Hirons zurück auf eine Zeit, in der ,Musik die Wirtschaft unserer Herzen war", und nach vorne auf eine Zukunft, die sich so gestalten darf, wie sie will, ,in alle Richtungen nach Hause getragen".

"Life in Slow Motion" stieg sowohl in Großbritannien als auch in Irland direkt auf Platz 1 ein und wurde zu einem kommerziellen Erfolg und erhielt begeisterte Kritiken. Aber noch wichtiger war, dass Gray damit wieder Freude am Musikmachen fand - am Schaffen von etwas Bleibendem. Jetzt, zwei Jahrzehnte später, wird "Life in Slow Motion" mit seiner ersten Veröffentlichung auf Vinyl gefeiert, zum 20-jährigen Jubiläum des Albums. Die Neuauflage wird in drei Editionen erhältlich sein: als Standard-Schwarzvinyl, als Farbvinyl und als Deluxe-Farbdoppelvinyl mit unveröffentlichten Demos und zwei bisher unbekannten Tracks aus den Original-Sessions. Diese Neuauflage von "Life in Slow Motion" bietet die Gelegenheit, ein wegweisendes Album wiederzuentdecken - nicht nur ein Produkt seiner Zeit, sondern ein Werk, das noch immer tief nachhallt. Weitläufig, nachdenklich und voller stiller Überzeugung.

Limitierte Auflage von 2000 Stück als "Glacial Blue" Vinyl LP. "Life in Slow Motion" stieg sowohl in Großbritannien als auch in Irland direkt auf Platz 1 ein und wurde zu einem kommerziellen Erfolg und erhielt begeisterte Kritiken. Aber noch wichtiger war, dass Gray damit wieder Freude am Musikmachen fand - am Schaffen von etwas Bleibendem. Jetzt, zwei Jahrzehnte später, wird "Life in Slow Motion" mit seiner ersten Veröffentlichung auf Vinyl gefeiert, zum 20-jährigen Jubiläum des Albums. Die Neuauflage wird in drei Editionen erhältlich sein: als Standard-Schwarzvinyl, als Farbvinyl und als Deluxe-Farbdoppelvinyl mit unveröffentlichten Demos und zwei bisher unbekannten Tracks aus den Original-Sessions. Diese Neuauflage von "Life in Slow Motion" bietet die Gelegenheit, ein wegweisendes Album wiederzuentdecken - nicht nur ein Produkt seiner Zeit, sondern ein Werk, das noch immer tief nachhallt. Weitläufig, nachdenklich und voller stiller Überzeugung.

„The Only Heaven You’ll Know“ ist das dritte Album der britischen Metalcore-Legende CASKETS. Nach einer ausverkauften Tour durch Europa und Großbritannien Anfang 2025, gefolgt von einer großen US-Tournee als Vorgruppe von MEMPHIS MAY FIRE, kehren CASKETS mit elf neuen Songs voller krachender Riffs und mitreißender Melodien zurück. Dieses Album ist die natürliche Weiterentwicklung des Bandsounds und ein Zeichen für ihr Wachstum und ihre klangliche Reife im Laufe der Jahre.

40th Anniversary
Red Marbled Vinyl
Inklusive Bonustracks, B-Sides, Poguetry In Motion EP, BBC Radio 1 Janice Long Session von 1985 und Aufnahmen von der Show in Glasgow Barrowland in 1987.

With effortless cool, Moriah Plaza blend Brazilian samba, cinematic Latin jazz and psychedelic 60s pop on new EP "Propolis". Moriah Plaza"s self-titled debut album, released on Batov Records in 2023, garnered critical acclaim and widespread airplay, positioning the group as one to watch in the worlds of global pop and contemporary jazz.

Bradford-born singer-songriter Daisy Dooks presents her powerful debut, a collection of six songs recorded live at The Albany in Deptford, London, in 2024. Recommended for fans of Nick Cave, PJ Harvey, Good Sad Happy Bad.

Das dritte Album der Londoner Band Sorry!

Seit ihrem Debüt "925" 2020 arbeiten Sorry an einer Topografie aus Anspielungen, Zitaten, falschen Fährten. Nun, mit COSPLAY (ab 7. November bei Domino), reißen sie die Landkarte ab, zeichnen alles neu. Ein Album als Maskenball: Jede Figur darf hier auftreten, lebend oder tot, real oder erdacht. Es ist das Werk, das Sorry von sich selbst befreit. Das Album fühlt sich an wie ein Spielzimmer für popkulturelle Geister. Ein Guided by Voices-Song mutiert zur Ballade über die Schmuddelecken des Ruhms, die berühmteste Cartoonfigur der Welt schleicht sich als Sirene ins Bild, theoretische Physik wird zu Rockmusik, die schwerer schlägt als jede Formel. Sorry haben das neue Material bereits live erprobt, erst auf eigener UK-Tour, dann als Support von Fontaines D.C., und man hört die Mischung aus Selbstsicherheit und Übermut, die dabei gewachsen ist.

Ein inspiriertes Treffen musikalischer Köpfe erzeugt eine mehrdimensionale Noir-Welt auf diesem luftig-intimen, wunderschönen Kooperationsalbum. Zugleich der Höhepunkt seiner Disciples-Trilogie, treibt Ruth Mascelli (Special Interest) zusammen mit Mary Hanson Scott die paranoiden Torch-Songs des Vorgängers "Non-Stop Healing Frequency" in noch liminalere und abgehobenere Gefilde. Die Songseite ist stärker denn je, während die FX-beschallten Rohrblatt-Klänge von Mary Hanson Scott nicht nur Ruths verführerisches Gesäusel perfekt untermalen, sondern auch ein wolkig-ambientes Klangbett für die Instrumentals bilden, die die Sequenzen zusammenhalten und zu einer wahrhaft emotional mitreißenden Reise formen. Mit Gastauftritten von Jae Matthews (Boy Harsher) und Maria Elena (Special Interest). Im Coverdesign von Brett LaBauve von der Queer-Dance-Party-Institution Gimme A Reason, New Orleans. Zu den Höhepunkten zählt die episch-sehnsuchtsvolle Power-Ballade "Haunted Hearts", das hinreißende Zeitlupen-Cover des Hi-NRG-Pop(per)-Knallers "Self Control" und die zerhackten Rhythmen von "A Lover's Theory Of Value" zwischen abgestumpftem Trip-Hop und Julee Cruise, während "Vaseline Lens" an die elegischen Klagelieder über den Niedergang auf Seite 2 des Debütalbums "A Night At The Baths" erinnert.

Unfolding ist Jessica Moss' meditativstes und klagendstes Soloalbum und vielleicht das erste in der jahrzehntelangen Diskografie der Violinistin und Komponistin aus Montreal, das man zu Recht als Ambient bezeichnen kann. Die ehemalige Mitglied von Silver Mt Zion und Black Ox Orkestar schöpft aus Postklassik, Drone, Minimalismus, Industrial/Metal, Power Electronics, Klezmer und anderen Folk-Traditionen. Es handelt sich hierbei nicht um abstrakte Ambient-Musik; vielschichtige Violinenmelodien, elektroakustische Bearbeitungen, intermittierende Stimmen und Percussion von Tony Buck, dem Schlagzeuger von The Necks, bringen zutiefst emotionale, genreübergreifende Kompositionen hervor, die von einem Geist der Suche und Beschwörung geleitet sind und sich in einer vorherrschenden Atmosphäre von Beschwörung und trauernder Zurückhaltung entfalten. Die Untrennbarkeit von Persönlichem und Politischem hat sich für Moss in den letzten zwei Jahren immer stärker herauskristallisiert. Als Kernmitglied der Montrealer Sektion von Musicians For Palestine hat sie mehrere Benefizkonzerte mitorganisiert und gespielt und im Frühjahr 2024 das Soloalbum For UNRWA veröffentlicht (das über 800 Unterstützer fand und Tausende von Dollar einbrachte). Später im selben Jahr zerbrach ihre langjährige Fernbeziehung aufgrund politischer Differenzen. In enger Zusammenarbeit mit dem Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) entstanden ,Unfolding" in den letzten zwölf Monaten, dem zweiten Jahr des Völkermords in Palästina, als direkte Reaktion auf unser kollektives Miterleben, unsere kollektive Trauer, als Portal zur kollektiven Trauer, als Suchscheinwerfer durch unsere inneren Wettersysteme, auf der Suche nach einander in der Dunkelheit. Moss bewegte sich bereits in Richtung einer erhöhten Fragilität und einem tiefen Zuhören, ihre Musik wurde zunehmend langatmig und zeremoniell. Trotz der stark gesunkenen finanziellen Rentabilität von Tourneen wurde ihre Hingabe, Raum zu schaffen, Verflechtungen herzustellen und eine Verbindung zu einem intimen Live-Publikum aufzubauen, zu ihrem kreativen Leitstern, ihre Solo-Praxis wurde durch ihr Engagement und die Kommunikation in diesen Räumen geprägt. Die jüngsten politischen und persönlichen Umwälzungen haben diese ritualisierten, reparativen musikalischen Prozesse nur noch verstärkt. Die beiden langen Stücke auf der ersten Seite von Unfolding verkörpern diese Sensibilität. ,Washing Machine" verwebt Schichten von Streicherdrones und Filigranarbeit, sanft verzerrt durch Verzerrerpedale und Verstärkung, wobei unentzifferbare, ausgeblasene Sprechstimmen den Mix zeitweise als fragmentarische Palimpseste verhüllter Rezitationen und unbeschreiblicher Gefühle umhüllen. Der Ursprung des Stücks liegt in einer Telefonaufnahme einer europäischen Waschmaschine, die Moss aufnahm, als sie neben ihr saß, mit gebrochenem Herzen auf dem Badezimmerboden, und Trost fand, indem sie eine Melodie zu den mechanischen Obertönen der Waschmaschine summte, die ihren Zyklus durchlief. Das Herzstück des Albums, ,One, Now", beginnt als zarte Anrufung mit Basspuls, Glockenspiel und Glocken, gezupften Saiten und traurigen Lead-Violinenlinien, die von jüdischen und arabischen Modi beeinflusst sind. Umgebungsgeräusche, Feldaufnahmen und wortlose Gesänge werden hinzugefügt, während sich Violinenmelodien überlagern und zu einer hypnotisierenden Drone-Landschaft verschmelzen: eine halb improvisierte, lebendige Komposition, die durch Tony Bucks pinselstrichartiges Schlagzeugspiel und Moumnehs ,Schrei in die Leere" am Ende noch weiter belebt wird. Die zweite Seite ist ein vierteiliges Werk mit dem Titel ,no one / no where / no one is free / until all are free", das sich durch Umgebungsgeräusche, elegische postklassische Streicher und verzerrte harmonische Drones zu einem Höhepunkt aus liturgischer Orgel, rituellen Glocken und schimmernden elektronischen Spuren entwickelt, der die Bühne bereitet für den letzten Song des Albums: die erschütternde Chor-Komposition ,until all are free", eine weltliche Hymne, die aus Jessicas mehrspurigen Gesangsaufnahmen besteht (die sie aber gerne mit anderen im Konzert singen würde). Unfolding ist ,einem freien Palästina in unserer Lebenszeit" gewidmet. Danke fürs Zuhören.

Mit einer zutiefst persönlichen Songsammlung, ihrem dritten Album, meldet sich Stella Donnelly zurück. "Love And Fortune" zeichnet ihre Reise zurück zu sich selbst nach einer Zeit tiefgreifender Veränderungen nach. Aufgenommen in Naarm/Melbourne, trägt das Album die erdende Energie des Ortes in sich und bietet eine zugleich intime und weitläufig anmutende Soundlandschaft. Doch sind die Arrangements diesmal offener und bewusster, der Sound kraftvoller. Es ist Donnellys bisher offenherzigstes und selbstbewusstestes Werk, das auf "Beware Of The Dogs" (2019) und "Flood" (2022) folgt, zwei Alben, die Donnelly als eine der besten zeitgenössischen Songwriterinnen Australiens auszeichneten und flächendeckendes Lob in den Musikmedien erhielten. Die LP erscheint als farbige Eco-Recycled-Auflage, bei der jedes Vinyl ein Unikat ist.

Couples Therapy - the split between Philly buds Modern Baseball and Marietta is available re-mastered and on vinyl!

Die legendären NYHC-Pioniere AGNOSTIC FRONT melden sich in Form von „Echoes In Eternity“ mit ihrem wildesten und durchschlagskräftigsten Alben seit Jahrzehnten zurück. Über Reigning Phoenix Music erscheinend, liefert die Band darauf 15 Tracks voller glühender Riffs, kompromissloser Wahrheiten und der Straße entstammender Authentizität. Vom politisch aufgeladenen Opener ‚Way Of War‘ über das hymnische ‚Turn Up The Volume‘ bis hin zu ‚Matter Of Life & Death‘, einer überzeugenden Kollaboration mit Hiphop-Ikone DMC, ist die Scheibe ein schonungsloser Beleg von Widerstandsfähigkeit und Rebellion. Ungefilterte Energie, pittaugliche Hooks und lyrische Ehrlichkeit machen „Echoes In Eternity“ zu einem Musterbeispiel des wahren
NYHC-Geistes. Auch nach über 40 Jahren Bandgeschichte stehen AGNOSTIC FRONT noch immer an der Spitze der Szene: lauter, härter und wichtiger denn je.

Der Breakthrough-Artist sombr hat sein Debütalbum "I Barely Know Her" veröffentlicht. Das 10-Track-Album ist jetzt über Warner Records erhältlich und enthält die Hits „back to friends”, „undressed” und „12 to 12” (inklusive Musikvideo mit Addison Rae), die weiterhin international die Charts stürmen – darunter die globalen Spotify-Charts, die UK Official Singles Charts sowie die US-amerikanischen „Top 40 Radio“ und „Alternative Radio“-Charts. In diesen erreichte sombr schneller als jeder andere neue Künstler der letzten zehn Jahre Platz 1. Auch in den Billboard Hot Rock Songs setzte er ein Ausrufezeichen und verdrängte Hozier nach einem Jahr von der Spitze. In Deutschland befinden sich mit „back to friends”, "12 to 12" und „undressed” mittlerweile 3 Singles in den Top 30 der deutschen Single-Charts und das Debutalbum schoss auf Platz #16 der offiziellen deutschen Albumcharts!
"I Barely Know Her" wurde komplett von sombr geschrieben und vom 20-jährigen Künstler zusammen mit dem renommierten Produzenten Tony Berg (Phoebe Bridgers, The Replacements) co-produziert. Gegenüber i-D gibt er zu Protokoll, die Songs seien inspiriert von „young romance, dimly lit rooms, late nights, and love, loss, and life.” Die Veröffentlichung folgt auf die Nachricht, dass sombr sein Debüt bei den MTV Video Music Awards geben wird – live aus New York am 7. September –, wo er als Best New Artist und Best Alternative Artist nominiert ist.

sombr (bürgerlich Shane Boose) wuchs im New Yorker Stadtteil Lower East Side auf und entdeckte seine Liebe zur Musik als Teenager im eigenen Schlafzimmer. Parallel dazu studierte er klassische Musik an der renommierten LaGuardia High School. Mit dem viralen Hit „Caroline“ (2022) wurde er über Nacht zum Internetphänomen. Seitdem hat er mehrere EPs und Singles veröffentlicht und bringt es inzwischen auf über 400 Millionen monatliche Streams über alle Plattformen hinweg. Heute lebt sombr in Los Angeles und verarbeitet in seinen Songs die Höhen und Tiefen junger Liebe – alles selbst geschrieben, co-produziert und veröffentlicht über Warner Records.

Jesse Harris’ Freund und Arrangeur Maycon Ananias hatte zusätzliche Aufnahmezeit mit einem estnischen Orchester und lud Harris ein, ein Stück beizusteuern. Das erste Experiment, Dolores, entfachte eine neue kreative Richtung. Obwohl Harris – Grammy-Preisträger und langjähriger Wegbegleiter von Norah Jones, Willie Nelson und Cat Power – bereits mehr als zwanzig Alben veröffentlicht hatte, war es seine erste Aufnahme mit Orchester. Beflügelt von dieser Erfahrung schrieb Harris innerhalb von nur fünf Wochen acht weitere Songs – detailreiche Kompositionen, die von Beginn an für symphonische Arrangements gedacht waren. Entstanden ist ein Album, das zwischen New York, Rio und Talinn aufgenommen wurde und hochkarätige Gäste wie Norah Jones, den brasilianischen Gitarristen Guilherme Monteiro, Jake Sherman sowie Marine Quéméré von Nouvelle Vague vereint.Mit seinen opulenten, zugleich feinfühligen Arrangements taucht If You Believed In Me in Themen wie Erinnerung, Sehnsucht und imaginierte Möglichkeiten ein – in die „Was-wäre-wenns“, die jeden Träumer begleiten. Herausgekommen ist orchestraler Pop voller Wärme, Melancholie und leiser Überraschungen – ausgelöst durch eine einzige Einladung.

Der bewegende Soundtrack zu 'I Love You, I Leave You', dem sehr persönlichen Dokumentarfilm von Regisseur Moris Freiburghaus, erscheint jetzt als Vinyl (inkl.CD). Der Film begleitet den Schweizer Musiker Dino Brandão auf seiner Reise nach Angola, der Heimat seines Vaters, wo er sich mit der Vergangenheit seiner Familie und seinem eigenen Identitätsgefühl auseinandersetzt.

Nach über zwanzig Jahren löst Dinos Rückkehr nach Angola eine tiefgreifende emotionale und psychologische Reise aus, die in einer manischen Episode gipfelt, die sowohl ihn als auch seine Nächsten herausfordert. Zurück in der Schweiz kämpfen seine Freunde und Familie darum, ihn bei der Bewältigung der Komplexität seiner psychischen Erkrankung zu unterstützen. Durch intimes Geschichtenerzählen und einfühlsame Beobachtung fängt Freiburghaus die außergewöhnlichen Bande der Freundschaft und die differenzierten Erfahrungen psychischer Gesundheit ein und schafft so einen Dokumentarfilm, der die Zuschauer tief berührt.

Der Soundtrack spiegelt diese emotionale Reise wider und verbindet die Rhythmen Angolas mit Dino Brandãos charakteristischem Musikstil. So bietet er den Zuhörern ein kraftvolles und eindringliches Erlebnis, das die Erzählung des Films ergänzt. Der Soundtrack zu "I Love You, I Leave You" lädt das Publikum ein, sich wieder mit Dinos Reise, der Musik seiner Herkunft und den universellen Themen Freundschaft, Identität und Widerstandsfähigkeit zu verbinden.

To mark the 25th anniversary of their formation, Perizona Experiment is releasing a ‘best of’ compilation album, titled “25” and produced by Vina Records. Their music is characterized by psychedelic landscapes, floating harmonies and alternations of powerful stoner-rock riffs with post metal melodies.

Couples Therapy - the split between Philly buds Modern Baseball and Marietta is available re-mastered and on vinyl!

,Sad Sappy Sucker" (oder mit dem ganzen Titel auf dem Cover ,Sad Sappy Sucker Chokin on a Mouthful of Lost Thoughts") ist ein Compilation-Album von Modest Mouse aus dem Jahr 2001. Ursprünglich sollte ,Sad Sappy Sucker" 1994 das Debütalbum von Modest Mouse werden, wurde dann aber für ein paar Jahre auf Eis gelegt, bis es schließlich 2001 nach dem Erfolg von ,The Moon & Antarctica", dem dritten Album der Band, rausgebracht wurde. Einige Songs wurden in den Dub Narcotic Studios in Olympia, Washington, von Beat Happening-Frontmann Calvin Johnson aufgenommen. Das Album wurde offiziell von Johnsons Label K Records veröffentlicht und enthält neun zusätzliche Titel, die zur ursprünglichen Trackliste hinzugefügt wurden. Die ersten 15 Titel bilden das ursprüngliche Album "Sad Sappy Sucker". Die Titel 16 bis 24 stammen aus dem Anrufbeantworter von Isaac Brock, der einen ,Call to Dial a Song"-Dienst eingerichtet hatte. (Quelle: Wikipedia)

The Sludge Of The Land is the new album by digital folklore and post-exoticism Italian duo Babau. Their first full length since 2023’s Flatland Explorations Vol. 2, with The Sludge Of The Land Babau lands on Impatience with their signature audio-prestidigitation at it’s most disorientingly pungent and zonked, a uniquely contemporary approach described as the sound of a continent moving; animals, plants and minerals included.

As part of a residency at Casa degli Artisti, Milan, in 2022, Babau turned their atelier into a recording studio and performing venue thanks to Francesco Piro, who produced the entirety of the album. There, the duo improvised with different acoustic and digital instruments for several hours a day. Returning after ten years to a sound more akin to a band or small orchestra, Babau re-explores tropes and themes of exotica and jazz from their unique and off-kilter perspective of terminally-online diggers-dwellers of the internet flatland.

An homage to digital content consumption and dopamine-infused sensory overloads, The Sludge Of The Land imagines itself as an abstract sonic wunderkammer of online detritus. By diving into the world of ‘sludge content’: audiovisual chaos produced by mixing different content using split screens or dizzying patchworks of videos, Babau celebrates the formless, viscous goo, spam, chum and slop of out-of-context moving image, fast paced digital videos and lo-fi mp4 artifacts. By endlessly spiraling into the non-spaces of The Net, Babau explore the uncharted parageographies of lavacasts, mysterious Chinese anthropozoomorphic legendary beings, vampiric doomscrolling glides and doppelganger, ctrl+c & ctrl+v spiritualism. These ghosts of pointless microevents and traveling-without-moving bedroom boredom are stuffed by Babau with the epic tone and compositional approach of exotica and world music 2.0 reveries, resulting in an absurd, playful narrative of the dangers and allures of the web.

Bringing together the sound of Richard Hayman and Black Dice, Korla Pandit and Sun Araw, Tony Scott and Carl Stone, once again the duo crafts a compelling audio-textual hallucination of transglobal chimera. A multi-fi, extremely layered treasure of fifth world music.

RIYL - Sun Araw, the strangest corners of the internet, Senyawa, digital wind instruments, Nuke Watch, Black Dice, exotica, hallucinating.

Babau is the pantropical project of Artetetra founders Matteo Pennesi and Luigi Monteanni, where their fascination with exotica, world music 2.0, and field recordings merges with the compositional and improvisational techniques of computer music.

Their latest work, All the Gurls were at the Women’s Archo Ashinto, was recently released by Bamboo Shows, while the previous Stock Fantasy Zone and Flatland Explorations Vol.2, were released by Discrepant. They were selected as SHAPE+ artists in 2023, and the duo has performed at various festivals in Italy and beyond, including Fusion, Club to Club, Terraforma, Nextones, Outernational Days, Camp Cosmic, and Saturnalia. For years, they have been striving to synthesize what has been described as the sound of a continent in motion—people, animals, plants, and minerals included.

The Sludge Of The Land was produced and mixed by Francesco Piro at Casa degli Artisti, Milan, and co-produced by Babau
Drums by Giovanni Todisco, bass by Francesco Piro and piano on A4 by Vittorio Cosmo.
Master by Nick Foglia.
Art by Luca Schenardi.

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Acclaimed experimental hip-hop artists Pink Siifu and Turich Benjy are thrilled to announce the release of a limited edition vinyl of their groundbreaking 2023 collaborative album, IT’S TOO QUIET..’!!. This exclusive pressing includes six previously unreleased bonus tracks, offering fans an expanded auditory journey through the duo's innovative soundscape.

Originally released on October 31, 2023, IT’S TOO QUIET..’!! was lauded for its genre-defying fusion of underground hip-hop, alternative trap, and electronic influences. The album showcases Pink Siifu's visionary artistry and Turich Benjy's dynamic versatility, creating a sonic experience that is both immersive and boundary-pushing. The project fea-tures collaborations with notable artists such as Nick Hakim, WiFiGawd, Vayda, Lance Skiiiwalker, and Kamilah, among others.

Critics praised the album's eclectic production and cohesive vision. HipHopDX noted that "IT’S TOO QUIET..’!! is a grab bag of deliriously joyful rap songs that span all sorts of popular subgenres," highlighting the album's ability to blend diverse musical elements seamlessly. In Search of Media commended the album's high energy and eclectic sound, stating that it "combines both their skills as emcees poignantly."

In addition to the original 17 tracks, this special release includes six unreleased bonus tracks, providing listeners with new material that delves deeper into the duo's creative synergy. All packaged in a beautiful 2LP vinyl in gatefold sleeve — don't miss out!





[d] A4. lookin..’!![gorgeous] featuring WifiGawd, Vayda produced by Tony Seltzer, iiye

This anthology of Los Wembler's allows us to appreciate the legacy of the iconic group from Iquitos, the most important city in the Peruvian Amazon which is only accessible by air or river, and their key role in the creation and revival of Amazonian cumbia. Los Wembler's emerged as a family band in the late 1960s in the Belén district of Iquitos and are regarded as pioneers of electric guitar-driven Amazonian cumbia from Perú. The selection of songs that make up this compilation dates from the period between 1972 and 1980, at the peak of the band's career. Songs such as 'Sonido amazónico' or 'La danza del petrolero' have become highly influential classics of the genre. Most of these tracks are reissued here for the first time after remaining unavailable for decades. "Selva" includes an insert with liner notes and photos. Pressed on 180g vinyl.

This is a reissue of the original 1963 album El Decano De Los Cantores 4. Chuíto el de Bayamón (Jesús Sánchez Erazo) was a legendary Puerto Rican troubadour and one of the earliest jíbaro singers to appear on the radio, also known as "el decano de los cantores" (the dean of the singers). Known for his witty décimas and lively improvisation, he helped popularize traditional Puerto Rican music. His work influenced generations, including salsa greats like Héctor Lavoe. In the 1940s, he became the lead-singer for cuatro player and composer Ladislao "Ladí" Martínez's Conjunto Típico Ladí, created in New York City. With Ladí, he recorded "Un jíbaro en Nueva York," a controversia with Ernestina Reyes "La Calandria." It was actually Ladí who baptized him as "Chuíto el de Bayamón". From 1949 to 1977 Chuíto collaborated with Abelardo Díaz Alfaro, the famous Puerto Rican author, in the radio program "La vida de Teyo Gracia y su mundo" aired in WIPR. In addition, Chuíto participated in the films "La trulla" (1951), "Preciosa" (1965), and "El otro camino" (1959). Throughout his career Chuíto recorded more than 40 LPs and performed in New York, Boston, Chicago, New Jersey, Hawai'i, Spain, Cuba and other Latin American cities. His repertoire is characterized by its witticism and sense of humor, and sophisticated musical arrangements. Along with Flor Morales Ramos "Ramito", Odilio González and Daniel Santos, he had a huge influence in the singing style of Puerto Rican salsa star Héctor Lavoe. In 1975 and 1976 he was recognized with the "Agüeybaná Gold Album" award. This is the forth edition of Ansonias Chuito reissue series.

To mark the occasion, Léonard Lasry offers a deeply personal rendition of "Aimer", one of the iconic songs from Sylvie Vartan's repertoire. This intimate cover serves as a tribute to the legendary singer who inspired five songs on his 2021 album "Merci pour le regard", and whose body of work he considers to be one of the richest and most fascinating in French pop music. The artwork was created by renowned illustrator Jeanne Detallante.

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

"A Few We Remember" is the new album by Jonah Parzen-Johnson and Lau Nau. The recording debut for the new duo of Finnish composer Lau Nau, aka Laura Naukkarinen, and American baritone saxophonist Jonah Parzen-Johnson, it cycles between moments of knotty ambience, whispered melody, and innocent tinkering, as the duo improvises over 8 narrative scores composed by Parzen-Johnson.

Die EP ist eine Sammlung von Songs, die von einer bedrohlichen, oft frenetischen Energie durchdrungen sind. Dieses Unbehagen wird durch Helado Negros intensiven Einsatz von Elektronik, Echo und Verzerrung noch verstärkt, die seinen Worten eine benommene, schockierte Qualität verleihen und die intensiven Gefühle der Angst und Unsicherheit unterstreichen, die seine tiefgründigen Betrachtungen über einen Planeten in der Krise prägen. ??An anderer Stelle auf „The Last Sound On Earth“ untersucht Helado Negro systemische Machtstrukturen, wie in „Sender Receiver“, das die inhärente Gewalt und Unausgewogenheit unserer technischen Terminologie reflektiert. Oder „Protector“ – aufgebaut um einen klassischen Jungle-Break – wo er eine zynische Reflexion über die zerbrochene Vorstellung bietet, dass diejenigen, die an der Macht sind, wirklich in unserem besten Interesse und zu unserem Schutz handeln. Trotz der oft schweren Themen bewegt sich die Musik selbst im Uptempo-Bereich, und die letzten Titel „Zenith” (die andere Seite des Tiefpunkts, das Gleichgewicht zwischen etwas und nichts) und „Don't Give It Up Now” (ein Song über das Durchhalten und den Kampf für Veränderung) versuchen, Helado Negros Gefühle in etwas Positives und Zukunftsorientiertes zu verwandeln.

„The Last Sound On Earth“ ist voller komplexer Emotionen und der Sound eines Künstlers, der sich mit der sich verändernden Welt um ihn herum auseinandersetzt und vorsichtig nach einem Weg in die Zukunft sucht.

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

The perfect accompaniment to that deep fall feeling, Frank Maston's beloved 2025 single finally gets its long overdue vinyl release! As our friends New Commute articulated beautifully, "Foreign Affairs" drifts through London fog and Paris shimmer, its avant-lounge glow wrapping each melody in a wistful ache. On B-side "Liaison," ghostly strings and a solitary piano paint a deserted twilight shoreline, Pacôme Henry's distinct 16mm cinematography hovering nearby." We've pressed just 500 of these gorgeous records so, be quick, Maston always flies.

Originally written for a film Maston was scoring in 2024, he decided to keep it aside for himself. And, well, us all. The song has a vibe Maston has previously flirted with; he wanted to dive in...all the way: "The arrangement is huge, definitely the biggest I've written, and it merited live musicians playing together. Also another experiment, to do it with all live musicians playing my arrangements. I wanted to make something that you'd want to put on when you bring a date back to your place. It's on the edge of sappy but that's sort of the point. I decided to give myself an unlimited budget - just spend whatever was necessary to get the right musicians and record it the best way possible."

It's this dedication to sonic perfection which Maston is rightly lauded for. We couldn't not put this on a cute wee 7" when we heard it.

The A side, "Foreign Affairs", is a brilliant, Bacharach-esque romp with a bit of that unapologetically romantic Morricone angle. Says Frank: "I was trying to synthesize that sort of jazzy/sexy/classy/romantic mature sound, where the edginess is in these surprising chord changes and subtle arrangement cues."

A wonderful complement, the flipside "Liaison", evokes Martin Denny, but Eden's Island was in Frank's head, too. He wanted to take a deep dive into that exotica sound - a genre he'd referenced a bit but never fully committed to - so the piece is lavished with those big sighing strings and a pretty lush arrangement. Happily, it all sounds super rich. Also, "Umiliani is always a reference for this sort of thing (Il Corpo etc.), That almost mechanical arrangement of things moving together and a simple melody over it (something I nicked from Ennio)".

The two songs were recorded in Paris and London in the summer of 2024. Aside from the rhythm section and piano, there's vibraphone, a full string section, trombones and alto and concert flutes. "Liaison" boasts strings, vibraphone, a female choir and tenor sax. Maston played piano and acoustic guitar but that's it (as opposed to playing basically everything on Tulips). His friend Oscar Sholto Robertson played drums and percussion whilst Maston mainstay Elie Ghersinu (formerly of L'Eclair) played bass.

The theme for a lot of Maston's titles is that they have two meanings. So "Foreign Affairs" is both a reference to him living abroad and the idea of constant cultural diplomacy and then there's this sexy/cheeky interpretation of foreign affairs in a literal way - "an affair abroad, ooh la la!". The artwork for this 7" single has Roman campaign flags, referencing the foreign affairs in sort of a sassy way. There's a violence implied. But then if you look from a bit of a distance it looks like a bouquet of flowers. So Frank thought it went with the spirit of the title. Also, he's used a lot of roman motifs now so he kept that theme going, even with the terracotta cover.

This is a vitally important project for our Frank. He explains why, here: "For whatever reason, these songs really resonated with me. I feel like they are either the end of a stylistic era for me or the beginning of a new one. They're sonically the culmination of what I'd been working towards and trying to get better at since I started. If I heard this when I was making Tulips I would have said "YES! *This* is what I want to be doing!". So that's the essence of it. It's a statement and the intended reaction is "This is really good, but why now?". Like the edge to it is the context of someone making this sort of thing in 2025, which I think is a huge strength. The real heads will get it. My music always has like a 2-3 year latency until people really catch onto it, and these ones will have a nice payoff I think."

We couldn't put it better ourselves. So we haven't.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.
Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

Rare is the soundtrack that as time passes overshadows the film of which it was a part, but that’s what has happened in the years since the 1992 release of The Last of the Mohicans. Not that the film is any slouch; Michael Mann’s epic retelling of James Fenimore Cooper’s frontier tale is a cable TV fixture and more evidence that Daniel Day-Lewis is one of the great actors of our time. But the film’s music has emerged as easily one of the most popular scores of ‘90s cinema, with the “Main Title” in particular having become a part of our popular culture the same way as, say, the signature themes from Titanic, Star Wars, and other blockbusters. What makes it even more extraordinary is that the movie’s score emerged from postproduction turmoil as the work of two different composers, Trevor Jones and Randy Edelman. Jones’ work is more of the traditional orchestral soundtrack ilk, Edelman’s has a more contemporary feel, but somehow it all fits, with the closing credit song “I Will Find You” by Clannad an added bonus. Long a bestselling soundtrack CD, we at Real Gone Music are releasing this revered soundtrack on double LP peach vinyl, inside a gatefold festooned with production stills. Guaranteed to get your blood stirring!

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

If there is one thing we at Real Gone have learned during our rollicking ride of reissuing The Donnas’ catalog, it’s that they never did anything halfway. And we’ve tried to do the same in bringing their music back to their devout fanbase. Now, by popular demand, and after years of pursuing the rights, we are thrilled to announce that we are releasing their last studio album, Bitchin’, in an expanded, newly annotated, and newly remastered edition! This 2007 release was put out by The Donnas’ own Purple Feather label, and marks a return to the girls’ glam metal and punk roots after the classic rock leanings of Gold Medal…they’ve escaped the major label machine, and are ready to have a good time! Singalong songs like “What Do I Have to Do” and “Don’t Wait Up for Me” have definitely entered The Donnas’ canon, and tunes like “Save Me” confirm that this band’s ability to set a hook in a chorus remains unabated. For this first-ever reissue, we’ve rounded up an entire side of bonus tracks, including the two songs (“Randi” and a cover of “Safety Dance”) that were only available on the vinyl release, a track (“New Kid in School”) that was previously available only as a download, two outtakes (“We Own the Night” and “She’s Out of Control”) that showed up on the Greatest Hits Vol. 16 comp, and a track that only came out in Japan (“Can’t Keep It a Secret”). The whole thing’s been remastered for vinyl by Mike Milchner at Sonic Vision, and our gatefold-plus-insert once again includes fresh commentary by Brett Anderson aka Donna A. Bitchin’ comes in a double scoop of strawberry with black swirl vinyl…we’re here for the party!

In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print. This is an album that rips through what was considered "The Now Sound From Overseas," a sophisticated mash-up of sambas, bossa novas, and Latin jazz. From the first track, "Angelito" (the hit song written by Réne y Réne, later to also be covered by Trini Lopez & Herb Albert), all the way through to its closer, "Flying Down To Rio" (a song which Roxy Music later referenced in their 1972 song "Virginia Plain”), the album is a hypnotic listen. Latin Village also drops in some serious jazz numbers, with respected compositions such as "On Green Dolphin Street" by Kaper & Washington (which has been covered by Miles Davis, Bill Evans & Sarah Vaughn), "Malagueña" the sixth movement in Ernesto Lecona's Suite Andalucía & "Corcovado" by Antônio Carlos Jobim (who merged samba with jazz to create bossa nova). Latin Village is comforting in its familiarity within Denny's sonic world, but steps refreshingly out of the smoke-filled Tiki bars of his previous records and straight into the sunlight where this music still strolls around in a listener's heart, soul, and mind. “Latin Village is a triumph of Martin Denny’s search for a new style, post-exotica.” – ALLMUSIC, 4 stars.

Sasha & Henry Saiz deliver evocative new single 'Love Is All You Need'

Henry Saiz and Sasha are two of electronic music’s most visionary figures, each renowned for blending emotional depth with cutting-edge production. Saiz is a DJ, producer, and live artist who crafts genre-defying soundscapes on his own Natura Sonoris as well as Sasha’s Last Night On Earth. His work resonates far beyond the dancefloor, much like that of Sasha, a pioneer with an enduring creative streak who continues to push boundaries, most recently through collaborations with forward-thinking producers like Artche, Jody Barr, and Joseph Ashworth. Together on this new single, the pair balance transportive grooves with meticulous synth work to perfection.

The wonderfully luminous 'Love Is All You Need' radiates breezy melodic charm while riding a light, uplifting rhythm that feels as airy and warm as the rush of a new romance. Shimmering, sun-kissed melodies evoke the glow of an outdoor Ibizan party with emotive female vocals drenched in reverb, adding a dreamy, blissful layer to round out this hazy and heartfelt electronic trip.

SID MEIER’S CIVILIZATION VII – DER SOUNDTRACK AUF VINYL

Firaxis Games, 2K Games und Laced Records schließen sich zusammen und bringen den epischen Soundtrack von Sid Meier’s Civilization VII erstmals auf Vinyl.
Diese exklusive Doppel-LP präsentiert eine sorgfältige Auswahl musikalischer Highlights aus den verschiedenen „Zeitaltern“ des Spiels – verpackt in kunstvoll gestalteten Hüllen mit historischen Illustrationen aus dem Hause Firaxis.
Der Soundtrack spannt einen weiten Bogen über die Menschheitsgeschichte und Kulturen weltweit – mit orchestraler Wucht, weltmusikalischer Tiefe und eindrucksvollen Chören.
Den Auftakt macht Grammy-Gewinner Christopher Tin mit dem epischen Hauptthema „Live Gloriously“, gesungen in Altgriechisch, Altenglisch, K’iche’ und Sanskrit vom renommierten Crouch End Festival Chorus. Bereits mit „Baba Yetu“ (Civilization IV) schrieb Tin Videospielmusikgeschichte.
Die restliche Ingame-Musik stammt von den langjährigen Civilization-Komponisten Geoff Knorr und Roland Rizzo. Eingespielt wurde sie von internationalen Ensembles wie dem Prague FILMharmonic Orchestra, dem Mongolian State Morin Khuur Ensemble oder der Southern Pine Drum Group – eine weltumspannende Klangreise durch Vergangenheit und Gegenwart.

Ein Must-Have für Sammler*innen, Gaming-Fans und Liebhaber orchestraler Weltmusik.

These gifted artists gathered, for what they knew was probably the last time, at their beloved clubhouse. That’s what these legendary southern musicians called Capricorn Studios in Macon, GA. These sought after performers had been here many times before as a part of their journey. This time they were here to record some of the best and last tunes of Tommy Talton’s life. There was sincere respect and love in that studio, for the individuals, for their talents and for their accomplishments. You can feel, hear and experience the emotions in each and every song. They gave it their finest effort for a life-long brother and it brought heartfelt joy to all that witnessed it.

"The soundtrack of “La Matriarca” is one of the finest examples of 1960s Italian musical comedy — ironic, sensual, and perfectly tailored to Catherine Spaak’s character. Trovajoli succeeds, like few others, in giving voice to the contradictions of an era through music — an Italy discovering freedom, yet with an ironic smile on its lips.
Now available in transparent magenta 180g vinyl + CD, limited and numbered edition of 500 copies. Includes an insert with liner notes by Massimo Privitera of

Undiluted - a highly anticipated collaborative Hip-Hop album from two of the underground’s most respected artists, Cymarshall Law and Ramson Badbonez, One Nation Exclusive.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

For the first time ever, the only full-length album by Spanish soul and garage legends Z-66 is being reissued. Z-66's signature blend of powerful soul, psychedelia, and pop-clearly influenced by bands like The Move, Stones, Vanilla Fudge, and Blood, Sweat & Tears delivers a bold, modern sound that remains fresh and compelling. Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts... They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. We are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP plus a booklet with liner notes and rare photos.

The Eves celebrate the first anniversary of their acclaimed EP Both Sides with
a special vinyl edition to be released in November 2025
Produced and co-written with Dan Gautreau (Alicia Keys, Paolo Nutini) Both Sides was
released only on CD and digital in 2024. The new vinyl edition of the EP features a
previously unreleased bonus track The Silence produced by Mark Morrow (wrest,
Swim School). Title track Both Sides features prolific drummer and percussionist Ash
Soan (Snow Patrol, Tori Amos, Del Amitri). The EP showcases the duo's distinctive
songwriting style that encompasses smooth vocal harmonies and thoughtful
production, culminating in a fresh yet timeless sound that delivers their signature
blend of melodic pop.
The Eves have been played across BBC Radio 2, BBC Radio Scotland, BBC Introducing.
Their song Brand New Day has over 137k streams on Spotify and spent 5 weeks on
the BBC Radio 2 playlist. It was also made 'Single of the Week' on BBC Radio Scotland,
played on Bauer Media's Forth 1 radio station, reached No. 6 and No. 15 in the iTunes
pop charts and iTunes main download chart respectively, charted in the Amazon 'New
Hot Releases' UK Chart, and made an impressive debut in the UK Official Charts
Company download and single charts in the top 65. The song also features on an
episode of 'The Kardashians' on Disney Plus and Hulu across America.
'Big Love' was adopted as the official anthem for Scottish Women's Football for the
2022/2023 League Season, and was the pair's first release as a co-write, written with
Jim Duguid (Paolo Nutini) and producer Lewis Gardiner (Ellie Goulding, Nick Jonas).
The track was also featured on BBC Scotland's most popular football show 'Off the
Ball' with Tam Cowan and Stuart Cosgrove.
The pair are seasoned performers having opened for major artists at sold out shows
including Belinda Carlisle, Sister Sledge and The Shires. They've toured extensively
with Skerryvore and Horse across the UK, opened for Callum Beattie, and have
performed at festivals including TRSNMT, Country to Country, Edge Fest, Tiree
Festival, Moonbeams and Fringe by the Sea, sharing stages with Wet Wet Wet, Sophie
Ellis-Bextor, Gabrielle, Tony Hadley and Heather Small.
Other highlights include performing at the Guinness Six Nations rugby for Scotland v
Wales at BT Murrayfield, recording a live session for BBC Scotland's 'The Quay
Sessions', and several TV appearances on BBC Scotland's 'The Edit' on national TV
and BBC i-Player and STV's 'What's On' and 'The Braw and the Brave' chat show.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

Léo Dupleix return to Black Truffle with Round Sky, following the enchanting Resonant Trees (BT119). The composer here performs on analogue synthesizer, harpsichord and spinet as one member of Asterales, a group that brings together four important figures in the international community of musicians working with just intonation: Dupleix, Jon Heilbron (double bass), Rebecca Lane (quarter-tone flute) and Frederik Rasten (guitars). The quartet perform three recent pieces by Dupleix, each of which is like a different view on the same landscape of unruffled calm, where the unique harmonic events made possible by just intonation flicker across melodies and harmonies like light on the surface of water.

The first side is dedicated to ‘Poème d’air’, composed while Dupleix was immersed in the music of 14thcentury ars nova composer-poet Guillaume de Machaut. A sustained study of the ‘sonic possibilities of low-pitched sounds in just intonation’, it begins with a long, rumbling pitch from Heilbron’s bass, soon joined by the organ-like tones of the composer on synthesizer. The piece is made up of cycling sequences of chords, each of which is repeated for several minutes before the music either freezes on a single harmony or silently pauses before the next episode begins. These structures are initially dominated by the bass and synthesizer, with Lane’s pure vibrato-less flute tone and Rasten picked harmonics adding flashes of colour. As the piece develops, flute and guitar become more prominent and the bass climbs to higher registers. The development culminates in a stunning episode around fifteen minutes in where the texture thins out, casting a spotlight on a melodic figure exploiting the uncanny sound of Lane’s quarter-tone flute.

On the second side we are treated to two briefer pieces, closer to the sound of Resonant Trees as they return harpsichord and spinet to the foreground. ‘Ghosts’ centres on a harpsichord melody that slowly expands as it repeats, growing from a haunting six-note cell to a flowing succession of notes whose shape become increasingly difficult to perceive. Alongside this melodic development, an increasingly lush accompaniment grows, with long tones from bass, flute, e-bowed guitar and synthesizer holding notes picked out the harpsichord melody in a swaying harmonic cloud. Dupleix notes that the concluding ‘Round Sky’ was written in the countryside in spring, a circumstance that seems far from irrelevant to the impression the piece makes when its euphonous spinet arpeggios emerge from a gentle synthesizer drone like a flower from a bud. Performed as a duo with Rasten, with both instrumentalists also singing, this title piece exemplifies what makes Dupleix’s music so unique: grounded in a rigorous application of just intonation principles yet as open as Harold Budd or Andrew Chalk to an uncomplicated, intuitive experience of beauty.

As trans-Atlantic alchemists pulling from a shared dialectic that somehow encompassed both postmodern deconstructionist tendencies and a delightfully subversive sense of poptimism, it’s easy to see how David Cunningham and Peter Gordon immediately hit it off upon initially meeting each other back in the late-1970s at the height of their youthful transgressions. Having initially worked together on the second Flying Lizards’ LP fourth wall, with its ingenious fusion of dismantled rhythms and rearranged melodies juxtaposed against the slyly sultry singing of Snatch’s Patti Palladin— with Gordon adding a few sprinkles of mischievous sax in the mix— it’s no wonder the collaboration would lead to further musical adventures.

Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.

Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.

Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.

Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s Definitely What! was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).

After the previous year’s Open (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered Definitely What! as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’. “I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!”

Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’ . 'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.

That forward-thinking approach was developed in Open and Definitely What! would come to fruition a year later with the release of Streetnoise (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the Oblivion Express and beyond. Definitely What! remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!

This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.

Cambridge’s acclaimed psych-folk quintet Fuzzy Lights return with their fifth album ‘Fen Creatures’. Following on from 2021’s critically lauded ‘Burials’ the band have created their most conceptually focussed work to date – a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity’s fractured relationship with the natural world.

The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns.

Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature.

Lead track ‘Greenteeth transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. "When I read this story to my daughter, she was instantly drawn into it," Watkins notes. "There's something timeless about these tales and the way they speak to fundamental fears and connections that span generations."

Elsewhere, 'War Ditches' imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. 'The Promise' creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss.

Critics praised ‘Burials’ as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and 'Fen Creatures' promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.

‘Burials’ press:

“...the musical battle between the fuzzy and the light makes Fuzzy Lights special.” MOJO ★★★★
“...a simmering, sinister undercurrent which often explodes with apocalyptic fervour.” SHINDIG ★★★★
“...subverting genre expectations and folk melodies.” FINANCIAL TIMES ★★★★
“Way beyond folk and folk in essence all at once, it's a record that’ll bring you much reward.” BACKSEATMAFIA - 8.3/10
“a genuine delight....a stirring and unsettling listen, goosebumps adding to the pleasure of timeless music played well, with perfect precision. Don’t leave it another eight years, eh?” FOLK RADIO
“...re-inventing the folk-rock playbook and dragging it screaming through an array of influences...Fuzzy Lights’ most unique, reflective and ambitious record to date” FOR THE RABBITS

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.

Structured in two complementary chapters — Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) — the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
The first chapter, Songs of Abandon, is perhaps the most intimate and vulnerable work Urlo has ever created.
Born in a moment of solitude and personal darkness, the album originated from a radical exercise: writing one song a day, for nine consecutive days, using only acoustic guitar and voice.
A collection of stripped-down, emotionally raw ballads. Rooted in acoustic textures and intimate songwriting, these songs explore loss, vulnerability, and the quiet spaces left behind — a personal exorcism of what could have been but never was.
Later, these sketches were shaped into fully realized tracks, with lyrics and subtle layers of sound — not to overwhelm, but to underline the fragile, raw atmosphere that pervades them. The result is a stripped-down, emotionally charged collection that embodies an inner search: the power of music as a tool to face abandonment, to dig into oneself, and ultimately to glimpse the possibility of an embrace.
With Embrace The Abandon, THE MON reaffirms itself as one of the most personal and uncompromising projects.
It is a body of work that fuses vulnerability and strength, speaking directly to the listener with sincerity, leading them through shadow towards light.
An intimate yet powerful sound experience, intertwining the minimalism of acoustic folk with the dark, visionary tension that has always defined Urlo’s artistic path.

2005...it"s 20 years since already? We can still feel the sensuous tickle of the wind at our back during that marvelous time. It was, as the Scorps promised, a wind of change, and we were drawn to a number of like-minded birds floating in that breeze! Today, we salute Six Organs of Admittance; their School of the Flower was just the record we"d never dreamed of when we asked them if they wanted to do one with us. Turned out their pronoun of choice was "him." "He" was Ben Chasny and we"ve been happy collaborating with him ever since. Coming on the heels of records like Dark Noontide and Compathia, School of the Flower found Six Organs riding high. Having achieved much in his traditional home-recorded kingdom, he too was looking for something different. What our Ben recalls: "It was the first time Six Organs was in a studio, so that"s cool. I wanted to play with Chris Corsano to expand on some of the rhythms in my playing, to kind of suggest some different forms for the way the folk-psych/folk music were being played at the time. The title track was inspired by John Cale and Terry Riley"s Church of Anthrax - I remember we had a big tape loop stretched around the whole studio to form the basis of that. I was taking a lot of cold medicine that week - not the coolest drugs to be on, but, you know..." School of the Flower was indeed a whole new thing - containing enduring fan favorites like "All You"ve Left," "Words for Two," Ben"s revelatory take on Gary Higgins" "Thicker Than a Smokey" (pointing the way for our reissue of Red Hash later that year) and a deep vibe of spiritual folk-jazz throughout. And best of all? It was just the beginning of twenty years of sending the inspiration of Six Organs of Admittance out into the world! But today, we"re happy to send you back to School of the Flower. There"s nothing like it.

Unchained is the long-standing guitar-based project of Nate Davis, originally from Providence, RI, and based in France for over a decade. In his two most recent LPs—Gabbeh (2024, A Colourful Storm) and Frontalier (2025, Stern Records)—Davis strives to describe a new path for outsider jazz instrumentalism that remains committed to harmonic and rhythmic form while placing greater emphasis on sonic texture through experimental production techniques.

Release Description:

Unchained—a name which at the project's inception or on earlier recordings spoke perhaps to the ecstatic saturation of high gain guitar—has over the past three albums (N.D. Visitor, Pic, and Gabbeh) come to represent more and more an acknowledgement of and sensitive remove from a crashing world. An excuse of oneself from trend towards a siloed artistic development.

On Frontalier, Nate Davis crosses further into this patient personal lexicon of guitar composition, presenting a new set of richly developed songs and leaps in arrangement which may very well shock Unchained fans the world over. The sympathetic geometric guitar themes of the earlier second-period Unchained style are almost entirely absent, making way for a fully realized presentation of the jazz, MPB, and fusion influence present to varying degrees on the previous three albums. Davis's keen sense of melody and songcraft have never been stronger, here landing on music which is at moments evocative of Wes Montgomery, Allan Holdsworth, Jobim, or the jazzier impulses of Lô Borges. Distinct in Davis's music, however, is what these references might belie: an innate tending towards repetition as an affective tool—one which has less to do with the aesthetics of the scene from which the project emerged than it does with devotional prayer. In this way it feels as if Unchained has always been music for living. What was once a maximalist expression of youth has matured into the sound of living with and in the world and an empathic transmuting of all the joy, disappointment, and ambivalence that comes with it. Songs that feel like the sort of thinking one does looking out the window on a long train ride, or the routinism of internal and external life and the breaking out of it. As much as it will be recognized by the fandom as a significant step forward, Frontalier serves also as a perfect gateway for new listeners to the singular music of Unchained.

ANORAX goes for the jugular - offering 2 in-demand gems from the legendary USA All-Platinum label - with its’ latest #eatsleepcollect 7” release.

The a side is a real coup, the first ever worldwide issue on single of the much loved Just Having Your Love by veteran Soul trio The Moments. JHYL is up there with the acts much loved Nine Times and I’ve Got The Need as a creator of dancefloor frenzy but being an album only track has restricted its DJ plays.

Now, for the first time in 50 years, it is available on 7” single so the simmering demand can finally be satisfied. The track fuses timeless Soul harmonies with exuberant magically produced New Jersey Disco and as well as being a Modern Soul connoisseurs favourite has long been a Northern Soul floor filler. The flip was also released on All Platinum’s Turbo imprint and was produced and written by The Moments. The Rimshots were the house band at All Platinum’s recording studio in Engelwood and had close links with The Moments who they toured with as support. Do What You Feel saw them take centre stage in 1975 as the adrenalin up chanted jam became a funk anthem. Five decades on it is still a timeless gem at jazz funk venues.

"From the very first seconds of the opening track "Graffiti Palace", this album establishes itself as one of the clearest and strongest in the band's discography. Eric Deleporte assumes his new ambitions and deploys his song-writing across 10 panoramic, dreamy songs. Seven years after "Black Condensed" and 31 years after a debut album "Icy Morning in Paris" released on the legendary French label Lithium (1994), "The Sharp Bones of my Sleep" marks a major turning point in the band's history. Rémy Poncet (Chevalrex) accompanied the construction of this sound architecture and Angy Laperdrix (Tahiti 80, Aquaserge, Chassol, Zombie Zombie, Halo Maud...) produced the mix. The light-dark atmospheres and heartbreaking melodies are more sensitive than ever in Perio's work, and summon the best of US indie (Deerhunter, Devendra Banhart...), the ghosts of punk and new-wave, and the urban poetry so dear to Eric Deleporte. ""Perio is a rare band. Because it sounds like no other, resolutely French-American, in a folk vein that bridges the gap between tradition as recorded in Harry Smith's Anthology of American Folk Music and resolutely contemporary sounds."" -La Blogothèque

First Word Records are proud to present the sophomore solo EP from Victoria Port.

'Barefoot In The Garden' is a 5-track selection merging classic soul with contemporary sounds.

Put together from sessions recorded at the world famous Abbey Road Studios in London, and Victoria's home studio Candle Shop, this project exemplifies her talents as a singer-songwriter, developing upon the building blocks of her debut EP 'Did it Again' and Victoria's work as one half of electronic-soul duo, Anushka (BBE / Tru Thoughts / Brownswood).

On this EP, Victoria is accompanied by a wealth of talented artists in their own right, including frequent collaborators Hemai and JNR Williams, the highly-acclaimed drummer Moses Boyd, and vocalists such as Lea Lea, to name just a few.

The sonic tapestry stitched together on this EP epitomises the quality of British soul music of modern times; a vintage symphonic feel approach with modern-day production techniques, encompassing the Ronson-era of the late great Amy Winehouse, to the pack leaders of nowadays such as SAULT and Jungle. It's a logical progression considering Victoria's lifelong influences of US luminaries like Minnie Riperton, Gladys Knight, Nina Simone and Dionne Warwick.

Her fanbase includes Gilles Peterson (BBC 6 Music / Worldwide FM) who has tipped her as "an exciting emerging new artist whose sound fits alongside current successful acts like Cleo Sol, Lynda Dawn and Yazmin Lacey."


Victoria's previous EP had support from a wide range of tastemakers, including Cerys Matthews, Huey Morgan, Somewhere Soul, Mo Ayoub (Selector Radio), Ronnie Herel (Mi-Soul Radio's "One to Watch"), Tony Minvielle (Jazz FM) and across platforms like Rinse FM, NTS, Soho Radio and Global Soul, whilst her work with Anushka also received airplay from Annie Mac, Jamz Supernova, Huw Stephens and BBC Radio 1.

Victoria says "this EP comes from a place of nostalgia. It's kind of reflective of parts of life up to this moment, culminating in 'Barefoot in the Garden'. I guess it's me starting to understand the things that are truly important to me. How I want to love and be loved, the way I want to spend my time, and just me starting to filter out a lot of the noise. Sonically it's been such a dream to explore elements of old soul and jazz with so many incredible musicians, and to put our own unique spin on the genre."

Already a seasoned live perfomer, additionally to various live appearances solo past & forthcoming including We Out Here, Jazz Cafe, Koko and the London Jazz Festival, Victoria Port is set to be one of the leading lights in the world of British soul music. This EP provides some solid examples as to why.

'Barefoot In The Garden' is due to be released on vinyl and digital, November 7th 2025.

Smith & Liddle are two young artists from the North of the United Kingdom who have never been to the desert and whose mere existence was a long way off the horizon in the 1970s, yet their music wouldn't be out of place on the FM waves in a Cadillac driving through the California desert at that time.

"Songs For The Desert" is Smith & Liddle's debut album, a collection of great songwriting, beautiful harmonies and wonderful musicianship that also offers an unashamedly a large dose of nostalgia harking back to some of the best eras there ever was.

These songs were created during one of their hometowns rainiest year, offering the duo an escape via their creations, dreaming of being transported to California at a time when the music scene there drifted from legendary stars of Laurel Canyon to the soft rock icons of Fleetwood Mac and The Doobie Brothers.

Elizabeth Liddle & Billy Smith grew up 25 miles away from each other in small towns but only met when Billy was on the lookout for a vocalist years later. The chemistry between the pair was instant, and over time their intertwined musical sensibilities evolved into something unique.

Following years of swapping records and building a transcendent musical connection, Smith & Liddle worked alongside producer Josh Ingledew to record 9 songs that blend Soft Rock, West Coast soul & 60s beats to produce their debut album "Songs For The Desert".

Anathema has spent the vast majority of their career making music that defies
description. As part of the Peaceville 3, along with Paradise Lost & My Dying Bride,
Anathema have carved a strong legacy since their inception at the turn of the 1990s,
to become a widely revered & respected band within both the metal world & beyond,
as their sound & compositions progressed from doom/death metal into more rock &
progressive territory with each subsequent release, becoming one of the UK's most
cherished & critically acclaimed rock bands.
'The Silent Enigma', Anathema's second studio album, was originally released in the
summer of '95 & was the first release on which guitarist Vincent Cavanagh took over
the vocal duties of the departed Darren White. Where Darren's vocals were guttural,
Vincent's style pushed the possibilities for Anathema onwards & upwards, with a
scope & breadth beyond his years, complimenting an ethereal roller- coaster of
thoughtful atmospherics & crushing Celtic Frost style riffs - the Swiss legends being a
notable inspiration. What emerged was a fine example of highly-atmospheric & often
emotional gothic doom, spawning classic Anathema songs such as "Restless
Oblivion", "Sunset Of Age", "The Silent Enigma" & "A Dying Wish". Lauded by the metal
press & fans alike as a doom metal classic, the album's popularity has remained a
favourite within the metal scene.
This special 30th anniversary edition of 'The Silent Enigma' is presented on limited
marble vinyl, with the vinyl mastering work carried out by Abbey Road Studios,
London.

Lukah’s unprecedented trajectory shatters new heights with A Lost Language Found, his most thoughtful, sonically-diverse record yet. With the multiplatinum OG Statik Selektah on production duties, Lukah’s by now iconic, razor-sharp pen-game goes toe-to-toe with some of the best. Trading verses with Houston innovator Bun B, Memphis legend 8 Ball, and the larger than life Killer Mike, all parties involved operate at the peak of their skill. The first of what will be multiple collaborations with heavyweight hip-hop producers, this new LP establishes what we already knew in our hearts: Lukah is here to take over.

The stage set to deliver this latest opus is intensely personal: in the heart of his community, Lukah holds court with his trusted fellows at his great grandmother’s house in French Fort, Memphis, a historically black neighborhood long rec-ognized as a stately, proud vision of Black suburbia in a city still healing from deep racial trauma. Recently laid to rest in Elmwood Cemetery, the pain and strength of mourning her influence is present in the deep lyrics of A Lost Lan-guage Found, where Lukah traces not just his own legacy, but that of the linguistically rich and diverse dialects of his people. The cover image depicts the game room of the house, a place that once hosted civil rights leaders and revolu-tionaries, now a monument both to a history of leadership and to its future. For the first time, Lukah himself appears on the album art to mark this significant occasion, flanked by his partners, the symbolic source of knowledge in his hand. Listening to Lukah spit has always been a privilege and a revelation. His artistic power lies in uncovering secrets thru torrents of lucid, poetic rhymes. The listener is invited to share in this bountiful feast. Witness the real god expansion.

The album is available as a limited edition vinyl release of 500 copies in gatefold jacket.

The long-awaited analog release of “ODDTAXI” by Skirt and PUNPEE, the opening theme of the TV anime "ODDTAXI" is finally here!

■Skirt
Skirt is a self-described “unhealthy pop” band known for its refreshingly light yet slightly shadowed songwriting and band ensemble, earning widespread
acclaim across professions, genders, and age groups.
The project began in 2006 as the solo multi-track recording endeavor of Wataru Sawabe. In 2010, he launched his own label, Kaczka Sound, and released
his first album ""S-O-S,"" marking the true beginning of Skirt’s full-fledged musical journey.
In April 2021, Skirt collaborated with PUNPEE on the opening theme "ODDTAXI" for the anime "ODDTAXI". Drawing from his extensive knowledge of
comedy, Sawabe served as a judge for the finals of the UNDER 25 OWARAI CHAMPIONSHIP—a comedy competition for performers under 25—in
September 2023, and also wrote the event’s official theme song, "Kitai to Yokan"
In addition, he has contributed music to numerous animated works, films, and TV dramas. His exceptional songwriting skills have led him to write songs
for a range of artists including Takashi Fujii, Kaede (Negicco), Toko Miura, and adieu (Moka Kamishiraishi).
As a versatile multi-instrumentalist, Sawabe has also participated in live performances and recordings with artists he deeply admires, such as Spitz,
Makoto Kawamoto, and Moonriders. Skirt continues to attract attention as both a band and the project of a wonderfully talented, genre-defying
singer-songwriter.

■PUNPEE
Active as both a rapper and producer, PUNPEE has released acclaimed albums such as "MODERN TIMES" and "The Sofakingdom"" His diverse body
of work includes contributions to a Red Bull TV commercial, the opening theme for the TBS show "Wednesday's Downtown" a remix of Hikaru Utada’s
"Hikari -Ray of Hope MIX-" and the track "Time Machine ni Notte / Kazoku no Fukei" for the Sotetsu–Tokyu through line commemorative short film.
But of course, what truly matters—is what comes next. P

British South African composer & producer Galina Juritz presents 'One Weird Trick', her debut solo album on London's home for interdisciplinary oddballs, Kit Records.

As a classically trained violinist, Galina has worked in bands and ensembles such as ShhArt Ensemble, Inclementine, and in various combinations featuring leading musicians from Cape Town and Johannesburg's classical and jazz scenes.

Galina composed the music for Madness: Songs Of Hope and Despair, a cantata made in collaboration with Dizu Plaatjies, with a libretto by psychiatrist Dr Sean Baumann. Madness debuted at the World Psychiatry International Congress in 2016, and had a two week run at Cape Town's Baxter Theatre in 2017. As a composer she writes frequently for film, animation and ensemble.

She has collaborated with the likes of composer Neo Muyanga, Mr Beatnick, Cara Stacey, Kelpe, Juliana Venter, Violeta Garcia, Kit Records head Richard Greenan & more. Galina has been remixed by the likes of Photay, Memotone and Tom Skinner (Sons of Kemet, The Smile).

'One Weird Trick' is the culmination of her solo material. Still rooted in the ornate, technical world of string composition and arrangement, the album is stubbornly unclassifiable.

Opening with time-dilated ambient ('Leaves') before segueing into rippling, florid techno ('Skeleton and Tiger fighting'), Galina twists again and again, shifting gears through stoned, jazz-inflected r'n'b ('Things I Know to be True'), string-led widescreen songcraft ('Come Back') and orchestral minimalism for standing on vast shorelines ('Time Split at the Seams of Your Departure [everything is now before and after]').

On the B side, Galina flexes her composition chops with the storming jazz of 'Spirit Level', recorded by Cape Town-based musicians Buddy Wells, Andrew Lilley, Jonno Sweetman & Stephen de Souza. Galina is then joined by the Stockholm Sax Quartet on 'In Rebellion of Time', a stately Reichian revelation that moves from solemn ballet to ecstatic multiharmonic denouement. To close, Galina retrieves oozing electronics and smeared journal entries from the guts of a black hole - a fitting conclusion to a truly unique, unpredictable, delightful, sad, infectious, and bizarre record.

Influences / sounds like: Louis Cole, Matthew Herbert, Darkside, Thundercat, Eiko Ishibashi, ECM, Oliver Coates.

'One Weird Trick' is out 7th November 2025 via Kit Records, available on vinyl & digital formats.

Kit Records will throw an album launch party at Servant Jazz Quarters in Dalston, London on 30th October 2025. Tickets TBC.









[g] 07: Time Split at the Seams of Your Departure (Everything Is Now Before and After) [feat. sir kay]