Search:the let go

'exclusive tour tapes' limited quantity available for distribution

Limited split tape collaboration between like-minded pranksters Lagoss & Babau. Co-released by Sucata tapes & Artetetra in July 2025.

‘’The chars were emerging as some chunk of makeshift swamp coolers blasted the soil surrounding our motorbikes. Sunburn vapours floating grey all around, licking our necks with heavy hazy tongues. Just oppressive and gross. Blah.

Someone says heat waves are among the most dangerous natural hazards. I guess that the magnetic tides did not help at all. For sure, recreational sleep deprivation aside, it was days of relentlessly documented tipsy headaches, thermometric cicada noises and weird-ass hallucinations. It is what it is. The age of earthquakes. We drink from our black plastic bags with a straw pushing a bit of oxygen thru our reptile brains. Just half a pack of synthetic tobacco for the ride. No internet. Whatever.

She looks at me behind the war metal glasses and the silicone frog mask high on desert dust. Sweaty pools on her shoulders. Eyes purple with adrenaline. Map on the scratched screen. “It says that at this point we should be hearing that fucking flute”. We stop amidst the geysers. We can see the monoliths and stone gods ready to eat up all the solar storms and the thunder. Towards the horizon, second moon is up. Damn. Water rises to our knees, green with bloating sounds. Just what we needed. We’re stuck. "Turn up the radio. Let’s hope it lasts five minutes." After trashing a bunch of fake subtropical signals, the radio plays a flute. She takes off the mask and explodes in a grin: “This is it man, we made it! No man’s land. The real fucking thing.” I light one up and let the sight get blurred: “You betcha.”’’

Lou Bond only made one album but what an album it was. Politically charged, deeply introspective, and wonderfully lyrical, 1974’s Lou Bond is reminiscent of the Eugene McDaniels releases Headless Heroes of the Apocalypse and Outlaw (both out previously on Real Gone) in its outspoken, idiosyncratic social commentary. But there is a sensitivity here that’s devastating; Bond’s falsetto soaring over his strummed acoustic guitar brings to mind Bill Withers (whose “Let Me into Your Life” he covers) at his most affecting, while the orchestrated arrangements summon What’s Going On vibes. With comparisons like those, you know this record is special, but Lou Bond is a one-of-a-kind album that really defies comparison (despite our best efforts). For this ALLANALOG reissue, we had our friends at Well Made Music cut lacquers directly from the original tapes, and pressed the record at Gotta Groove Records. Available either in black vinyl or clear yellow. Both Outkast and Mary K. Blige sampled Lou Bond…that’s because it’s one of the lynchpin albums of Memphis soul.

Lou Bond only made one album but what an album it was. Politically charged, deeply introspective, and wonderfully lyrical, 1974’s Lou Bond is reminiscent of the Eugene McDaniels releases Headless Heroes of the Apocalypse and Outlaw (both out previously on Real Gone) in its outspoken, idiosyncratic social commentary. But there is a sensitivity here that’s devastating; Bond’s falsetto soaring over his strummed acoustic guitar brings to mind Bill Withers (whose “Let Me into Your Life” he covers) at his most affecting, while the orchestrated arrangements summon What’s Going On vibes. With comparisons like those, you know this record is special, but Lou Bond is a one-of-a-kind album that really defies comparison (despite our best efforts). For this ALLANALOG reissue, we had our friends at Well Made Music cut lacquers directly from the original tapes, and pressed the record at Gotta Groove Records. Available either in black vinyl or clear yellow. Both Outkast and Mary K. Blige sampled Lou Bond…that’s because it’s one of the lynchpin albums of Memphis soul.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl's newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single "Not Hell, Not Heaven" outright rejects the narratives cast onto them by outsiders. "It's about feeling victimized and being a victim, but not wanting to identify with being a victim," explains vocalist Kat Moss. "It's trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain't working for me." The band breaks from a sense of disassociation to seek deeper connections on "Fantasy." "It's incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated," Moss says. "`Fantasy' is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard." The album ends in a philosophical place on the closing, titular track, "Are We All Angels," asking questions like, "Is this all there is?" and ultimately putting it on the listener to decide. "It's about the personal struggle between good and evil. It doesn't matter how `good' or `bad' you are, there are systems that will try to rewrite your narrative no matter what you actually do," explains Moss, noting that punctuation on "Are We All Angels" has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl's debut, 2021's How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record's sonic outlier, a cleaner interlude called "Seeds to Sow," that, true to its name, planted the seed for what was to come for the band. "It kind of laid out this destiny for us, and I feel like now we're fulfilling that," says drummer Cole Gilbert. The band continued to expand their sound on 2023's widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl's growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band's scope. "Will would say, `Everything you have here is correct, but it's in the wrong place,'" says Gilbert. Moss adds: "Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses." But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. "Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate," says guitarist Malachi Greene. "At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes."

For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces.

In the early ’70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.”

Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture.

The Pavilion Of Dreams was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.

Originally released in 1978 on Americom Records. Officially reissued for the first time with love by Celestial Echo Records.

Some records just have that magic. A vibe that pulls you in from the first note and doesn’t let go. Phylliss Bailey’s 1978 cult classic Phylliss is one of those records—a hidden gem of modern soul and disco that’s been doing the rounds for decades in underground scenes, on dancefloors, and among collectors who know. It’s been whispered about in the right circles, bootlegged and then bootlegged again—but never given a proper reissue… Until now.

Celestial Echo Records proudly presents the first official reissue of Phylliss, a record that’s as essential today as it was back then. Originally released on the independent Americom label, the LP flew under the radar in its day but has since become a secret weapon for DJs with a taste for the modern soul & disco sound.

Phylliss Bailey’s voice is pure class—gliding over lush arrangements, tight rhythm sections, and dreamy strings with ease. Whether she’s riding the groove on dancefloor bombs like 'Focus' and 'Release Me' or slowing it down on the smouldering 'Feeling Of Love,' Bailey brings emotional weight and undeniable swagger to every track.

Fully remastered and officially licensed, it brings Phylliss into the light where it belongs. With a reimagined sleeve and labels (to distinguish from some shady copies going around!). This record is looking and sounding better than ever.

Celestial Echo Records is a label devoted to the soulful and the timeless. Based in London and run by miche & Stu Clark, the imprint has been steadily carving out a reputation among collectors and DJs for high-quality, lovingly curated reissues of rare modern soul, boogie, and disco. With each release, they shine a light on overlooked gems that still resonate deeply in today’s clubs and dancefloors. Phylliss is the next jewel in their growing catalogue of essential rediscoveries.

‘Platinum Rare 2’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 2’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 2’ is an absolute enrichment for every true fan of SWEET.

Wild and untamed Swedish teenage heavy metal from 1981-1985. Includes their ultra rare single plus previously unreleased studio recordings. The album includes a booklet with interviews and photos documenting TRP’s wild stage shows and the local Swedish hard rock youth gangs of the 1980s. Blood splattered vinyl - limited edition of 600 copies worldwide.

The teenage boys that formed TRP came together in the small town of Fjälkinge outside of Kristianstad in southern Sweden back in 1981. In 1982 they recorded and released their legendary after single. They immediately became very popular with the local hard rock you gang’s attracting wild and rowdy crowds.

TRP performed wild and loud shows gilded by the bands furious use of pyrotechnics, smoke bombs, leather, studs and gallons of fake blood.

Their stage show combined with their music got the band banned in Sweden and it was said that they were obscene and promoted satanism.

The band didn’t let that stop them and instead they went into a studio and recorded several tracks with their new lead guitarist. However, these amazing recordings were never released...until now that is. Then in 1985 TRP performed their last show. Their final stand was heavy metal mayhem supreme and the whole stage went up in flames.

“I had welded a guitar slide with one end closed and filled it with chimney test smoke, then I screwed it to the top of the neck of the bass. It burned constantly for two songs, but the effect was cool. We spat blood, as usual, and Peter just kept firing off bombs like crazy. He managed to shoot one right up into Fredrik’s ass during a guitar solo…”

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

Teethe meldet sich mit Magic Of The Sale zurück, einem sanften, aber stählernes Album, auf dem die vier Texaner Songwriter, Sänger und Künstler der texanischen Band eine Reihe von Fragen darüber stellen, was es bedeutet, ein Leben in einer Zeit einer Zeit des gemeinsamen Zusammenbruchs. Das Ergebnis ist eine traurige und schöne selbstgebaute Welt des Southern Slowcore, in der vier Menschen sich einander zuwenden und gemeinsam vorwärts driften. Magie Of The Sale folgt auf Teethes selbstbetiteltes Debüt von 2020, eine lockere und warme 12-Track-Collage aus exquisitem existenziellen Blues und und schwachen Harmonien, von dem einige frühe Kassettenauflagen mehrere ausverkaufte Vinyl-Editionen, unwahrscheinliche Namensnennungen Namen von Megastars und mehrere Touren durch die Vereinigten Staaten und Europa. Magic Of The Sale stellt Teethes Teethes natürlicher nächster Schritt: ein zweites Album, ein Plattenlabel, eine Reihe von Gastmusikern (Xandy Chelmis von Wednesday und MJ Lenderman, Charlie Martin von Hovvdy und einige andere andere erfahrene Musiker), die ihre texanischen Wurzeln repräsentieren und neue Freunde, die sie in den letzten Jahren gewonnen haben. Dennoch hat Teethe besonders darauf geachtet, den Teil des Prozesses zu bewahren, der was ihr Debüt so besonders machte, jetzt mit erweitertem Instrumentarium. Für Magic Of The Sale haben sie ihr Equipment und ihr Heimstudio aufgestockt Heimstudios aufgestockt und sich in das Handwerk der Komposition und Produktion. Ohne einen externen Produzenten oder Tontechniker zu engagieren, hat die Boone Patrello von der Band verbrachte vier anstrengende Monate mit dem das Album ab - er nahm das Patchwork der Tracks von jedem der einzelnen Mitglieder und ihrer Kollaborateure und verknüpfte Visionen in ein komplettes Bild. Aus einer lange übersehenen Texas' musikalischem Reichtum, kehrt Teethe mit einem vielschichtigen und kollaborativen Werk zurück, das die Gewicht der Welt ein wenig leichter zu tragen.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear.

Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year.

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

Das dritte Album der Supersuckers aus Tucson, AZ - "The Sacrilicious Sounds of the Supersuckers" von 1995 - ist ein Klassiker und endlich wieder erhältlich, und zwar auf limitiertem, undurchsichtigem, rotem Vinyl! "The Sacrilicious Sounds of The Supersuckers" wurde von Paul Leary von den Butthole Surfers produziert und ist wütender, höhnischer Punkrock, der die besondere Mischung aus Hardrock, Punk und anspruchsloser Country-Kultur der Band perfekt auf den Punkt bringt. The Damned trifft ZZ Top? Die Motörhead des Südwestens? So etwas in der Art, sicher, aber letztendlich sind The Supersuckers ihr eigenes Ding, und auf "The Sacrilicious Sounds..." - und vor allem auf der Single "Born With a Tail" - beginnen die kläglichen Country-Klagen von Sänger Eddie Spaghetti selbstbewusster durch das rohe Punk-Aggregat zu stoßen. Apropos Aggro: Dies ist das einzige Album der Band mit Rick Sims von den Punk-Legenden Didjits aus Illinois an der Gitarre, und Sims treibt die ohnehin schon gewaltige Wand aus übersteuerten Gitarren der Supersuckers pflichtbewusst in die Höhe. Als zusätzliches Schmankerl übernimmt Sims den Leadgesang bei dem rasanten "Run Like a Motherfucker".

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

1968’s Doin’ Our Thing is not only their first self-produced album but offers their most varied selection of songs, including tracks previously performed by Bobby Gentry, Ray Charles, The Supremes, and even a wild ride on the theme to the Otto Preminger film, ‘Exodus. Adding to this re-release’s special nature is the fact this will be Doin’ Our Thing’s first U.S. vinyl reissue since its original 1968 release date.

Enjoy The Ride Records in conjunction with Universal Music Group proudly presents Afroman - The Good Times.

The Good Times was released in the summer of 2001; the album climbed the Billboard charts and was certified gold within a month of its release.

The Good Times includes the Certified Platinum singles "Because I Got High" and "Crazy Rap (Colt 45 & 2 Zig Zags)," along with 9 other tracks that will take you back to that early aughts summer, blasting the radio with the windows down (or with the windows rolled up while you baked out your car - we don't judge).

The Good Times is a limited edition 2xLP pressed on colorful vinyl. The packaging features new center label art on the B(lunt) Side, as well as a screen-printed D(ank) Side. Housed in a wide-spine jacket with a 12" x 24" single-sided full-color insert.

'Maybe I'm Dreaming' ist die neueste Sammlung von Mikey Young (Total Control, Eddy Current Suppression Ring) und Keith Abrahamsson (Gründer und Leiter A&R bei Anthology Recordings) - den Köpfen hinter den beliebten Kompilationen 'Follow the Sun', 'Sad About the Times' und '...Still Sad'. Die zwanzig Tracks von 'Maybe I'm Dreaming' weichen von ihren Vorgängern ab. Sie stammen vollständig aus privaten Pressungen und umspannen neue Jahrzehnte und Produktionsmodi innerhalb der Genres Homepunk-Folk, Softrock und sonstiger FM-Radio-Musik der 70er und 80er Jahre. Die Magie von 'Maybe I'm Dreaming' liegt in den unerzählten Geschichten der Künstler:innen, die hinter diesen Liedern stehen - diejenigen, die den großen Durchbruch verpasst haben, deren Songhandwerk und unerwiderte Sorgfalt aber die richtigen Töne treffen.

'Maybe I'm Dreaming' taucht tief in die isolierte Wildnis ein - eine private Welt, in der Produktionsmacken, nächtliches Bandrauschen und Ein-Mann-Studio-Träume keine Wahl waren, sondern das ausgeteilte Blatt.

Die Songs wurden in persönlichen Sammlungen, in den Tiefen von YouTube, in verfallenen Webarchiven und in den düsteren Ecken von Discogs ausgegraben. Die Auswahl vieler Stücke basiert dabei nicht nur auf Intuition, sondern auch auf persönlichen Verbindungen. Einige Tracks wurden über Freunde entdeckt und fügen der Zusammenstellung einen unsichtbaren, aber tief empfundenen Faden der Kameradschaft hinzu.

Zwar entfernt sich 'Maybe I'm Dreaming' vom Archetyp des „traurigen Mannes mit Gitarre“, der über den Vorgängern schwebte, aber die vertraute emotionale Schwere bleibt erhalten - eine Balance aus Sehnsucht und Leichtigkeit, die diese Ecke des musikalischen Universums definiert. Jeder Track schwankt sanft zwischen Resignation und Hoffnung, Traurigkeit und Gelassenheit, als würden die Künstler selbst einem unerreichbaren Traum hinterherjagen und die Aufnahmen nicht wegen des Ruhmes, sondern aus dem einfachen Bedürfnis heraus machen, diesen ursprünglichen, kreativen Drang in die Welt hinauszutragen.

'Maybe I'm Dreaming' ist eine Einladung, noch ein wenig länger mit halb geschlossenen Augen im Grenzbereich zwischen Erinnerung und Vorstellung zu schweben. Vielleicht träumst du. Vielleicht bist du wach. Vielleicht spielt es keine Rolle.

- 2LP: (Das Doppel-LP-Set mit dem Artwork von Dang Wayne Olsen wird in einer breiten Kartontasche mit bedruckten Innenhüllen geliefert. Zudem enthält es einen Traumtagebucheintrag von Josh Lewellen, dem Experten für Artefakte aus dem pazifischen Nordwesten.)

Die Südlondoner Sängerin Jaz Karis präsentiert mit 'Favourites' ihren ersten Tonträger mit 15 Songs aus ihren bisherigen, digital erschienenen EPs. Jaz' stilistische Vielfalt reicht von R&B über Reggae bis Afrobeats, als Gäste sind TINYMAN, Blue Lab Beats und Afronaut Zu & Sillkey vertreten, als Producer u.a. P2J (bekannt für seine Arbeiten mit Beyoncé, Wizkid, Stormzy, FKA Twigs, Tems, Doja Cat) und Juls (Mr Eazi, Stonebwoy, Goldlink, Wanda Coal, Burna Boy).

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

"Unsent Letters" - ungeschriebene Briefe: liegengeblieben im Schreibtischwirrwarr oder der "Wenn, dann da-"Schublade bezeugen sie vergangene Lebensphasen, regnerische Nachmittage, Zweifel, Experiment und unfertige Gedankengänge. An den Rändern gekräuselt und angeraut, lange vergessen, kommt irgendwann der Zeitpunkt, an dem wir sie doch wieder wie einen Schatz heben und entdecken: hier gibt es Geschichten zu erzählen. So oder so ähnlich erging es Pete Astor. Der ist Musiker, Autor und Dozent. Er war Frontmann der Bands The Loft und The Weather Prophets auf dem Label Creation Records und schrieb Songs, die den Sound des Labels und das aufkommende Indie-Genre maßgeblich prägten. Seitdem hat er eine langjährige Solokarriere verfolgt und Musik auf verschiedenen Labels wie Matador, Heavenly, Warp, EMI und Fortuna Pop veröffentlicht. Er ist Senior Lecturer in Music an der University of Westminster. Neben umfangreichen Tourneen produziert er auch gemeinsam mit David Sheppard als Ellis Island Sound Platten und veröffentlicht sein Spoken-Word-Elektro-Pop-Projekt The Attendant zusammen mit Ian Button (Go Kart Mozart, Death in Vegas) auf dessen Label Faux Lux. Seit 2017 ist Astor beim angesehenen Label Tapete Records unter Vertrag, das auch Künstler wie Robert Forster, Lloyd Cole und Comet Gain beherbergt - neben vielen anderen großartigen Acts. 2025 ist ein Jahr, in dem Pete Astor seine erste Band The Loft wieder aufleben ließ. Die Band hatte sich 1985 getrennt und nun gerade ihr Debütalbum "Everything Changes Everything Stays the Same" fertiggestellt. Wie der Titel andeutet, ist die Band einerseits in der Vergangenheit verwurzelt, blickt aber unbestreitbar nach vorn in die Zukunft. "Unsent Letters" stammt aus einem ähnlichen Kontext: Es enthält Songs, die Astor bereits während seiner Zeit bei The Loft schrieb, die die Band aber nie spielte - zusammen mit Liedern aus seiner vierzigjährigen Karriere, die nun endlich das Licht der Welt erblicken.

There’s a reason they call it deep House. On 'The New Jersey' EP, DJ Romain doesn’t just nod to his roots, he digs into them, scooping out a warm, rhythmic core that pulses with sweat, memory, and reverence. This is not a revival or a pastiche; it’s a love letter etched in drum machines and delay, from a producer who’s lived the lineage.

A fixture of late-’90s NYC dance floors, Romain cut his teeth in the city’s thumping underbelly, learning from the likes of Todd Terry and later carving his own signature into the genre’s sidewalk. Across these four freshly cut tracks, Romain channels the same urgency that once drove dance crews, celebrities, and nightlifers alike into motion, and still does.

Lead track “Hello New York” is a no-nonsense DJ tool, a serrated slice of big room energy built around snapping snares, a jackhammer kick, and a spoken word vocal that bristles with pride and uplift. “Put more cut in your strut… pride in your stride” - it’s part mantra, part mission statement. “But It’s Alright” flips the vibe, conjuring up basement jazz sessions through dusky chords and a muted, plucked bassline that slinks like a late-night subway ride.

On “Check Your Pockets,” the energy turns inward and abstract, a woozy, psychedelic House jam that feels like dancing through a heatwave haze. He wraps the record with “Deep Inferno,” a peak-time burner full of sticky Afro-funk polyrhythms, clashing vocal chops, and steam-pressure percussion. It’s unhinged, hypnotic, and gloriously raw.

Having revisited his archive with ‘The Lost D.A.T.S.' series, Romain returns to Hard Times not as a nostalgia act but as a flamekeeper - still innovating, still sweating, still firmly on the floor. The New Jersey EP is a love letter, yes, but it’s also a reminder: House never left. It just got deeper.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.

Hedvig Mollestad Thomassen ist die Gitarrenheldin unserer Zeit. Ihr geschmolzener Gitarrensound stammt aus den gleichen Hochöfen wie der von HENDRIX, TONY IOMMI und JIMMY PAGE und wird zum Abkühlen in ein dampfendes Fass aus Free Jazz im Sinne von SONNY SHARROCK und FRED FRITH geworfen. Aus Tracks wie ,The Rex" und ,Lake Acid" spricht die riesengroße Riff-Wissenschaft von LED ZEPPELINs ,Kashmir" und ,Rock'N'Roll", doch angereichert mit einer Flexibilität und Intensität, die so typisch für die düsteren nördlichen Regionen ist, aus der sie und ihre Bandkollegen stammen. ,All Of Them Witches" folgt auf den 2011 Rune Grammofon Release ,Shoot!" und präsentiert das HEDVIG MOLLESTAD TRIO als Mitstreiter der neuen Welle von norwegischem Avant Rock bzw. Free Metal. Dieser letzte Batzen elektrifizierender Instrumentalstücke wurde live in der Inselumgebung des Ocean Sound Studios aufgenommen, einer hölzernen Scheune mit Grasdach am Rand des norwegischen Meers. Dort konnte das HEDVIG MOLLESTAD TRIO vor dem Frühstück im eiskalten Wasser schwimmen und mitten in der Aufnahme den Blick schweifen lassen. Es ist keine Überraschung, das solch weiten Ausblicke zu epischen Konzepten führen, so dass der erste Track ,Sing, Goddess" seinen Namen aus der ersten Zeile von Homers ,Ilias" erhält. Inspiriert vom weiten Himmel sind ,Shawshank" und ,Ghrá Rúnda" mehr nach innen gerichtet und baden im kontrollierten Feedback. Line-Up: Hedvig Mollestad Thomassen -Gitarre, Ellen Brekken - Bass, Ivar Loe Bjornstad - Schlagzeug

Waxwork Records is thrilled to release BUBBA HO-TEP Original Motion Picture Music by Brian Tyler for the first time on vinyl! Bubba Ho-Tep is a 2002 American Comedy Horror film written, co-produced, and directed by Don Coscarelli (Phantasm). It stars Bruce Campbell (Evil Dead 1 & 2, Army of Darkness) as Sebastian Haff, a man residing in a nursing home who claims to be the real Elvis Presley.

The film also stars Ossie Davis as Jack, a black man who claims to be John F. Kennedy. While the novella of the same name by Joe R. Lansdale and the film revolve around an ancient Egyptian mummy terrorizing a retirement home, Bubba Ho-Tep also deals with the deeper theme of aging, identity, mortality, and existentialism. The film also features a cameo by Reggie Bannister from Coscarelli's Phantasm series. Waxwork Records is proud to release the debut vinyl album of the outstanding soundtrack by Brian Tyler (Scream VI, Six String Samurai, Ready or Not) as a deluxe album featuring Egyptian Sand & Silver swirl colored vinyl, heavyweight gatefold packaging, new artwork by JJ Harrison, and an 11"x11" art print insert. BUBBA HO-TEP Original Motion Picture Soundtrack Features:

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

This was Don Thigpen's first recording as an artist, but he was no stranger to the studio. In fact he was the individual behind many heavy tunes that came out of the Jackson area. He and good friend Sam Anderson also cut a record on his CJR labelb (Capitol Jackson Records) called "Shirley Baby", also a highly coveted record if you got a copy to sell or record let us know). The name "LEO" became Dons preforming pseudonym. Leo was also his zodiac sign, which he deemed edgy enough to marquee this electro heavy track "Fee Fi Fo Fum". The inspiration for the song came from the computer craze of the 80s. Much like Zapp & Roger's track "Computer Love" an inanimate object is worshipped and then romanticized by a love affair. The song literally depicts a computer falling in love with a woman and attempts to communicate with her by seductively flashing the words "Fee Fi Fo Fum" on the screen.

Was für ein Debüt. Ein Hauch von New York, aber eigentlich stammen sie aus Naarm (Melbourne). Einzigartigkeit, Kantigkeit, Leidenschaft. Eine treibende Kraft aus Gitarren, die den Hut vor The Walkmen und The Strokes zieht, aber die Melodien von Talking Heads und The Cure kennt und versteht. Und sich auch vor dem Saxophon nicht scheut. Radio Free Alice sind eine australische Band, die man im Auge behalten sollte. Sie spielten ausverkaufte Gigs beim letztjährigen SXSW-Festival in Sydney und als begeisternder Support von Royel Otis und The Killers auf Stadientour. Der Rolling Stone bezeichnete RFA als "eine der aufregendsten Gitarrenbands Australiens seit Jahren".

Pünktlich zum 20. Jahrestag ihres Debüts veröffentlichen We Are Scientists ihr neues Album "Qualifying Miles", mit der sich die New Yorker Band auf ihre Wurzeln besinnt und auf die rohe Unmittelbarkeit des gitarrengetriebenen Indie-Rocks samt reduzierter "Band in einem Raum"-Ästhetik setzt, mit dem sie in den 1990ern aufgewachsen sind. Obwohl Sänger und Songschreiber Keith Murray nicht mit einem thematischen Rahmen loszog, entdeckte er schnell einen roten Faden, der sich durch die neuen Songs zog: "Erst als wir sie ausgewählt hatten und ich begann, die Texte etwas zu überarbeiten, wurde mir klar, dass diese Songs viele ähnliche Themen behandeln: Wehmut gegenüber der Vergangenheit, eine Art melancholische Nostalgie und solche Dinge." Der Veröffentlichung voraus geht eine ausgedehnte Tournee, die bereits Ende April in Mitteleuropa beginnt, die Band nach UK und zu einigen Sommerfestivals führt, und im Folgejahr diesseits und jenseits des Atlantiks fortgesetzt wird.

Pünktlich zum 20. Jahrestag ihres Debüts veröffentlichen We Are Scientists ihr neues Album "Qualifying Miles", mit der sich die New Yorker Band auf ihre Wurzeln besinnt und auf die rohe Unmittelbarkeit des gitarrengetriebenen Indie-Rocks samt reduzierter "Band in einem Raum"-Ästhetik setzt, mit dem sie in den 1990ern aufgewachsen sind. Obwohl Sänger und Songschreiber Keith Murray nicht mit einem thematischen Rahmen loszog, entdeckte er schnell einen roten Faden, der sich durch die neuen Songs zog: "Erst als wir sie ausgewählt hatten und ich begann, die Texte etwas zu überarbeiten, wurde mir klar, dass diese Songs viele ähnliche Themen behandeln: Wehmut gegenüber der Vergangenheit, eine Art melancholische Nostalgie und solche Dinge." Der Veröffentlichung voraus geht eine ausgedehnte Tournee, die bereits Ende April in Mitteleuropa beginnt, die Band nach UK und zu einigen Sommerfestivals führt, und im Folgejahr diesseits und jenseits des Atlantiks fortgesetzt wird.

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

Introducing 'A Drama on Richard Street' - an album born from a journey of rediscovery and creative challenge. Influenced by a yearning for simplicity and heartfelt melodies, this collection is a love letter to soulfulness. Dive into the soulful world of Menahan Street Band's 'The Crossing' and the rejuvenating energy of 17-year-old inspiration. Join us on this musical voyage, where we stepped away from complexity to embrace the beauty of simplicity. 'A Drama on Richard Street' is a testament to the power of soulful music and the joy of heartfelt melodies. Listen and let your soul groove to its rhythm.

Following his well-acclaimed previous EP ‘A Drama On Richard Street’, supported by TSF Jazz, Somewhere Soul, and BBC 6, Tremendous Aron introduces his new project ‘Carlos & Lola’, a 6-track EP. This latest endeavor, akin to "A Drama On Richard Street," reflects a pivotal moment in the German producer's musical journey. Feeling stagnant while studying music, he instinctively reverted to the music he cherished during his teenage years, ranging from the eclectic offerings of "Daptone Records" to artists like The Menahan Street Band. Inspired by the documentary "Summer of Soul," Tremendous Aron incorporates fragments from it into his compositions, alongside influences from Molly Lewis, The Altons, and Ruben Gonzales. This EP promises a captivating blend of soulful melodies and vibrant rhythms, showcasing Tremendous Aron's evolution as an artist.

,Titanic Rising" ist die vierte Albumveröffentlichung der US-Songwriterin Natalie Mering aka WEYES BLOOD, aber ihr erstes Album für Sub Pop Records. Das Album enthält die Lead-Single ,Everyday" und die zuvor veröffentlichte ,galaktische Liebesballade" (The Fader) ,Andromeda" sowie die Highlights ,Movies", ,Wild Time" und ,Something To Believe". Für das Albumcover von ,Titanic Rising" ging die Kalifornierin auf Tauchstation - übrigens ganz ohne CGI. Verantwortlich für das Shooting war der Unterwasser-Fotograf Brett Stanley, der ein komplettes Schlafzimmer für das Cover von ,Titanic Rising" versenkte. Das Album wurde in den ersten sechs Monaten des letzten Jahres geschrieben und aufgenommen - und ist das Ergebnis jahrelangen Tourens und einer kontinuierlichen musikalischen Weiterentwicklung Merings, die auf ,Titanic Rising" deutlich zu hören ist: Transzendente Vocals und schwebende Arrangements, tiefgründige Texte und reflektierte Kommentare über den modernen Zustand unserer Seelen. ,Titanic Rising" schafft es spielend leicht, die Grenze zwischen klassischem Songwriting und post-apokalyptischem Futurismus zu überwinden.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

TOP 10 IN THE VINYL CHARTS* Since the 1950s, especially in America, there has been renewed excitement every year to see who will land the next Christmas hit. Many music le- gends have joined in the hunt for the number 1 song at Christmas. As a result, many new Christmas songs and interpretations were created, which have now become the songbook of modern Christmas Classics and have partially replaced the classic Christmas music. Let It Snow! Let It Snow! Let It Snow!