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Die Besten Jahre by International Music, released 31 January 2025, includes the following tracks: "Du Hund ", "Cool Bleiben ", "Mont St. Michel ", "Pfeffer " and more.

This version of Die Besten Jahre comes as a 2xLP.

The vinyl is pressed as a opaque disc. Another vinyl is pressed as a opaque disc.

Leah Chisholm, die als LP Giobbi bekannte Künstlerin, ist eine der interessantesten und wichtigsten Produzenten und DJs der Welt. Sie ist eine im Jazz ausgebildete Pianistin, die sich von der Welt der Jazzmusik inspirieren lässt und es vorzieht, die oft komplizierten und vorprogrammierten Strukturen der elektronischen Musik zugunsten einer spontanen Live-Zusammenarbeit zu vermeiden. Heute kündigt sie ihr zweites Album Dotr an, das am 18. Oktober auf dem Ninja Tune Imprint Counter Records erscheinen wird.
Dotr ist der mit Spannung erwartete Nachfolger von Light Places, dem Album, das ihr den Titel DJ Mag's Best Producer of 2023 einbrachte und sie unter NPR's Favorite New Musicians of 2023, Spotify RADAR's Artists to Watch, Amazon's Artists to Watch und TIDAL's Artists to Watch 2023 platzierte. Mit 3 Millionen monatlichen Hörern auf Spotify und mehr als 340 Millionen Streams auf allen Plattformen hat LP Giobbi große Festivalbühnen geziert - Coachella, Tomorrowland, Electric Forest, Lollapalooza, sowie Auftritte bei Kappa Futur, Arc Music Festival, Lost Village und Portola, die für dieses Jahr geplant sind - und überfüllte Clubfloors, während sie mit Künstlern wie Mochakk, DJ Tennis, John Summit, Diplo, Dead & Co, Black Coffee und ihrem häufigen Kollaborateur Sofi Tukker tourte. In Dotr sind für LP Giobbi echte, unverfälschte Erinnerungen eingestreut: eine letzte Geburtstags-Voicemail von Patricia Lynn und die Aufnahme eines ihrer letzten Gespräche mit Carolyn Horn. Doch obwohl das Album aus der Trauer geboren wurde, ist es im Großen und Ganzen ein fröhliches Projekt, das die Traurigkeit durch die überschwängliche Offenbarung dessen, was es bedeutet zu leben, überwindet. "Is This Love" ist eine wunderbare Kino-Disco, Carolyn" fühlt sich an wie eine Ode an die Chancen, die man einfach so ergreift. Es gibt Lieder über Liebe und Versöhnung, Hymnen über Trauer und Glauben und Hymnen über Angst und Ekstase - keine Emotion ist vollständig ohne ihr gleichwertiges Gegenteil.

John Lee Hooker - "It Serve You Right To Suffer (Verve Acoustic Sounds Series)" 180g Heavy Vinyl LP Released on the Impulse! Records label in early 1966, this collection is a mix of new compositions and re-workings of tunes John Lee Hooker had previously recorded, including a cover of Barrett Strong's 1959 Motown hit "Money (That's What I Want)." Featuring Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you're likely to come across. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. Verve Label Group; Verve; Jazz; Catalog

Wewantsounds is delighted to announce the release of Al-Qasar's new album, "Uncovered", is a side-project from the group featuring covers from the Western and Arabic repertoires, as well as new originals composed by the group. The album was recorded in Europe and Africa and features guest appearances by Alsarah, Mamani Keita, Cheick Tidiane Seck and Sami Galbi. The group, who has recently come out of a US tour will give more concerts in 2025 to support the album and spread further their Arab-futurist psych rock sound.

Deep Waters is much more than just an album. It embodies a "here and now" where the raw intensity of the earth and the yearning for a new vibration intersect. Siân Pottok has found this unique balance in the Kamele Ngoni, a traditional West African harp the practice of which she has been perfecting for several years. Surrounded by layers of brass and electronic sounds, she invites us to dive into a universe where every note is a nugget of emotion, a vibrant echo of our times. With this record, Siân asserts herself with the strength and simplicity of a landmark debut album, in the tradition of visionary artists such as Björk and Joni Mitchell. With Valentin Couineau as producer and Cyril Atef (Matthieu Chedid, Brigitte Fontaine, Bumcello...) on drums and percussion, Siân surrounds herself with talented musicians who enrich her compositions with singular textures. Exceptional collaborations with NNEKA, Mamani Keïta and Abou Diarra also enhance this album. Deep Waters is a powerful and authentic work, a sonic voyage that promises to leave a lasting impression.

Hooray for Boobies ist das dritte Studioalbum der Bloodhound Gang.
Zur Feier des25-jährigen Jubiläums des Albums wird es auf 180g-Vinyl in Splatter-Optik neu aufgelegt.
Das Album war ein großer kommerzieller Erfolg und hat sich weltweit über 4 Millionen Mal verkauft.
Das Album erreichte Platz 14 in den US Billboard 200 Charts und wurde in Deutschland, Australien und
Österreich zur Nummer eins.
Hooray For Boobies enthält fünf Singles: „Along Comes Mary“, ‚The Bad Touch‘, ‚The Ballad of Chasey
Lain‘, ‚Mope‘, und ‚The Inevitable Return of the Great White Dope‘. „The Bad Touch“ war ein großer
internationaler Hit, der in fünf Ländern die Nummer eins und in weiteren 10 Ländern die Top 20 erreichte.
Das Album enthält verschiedene Sketche zwischen den Songs. Der erste dieser Sketche mit dem Titel
„Mama’s Boy“ ist ein improvisiertes Telefongespräch zwischen Jimmy Pop und seiner Mutter. In „That
Cough Came With A Prize“ wird 15 Sekunden lang gehustet. „This Is Stupid“ ist ein willkürlicher Track,
der von dem Gesangsduo vorgetragen wird, das auch in ‚Right Turn Clyde‘ zu hören ist. „R.S.V.P.“ enthält
einen kurzen Monolog der erwachsenen Schauspielerin Chasey Lain. Und „The Ten Coolest Things About
New Jersey“ schließlich besteht einfach aus zehn Sekunden Stille!
Die Jubiläums-Trackliste enthält auch drei seltene Remixe: The Bad Touch (Eiffel 65 Remix), The Ballad
Of Chasey Lain (The Flirt Mix), Mope (The Pet Shop Boys Extended Remix).

Faszinierend, energiegeladen und hypnotisch! Prepared - ein freigeistiges Trio, das in kammermusikalischer Besetzung unkonventionell und instinktiv Tanzimpulse weckt und den Hörer in einen tranceartigen Klangraum entführt!

Ein Pianist, der auf dem Flügel unablässig hämmert, klopft und zupft. Ein Klarinettist, der in den Tiefen seiner Bassklarinette mehr Bass als Klarinette spielt. Und ein Drummer, der wie eine gute Schallplatte immer weiterläuft und die Grooves fortwährend im Kreise dreht.
Drei Münchner Jazzmusiker, vereint in Ihren Gegensätzen. Wo der eine mit Quadro Nuevo argentinischen Tango, der andere mit Dreiviertelblut "folklorefreie Volksmusik" oder der dritte mit Moop Mama deutschen Hip-Hop spielt, lassen sie in ihrem neuen Projekt Prepared gemeinsam zyklische Motive und raffiniert geschichtete Muster in minimalistischen, aber höchst virtuosen Kompositionen zu einem faszinierenden Gesamtkunstwerk verschmelzen. Als hätte man Jonny Greenwood, Dawn of Midi, Nik Bärtsch und Steve Reich in einen Topf geworfen.

Line-Up:

Chris Gall • prepared piano
Flo Riedl • bass clarinet
Christoph Holzhauser • drums

The Recording: Für eine "state-of-the-art" immersive Musikproduktion wurde die Musik "live" in einem Raum ohne jegliche Overdubs aufgenommen. Dieses Album wurde mit erstklassigen 3D-Aufnahme- und Mikrofonierungstechniken für Dolby Atmos aufgenommen und von renommierten Toningenieuren gemischt und gemastert.
Recorded by Kseniya Kawko at Kyberg Studio, Munich, mixed by Kseniya Kawko at MSM Studio, Munich and mastered by Christoph Stickel at csmastering, Vienna

Format: Schwarzes Vinyl inklusive Downloadkarte

AYA Records presents: Humazapas' debut with 'Sara Mama', homage to the land and Kichwa tradition. The concept of "getting back to your roots" rarely has such a literal meaning, or at the same time such an ancestral meaning, as in the case of the Ecuadorian group Humazapas. Usually in the music industry this concept is used when an artist returns to a past sound, going back to that moment of newness, exploration and ingenuity, perhaps. But not Humazapas. These natives of the Kichwa communities of the Ecuadorian Andes, who have been working on this project for a decade, see "getting back to your roots" as a profound connection with their cultures, language, dance, the rituals that connect them to their deities and, of course, music.

Die Doppel-LP im Klappcover ist in limitierter Auflage für kurze Zeit wieder erhältlich!

"Music Is The Rod" kommt mit den 24 besten Tracks des Sängers, mit Fotos und ausführlichen Liner Notes von Bridgett Anderson, der ehemaligen Managerin von Garnett Silk, und Anthony Rochester (seinem Partner für das Songwriting), sowie Zitaten der verschiedenen Produzenten: Bobby "Digital" Dixon (Digital B), Donovan Germain (Penthouse), Chris Chin (VP), Courtney Cole (Roof International), Richard "Bello" Bell (Star Trail), Sly Dunbar (Taxi), Danny Browne (Main Street), Richie Stevens (Pot Of Gold) und Phillip Smart (Tanyah).

Gabriels Announce Angels & Queens Album Release Details

Full Length Debut Album Released 28th April 2023

Six New Tracks Include New Sounwave Produced Version Of Debut Single, “Love And Hate In A Different Time”

Gabriels are very pleased to announce details of the full release of their debut album, Angels & Queens.

The 13 track record will be released on 28th April 2023 via Atlas Artists/Parlophone Records. It was produced by the Grammy winning and fellow Compton local, Sounwave.

Angels & Queens - Part I was released back in September, picking up widespread acclaim across the globe. Its release was governed by the band’s desire to push through the release of new recordings this year, and release the record in two distinct chapters. The second chapter now concludes the full album’s tracklisting for a Spring 2023 release.

Angels & Queens incorporates a brand new recording of the band’s seminal debut single, Love & Hate In A Different Time, and songs that have already become staples of the band’s live set; Offering, Glory, and Great Wind.

No spot in music is immovable. No music can sit still but it’s hardly ver as true as it is for Dowdelin, a band that can’t be tied down to a single geography and genealogy. The creole language, Caribbean rhythms, urban energies, dazzling virtuosity, sensual electro: The group evolves in a unique place where genres and colors, heritage and audacity can merge.

The Original Soundtrack by ROB

Blood Red & Black Swirled Vinyl with Forest Green and Yellow Splatter
Heavyweight Gatefold Packaging with Matte Satin Coating
Artwork by Creepy Duck Design
11"x11" Art Print
After the successful sell-out soundtrack release of the Oz Perkins (Longlegs) directed GRETEL & HANSEL, Waxwork Records is excited to team back up with composer

Robin Coudet, aka ROB, on his outstanding new score to Never Let Go. Known for his unique electronic compositions including 2012's MANIAC, HORNS, REVENGE, and GRETEL & HANSEL, ROB's career continues to grow in cinema, series, and documentaries with more than 40 original scores composed.

Waxwork Records is excited to release NEVER LET GO Original Motion Picture Soundtrack by ROB as a deluxe vinyl release including Blood Red and Black swirled vinyl with Forest Green and Yellow splatter, heavyweight gatefold packaging, artwork by Creepy Duck Design, and an 11"x11" art print.

On December 6, 2024, Randomer will return with a new EP titled MTY-012: Everything Happens for No Reason, released via Anetha’s label, Mama Told Ya.

After a reflective hiatus, the UK prodigy is highly anticipated and ready to deliver meaningful music. The EP features five emotionally charged tracks—four produced by Randomer and one co-produced by Randomer and Anetha. Presented on a single vinyl, the release conveys a deeper message: life’s unpredictability can be embraced, reminding us that we can find our way even in chaos and randomness.

Torn between the meaningful and the meaningless, Randomer channeled his time into crafting music shaped by his extensive study of melodies, subconsciously

seeking to bring harmony to the world. The result is a cathartic journey across five tracks, each evoking a broad spectrum of emotions and inviting listeners to explore the depth of their feelings. Drawing from the music that deeply influenced him, Randomer traverses various genres and moods, seamlessly blending techno, trance, techstep, and sacred choral music in a perpetual act of personal reinvention.

Let the choir sing I Saw the World Melt (A1) right before my eyes, and let the people chant my melancholic melody. Nervous Breakdown. Lost in the riffs with dis ting from London, DHM Jam (A2) fuels me with adrenaline, I’m flying through memories, urged to move on. Yet, I’m still trapped : the clock shows Home Invasion (A3)—better start running. We will survive. But where’s my harmony? I Can’t Believe (B1) it. Why me? Why us? In this trance state of mind, I have so many questions, but those voices on the other side won’t answer. We’re doomed anyway, so why not plug in like the Two Perfect Machines (B2) we are, until the end.

For this new EP, Australian visual artist Nic Hamilton has been commissioned to create a poignant artwork alongside two melting teasers for MTY-012. As always, the design is expertly crafted by Diplomatie Studio, while the mastering is entrusted to Six Bit Deep, ensuring a polished and immersive listening experience.

Celebrate the legacy of Run The Jewels with a limited-edition cassette run featuring their first three iconic albums: Run The Jewels, Run The Jewels 2, and Run The Jewels 3

This exclusive release offers fans a chance to own a piece of RTJ history with a retro twist, paying homage to their groundbreaking work in modern hip-hop.

Originally released as a Japanese Vinyl exclusive, "Blockbuster Night Part 2" will be a featured Bonus Track on RTJ 2 to celebrate the 10th Anniversary of their breakout album (10/24).

Limited run, making this a must-have collector's item for RTJ fans and hip-hop enthusiasts alike.





e Eyes (And Count to Fuck) [feat. Zack De La Rocha]




[j] Love Again (Akinyele Back) [feat. Gangsta Boo]





[e] (Bumaye) [feat. Danny Brown] /


[h] Thieves! (Screamed the Ghost) [feat. Tunde Adebimpe] /

[j] Panther Like a Panther (Miracle Mix) [feat. Trina] /

Robert Mitchum (1917-1997) was an acclaimed actor and singer, known for his Academy Award-nominated role and his 1957 calypso album, Calypso - Like So....

Formed in 2019, Lawne is the result of a meeting of minds between old friends and self confessed music nerds Joe Nicklin and Joe Martin. Their sound draws upon myriad influences with dub, electronics, hip hop, psych, jazz, post-punk and Afrobeat all somehow ingrained within the mix.

It's something that evolved during at a time of change for both of them, as Joe Nicklin explains:

"The start of this project coincided with me moving onto a canal boat, which was a hugely rewarding time of my life but not without its challenges. You can hear some of my boating vents coming through in the lyrics of Beta Pan and Ame Tova.

Another challenge during this time was trying to figure out a way of still playing and recording drums that wasn't going to break the bank. I decided to start renting a tiny storage space near Caledonian Road in North London, that I would convert into a makeshift studio and soon learned that corrugated iron sheets aren't the best walls for a drum booth. My friend cut me some curtains and a few egg boxes later we were able to insulate the thing, sort of.

These limitations meant that we had to keep recordings pretty simple and I feel like this set the tone for the whole record. Whether it was digging out my childhood bass guitar for Joe to play, squeezing every last drop out of Logic presets or mumbling into a SM57 for the first time, we made do with what we had and I'm proud of the charming thing we were able to create. I felt like I was learning on the job at times for this album and I'm grateful for what it has taught me, whilst being excited for what we can do next. As I was moving off the water and out of my lockup, the album masters were also starting to trickle through. A fitting close to that chapter of my life and the making of our first album."

Joe Martin reflects more on how their unique sound came about:

"It's interesting thinking back to the sound we were exploring when we first started writing together, and how different much of the record is to that original sound. We didn't set out a clear musical direction and that meant we were rarely constrained stylistically, we could shift between genres and feels and grooves, take inspiration from the new and the old and it still sat comfortably with what we were trying to do. I think the eight tracks we landed on illustrates that nicely.

The record's named after the self storage unit we used as a studio for many years, there's something quite poetic about parting ways with the space within weeks of the album coming out; a final homage to the place it all started."

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

Sugar war das vierte Album, das Nancy Sinatra 1966 aufnahm - eine unheimliche Leistung, wenn man bedenkt, dass die Beatles zu dieser Zeit etwa zwei Alben pro Jahr aufnahmen. Das kultige Ron Joy-Coverfoto von Nancy im rosa Bikini (der erste auf einem Albumcover!) war 1967 ein gewagter Schachzug, der dazu beitrug, Sugar auf Platz 18 der Charts zu katapultieren (Nancys zweithöchstes Chartalbum nach Boots). Es ist ein seltsames Album, das einen von Nancys bekanntesten Songs, Sugar Town, mit Kompositionen aus den 1920er Jahren kombiniert, die in einem zeitgenössischen Dixieland-Jazz-Pop-Fusion-Stil aufgenommen wurden, der so nur von Produzent Lee Hazlewood stammen konnte. Nancy Sinatra war ihrer Zeit lange Zeit voraus - sowohl in ihren Entscheidungen als Künstlerin als auch als Geschäftsfrau - und zwar gleichermaßen stark, schwül und versiert. Unbeirrt schlug sie schon früh ihren eigenen Weg ein und ebnete den Weg für jahrzehntelang nachfolgende Künstlerinnen - und behielt dabei stets die Kontrolle über ihre Karriere, ihr Image und ihre Musik. Im Jahr 1965 veränderte Nancy Sinatra das Gesicht der Musik, der Mode und der Kultur. Die endgültige Vinyl-Neuauflage von Nancys legendärem Album von 1967 kommt alswunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet, enthält die Hits "Sugar Town", "In Our Time", und "Coastin'", wurde neu gemastert von den analogen Originalbändern vom GRAMMYr-nominierten Toningenieur John Baldwin und enthält zwei Bonustracks: die Non-Album-Singles "In Our Time" und "Leave My Dog Alone".

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own. Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century. Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.



The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.



Initially bonding over a cassette tape of field recordings made by Paul Bowles that had been given to mutual friend and writer Brian Cullman (seeking answers for Ornette Coleman’s question “what is the sound of sound”), their earliest collaboration was documented on Horowitz’s 1981 album, Eros In Arabia, with Deyhim contributing vocals to the track “Queen Of Saba.” Over the coming years, their deep connection would routinely gravitate them into the studio, culminating in the body of recordings that would appear on their 1986 album for Crammed Discs, Desert Equations: Azax Attra. Unknown to nearly all but the artists, laying in wait over the decades on numerous multi-track and stereo reels, DAT tapes, and reference cassettes, were a vast array of recordings made by Deyhim and Horowitz bookending Desert Equations. The 13 pieces represented on The Invisible Road: Original Recordings, 1985–1990 were recorded largely between Noise New York and Daylight Studio in Brussels, during a period that Deyhim describes the partnership between herself and Horowitz’s as seeking a music “free of any specific cultural reference, with a personal musical signature,” blossoming into a body of sonority that embraced the energy of contemporary boundary pushing pop and the avant garde, filtered through their mutual love and study of various musical traditions from across the globe and deep engagement with the ideas and tactics of experimental music.



Undeniably rooted in Horowitz’s study of the North Africa ney and the music of the Berber and Gnawa cultures during his time in Morocco, Deyhim’s deep engagement with the folk traditions of Iran, and the couple’s immersion in the interconnected Downtown underground music scenes, each piece on The Invisible Road offers its own vision creative and cultural hybridity. Deyhim sings in both English and Farsi, as well as a composite tongue that she developed by drawing upon numerous indigenous vocal techniques from around the world, intuitively responding to Horowitz’s simultaneous sound syntax forming and combining a wide range synthetic and acoustic instrumentation, and experimental tape techniques, within a visionary series of free-standing expressions.

Celebrating the 20th anniversary of their self-titled debut album, the iconic album, which was the UK’s best-selling album of 2004, will be released on a brand-new limited edition coloured vinyl.

Taking the world by storm with their eccentric style, high energy, and feel-good lyrics it’s no surprise that this album, originally released on February 2nd, 2004, shot the band into international success. The album features fan favourites such as “Take Your Mama”, “Laura” and “Filthy/Gorgeous”. Since then, the album has sold nearly 4 million copies globally, has 300 million streams to date and won ‘Best International Album’ at the 2005 Brits.

Zur Feier des 20-jährigen Jubiläums ihres selbstbetitelten Debütalbums wird das kultige Album, das 2004 das meistverkaufte Album Großbritanniens war, in einer brandneuen, limitierten Auflage auf farbigem (grün) Vinyl veröffentlicht.

Mit ihrem exzentrischen Stil, ihrer Energie und ihren Texten zum Wohlfühlen haben sie die Welt im Sturm erobert. Kein Wunder also, dass dieses Album, das ursprünglich am 2. Februar 2004 veröffentlicht wurde, der Band zum internationalen Erfolg verhalf. Auf dem Album finden s ich Fan-Favoriten w ie „Take Your Mama“, „Laura“ und „Filthy/Gorgeous“. Seitdem hat sich das Album weltweit fast 4 Millionen Mal verkauft, wurde bis heute 300 Millionen Mal gestreamt und gewann bei den Brits 2005 den Preis für das beste internationale Album“

The work of GMM carries the echo of folk wedding melodies inspired by Oskar Kolberg's collections, interpreted in modern arrangements with electrifying sound.The trio, consisting of Michał Górczyński, Michał Marecki and Patryk "TikTak" Matela, explores the roots of the Mazovian tradition, translating them into the language of contemporary music. Oskar Kolberg's descriptions and a collection of melodies specific to the Polish region of Mazovia give the GMM band a foundation for creative existence in this old world and transferring it to the modern world.The freshly recorded album opens the traditional wedding gates in an unexpected way, where folk nostalgia meets contemporary avant-garde. The contrabass clarinet weaves deep, warm sounds into the compositions, adding them mystery, while the spinet boldly carries a note of baroque sophistication, creating a pleasantly contrasting texture. The modernity of synthesizers and dynamic beatbox balancing between stillness and dense, dirty tones, gives the whole mix a modern touch.In this characteristic journey full of rhythmic complexity and harmonic discoveries, you will find depth, a cynical smile and plenty of room for your own reflections.Michał Górczyński - specializes in playing the double bass clarinet, in 2004 he graduated from the clarinet class at the Fryderyk Chopin University of Music in Warsaw. Composer, soloist and chamber musician. Co-founder of Kwartludium - a band specializing in performing contemporary music. Member of the band Bastarda. Author of music for theatre performances.Michał Marecki - instrumentalist, producer, composer. Collector of electronic and electroacoustic instruments. Associated with the bands Warsaw Village Band & Bassałyki, Mamadou & Sama Yoon, T.Love, Sidney Polak, among others. He is interested in creativity in artistic processes. Master of social sciences.Patryk TikTak Matela - beatboxer and beatbox activist. For over 20 years he has been giving concerts and teaching the art of vocal percussion. He conducts workshops for preschoolers, students, young people from orphanages and community centers. Author of the first book in Poland about beatbox (Human Beatbox -Personal Instrument!), organizer of the Polish Beatbox Championships, promoter and musician in film and theater. Creator of advertising and reportage films, megafan of Lego Technic.

RTJ3, the third outing by the firebrand rap duo of Killer Mike and El-P, features a cadre of talented guest performers, including Zach de la Rocha, Danny Brown, Tunde Adebimpe of TV On The Radio, Kamasi Washington, and more. The album is "essentially the Run the Jewels manifesto, an outpouring of rage and defiance that never loses sight of the objectives: rallying the troops, holding all accountable, and toppling oppression." (Pitchfork)

Released on Christmas Day 2016, the album charted in 11 countries, with its breakout hit from the album, "Legend Has It", being featured in the Super Bowl advertisement for the global blockbuster feature film "Black Panther". Embraced by fans and critics alike, it's received praise for its near-perfect execution as well as its sharp, visceral observations, blistering beats and superb guest artists, cementing RTJ as one of the most important artists of its era.

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

Brown eco cover with hand stamped logo - limited edition of hand numbered 100 copies of black vinyl.

The album "LIVE" is a record of a concert from January 2024 promoting the band's latest album, "No Codes".

It is a departure from traditional forms and a certain correctness characteristic of studio situations. Instead, there is a lot of energy, improvisation and carefree fun flowing from contact with the audience, seasoned with rock claw and freedom of expression. It is a pass to the world of P.Unity as it is in its essence - a character that until now could only be captured during live performances.

Now you can experience it in any place and time of your choice.

In 2007, John Prine & bluegrass legend Mac Wiseman teamed up for a duet album of their favorite country, folk, and gospel songs.

The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve
1999, with an estimated audience of 500,000 people.


Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra.

It was Oldfield's third album within one year, after Tubular
Bells III in late 1998 and Guitars (MOVLP1694) earlier in
1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion.

James Brown had several incredibly talented funky divas in his late 60s and early 70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hitmaker of that funky JB era. Her strong voice and commanding stage presence - which earned her the nicknames The Female Preacher and Mama Feelgood - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Browns new People Records - the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers "Ain’t No Sunshine"; the socially progressive "Women’s Lib"; the Gamble & Huff-penned "Never Gonna Give You Up" (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. Throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.

Limited edition (200 copies) golden vinyl.

Michał Martyniuk, who lives in New Zealand, may be known from the band After 'Ours, whose double album was recently released by Funky Mamas and Papas Recordings.

His single was supposed to be released a moment earlier, but as it happens in the vinyl world - we had to wait a while for this wax.

Two of Michał's original songs, which he recorded with a great line-up: Jakub Mizeracki - guitars, Alan Wykpisz - bass, Tymek Papior - drums and of course Michał Martyniuk on keyboards.

The album is released in a super small edition of 200 copies, of which only 50 go on sale. The whole thing is being released by the reactivated Funky Mamas and Papas Recordings.

A real seven-inch rarity on gold wax.

A1 "3202" - This is one of those things that just happened. In his quest to discover something new in jazz, Michal combines and experiments with jazz harmony and groove club vibes, all performed using acoustic instruments. The aim is to encourage jazz audiences to get up and groove, and possibly introduce young people who like more upbeat music to discovering jazz. This Fender Rhodes based track is complemented by warm analog synths, a rock inspired guitar sound and tasteful drums that keep the groove going throughout the track. Recorded live in Poland late last year.

B1 "From The Planet Of The Hunters" - This track, as the title suggests, is a tribute to the great master Herbie Hancock. Michal has always been influenced by the sound of the Fender Rhodes and The Head Hunters. Without trying to copy anything, Michal based the song on a nice groove played by Alan Wykpisz on bass guitar and Tymek Papior on drums. While the groove takes us on a journey through time, Kuba Mizeracki on guitar adds beautiful melodies and rhythmic parts to complement the rest of the band. Michal Martyniuk, again with his Fender Rhodes, plays a simple but tasty and groovy solo, while adding some analog synths. This song is funky and rich in its simplicity.

You find Andrew Gabbard on the road and in his creative prime on this astral road trip, collecting songs like a cosmic traveler hitching a ride. "Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weathered tattoo you'd see etched on a barfly's forearm as he slams another drink in a dive. Like its title, the record feels like something that's always been around; a trusty mixtape that everyone can agree on. Andrew comes to this collection of songs with something that very much feels like a `studio' record, the kind of album a 60s rock star feels like they've built the confidence to make, to shake off a rawness for something fuller and more realized. The fact that this record was yet again a homemade effort, with Andrew playing everything (apart from Sven Kahns' pedal steel), gives you an idea of how devoted and studied he is to creating that perfect song. `Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeying between his worlds as a decades-long touring & studio musician/vocalist for the Black Keys, as a songwriter with his head-in-the-stars, and as the man in his home with the people he holds dearest and with the studio where he brings it all together. It is clear that Andrew finds himself at this prolific point in his career completely beholden to songs, to their absolute power, and to their otherworldly ability to connect. He has mastered his craft, and proves throughout the course of this album that he can truly make a pitstop stop at every genre.

You find Andrew Gabbard on the road and in his creative prime on this astral road trip, collecting songs like a cosmic traveler hitching a ride. "Ramble & Rave On!," Andrew's third solo LP, sounds like the kind of weathered tattoo you'd see etched on a barfly's forearm as he slams another drink in a dive. Like its title, the record feels like something that's always been around; a trusty mixtape that everyone can agree on. Andrew comes to this collection of songs with something that very much feels like a `studio' record, the kind of album a 60s rock star feels like they've built the confidence to make, to shake off a rawness for something fuller and more realized. The fact that this record was yet again a homemade effort, with Andrew playing everything (apart from Sven Kahns' pedal steel), gives you an idea of how devoted and studied he is to creating that perfect song. `Ramble & Rave On!' is Andrew's most personal album yet, it finds him journeying between his worlds as a decades-long touring & studio musician/vocalist for the Black Keys, as a songwriter with his head-in-the-stars, and as the man in his home with the people he holds dearest and with the studio where he brings it all together. It is clear that Andrew finds himself at this prolific point in his career completely beholden to songs, to their absolute power, and to their otherworldly ability to connect. He has mastered his craft, and proves throughout the course of this album that he can truly make a pitstop stop at every genre.

After more than a decade of lighting up Australia's soul scene and stages across the country, Fulton Street is all grown up with the release of their sophomore album 'Hard Truths' – and they aren't holding back. Raw and real, 'Hard Truths' is forthright funk that shoots straight from the heart.

Made with great reverence to the roots of funk and soul, 'Hard Truths' is made up of 11 songs recorded directly to tape. Produced and mixed by Fulton Street's very own Jamie Stroud, the album was recorded with Alex Bennett from Sound Recordings in Castlemaine and is a tribute to the rawness of analogue recording, resulting in a sound that makes you feel like you are right there in the room.

From their Uni days, Fulton Street has retained a truly vibrant sound that has only grown into a lion's roar. Recorded and produced to perfection, 'Hard Truths' is a record for retro music lovers who are looking to hear something true.

Fulton Street has lit up festival stages across Australia's biggest events, as well as continuously selling out feature shows. They have enthralled crowds at Moomba Festival, Tasmanian Wine Festival, Caloundra Music Festival, Boogie Festival, Brunswick Music Festival, St Kilda Festival, Melbourne Music Week, Stonnington Jazz Festival, as well as Bluesfest sideshow support slots.

Coming to full form in Melbourne's most iconic and sweatiest soul venues, Fulton Street is regularly featured nationally on the stations where the true music aficionados live: PBS, Triple R and Triple J.

Nach Funk, Soul und Reggae entdecken Sie in der neuen Ausgabe der Greatest Hits-Sammlung alle Blues-Hits. Muddy Waters, Robert Johnson, BB King, John Lee Hooker... Die größten und legendärsten Bluesmusiker auf einer schönen Vinyl 2LP

Fashion icon, catwalker, curator, historian, commentator, activist, Grammy winner and - damn right - DJ, there ain"t much these days that Ms. Honey Dijon doesn"t do with aplomb. Most of her achievements thus far came via her passion for clubbing and the art of DJing, from those early Chicago parties to her role as a de facto ambassador for world dancefloors. This compilation is a pan-global, multi-era waltz through house music"s storied past. Repping Chicago, there"s Dance Mania"s Dance Kings, Blackjoy and Art Of Tones carrying the flag for Paris and even Shaboom"s Blackpool gets a nod. Some of these are forgotten classics, some are dollar bin finds, and there"s also a brand new Dijon track, sprinkled with her usual mustard-hot flourishes and lightly seasoned with some more recent efforts by Waajeed and Kiko Navarro. This can be consumed on a dancefloor, in the back of a cab or relaxing at home with a glass of something cold (or, if you must, hot).

Repress! Get On Down is bringing back one of the best James Brown funk compilations to vinyl. Funky People Part 1 features the top tier of artists from Brown's People Records label, including The J.B.s, Lyn Collins, Fred Wesley, and Maceo Parker. Some of the James Brown organization's all-time best material is collected here, including The J.B.'s "Pass The Peas" and "Hot Pants Road", Fred Wesley's in your face politics through funk statement "Damn Right, I Am Somebody", Lyn Collins' smash hit "Think (About It)" and many more. These songs have been sampled in countless hip-hop songs over the years. Newcomers and diehard fans alike continue to dig into the James Brown and People Records vaults, and the more they do so, the more they realize that it's a nearly never-ending source of truly next-level funk and soul music. Thanks to the exhaustive efforts of Get On Down, this aural goodness will keep flowing to the public.

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.

"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.

"Mama Africa," released in 1983 is now available on 1LP Red Recycled, is a celebration of African heritage and a call for unity and liberation. This album features a mix of upbeat tracks and heartfelt tributes to the African continent. The title track, "Mama Africa," is a poignant ode to the motherland, while songs like "Glass House" and "Not Gonna Give It Up" convey messages of resilience and determination. "Mama Africa" highlights Peter Tosh's ability to blend social consciousness with melodic reggae rhythms, reaffirming his role as a powerful voice for the African diaspora and global justice.

Die niederländische Gospel-Soul-Sensation Michelle David & The True-tones feiert eine triumphale Rückkehr nach ihrem 2022er Werk "Truth & Soul", das von BBC Radio 6 zu einem der Alben des Jahres gekürt wurde. Mittelpunkt der Combo ist die ehemalige New Yorker Kirchenchorsängerin Michelle David, bekannt durch erfolgreiche Musicals/Shows (Mama, The Sound Of Motown, Glory Of Gospel, Mahalia) und als Backgroundsängerin (Diana Ross, Michael Bolton). Auf dem live im Studio aufgenommenen Album "Brothers & Sisters" gelingt es der Band wieder meisterhaft, die rohe, dynamische Energie und die gefühlvolle Atmosphäre ihrer Live-Auftritte im Studio einzufangen, wo sie mit peppigen Grooves, kraftvollen Vocals und starken Melodien, inspiriert von altem Gospel über Curtis Mayfield und Bobby Womack bis zu Klassikern des renommierten Stax-Labels, das Publikum in den Bann ziehen.

Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises twenty four essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production", including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez_ A freshly curated overview of his fascinatingly complex back catalog in these genres. Since the late 1980s there have been numerous Latin soul and boogaloo compilations, and certainly much has been written about the history of the music too and an an excellent documentary (We Like It Like That, by Mathew Ramírez Warren) have brought the music to a broader audience. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and / or written by Bobby (or his brother, Richard), and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre.

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

ie stehen wie keine andere deutsche Band für modernen Rock 'n'Roll-Sound im Stile der 1950er und 60er Jahre.
Gleich mit ihrem ersten Album "Strike!" eroberten THE BASEBALLS 2009 die Spitzenpositionen der Charts, nicht nur in Deutschland, O?sterreich und der Schweiz, sondern in zahlreichen europäischen Ländern. Sie erhielten Gold- und Platinawards, spielten ausverkaufte Touren und gewannen Auszeichnungen wie den finnischen Musikpreis EMMA, den European Border Breakers Award und zweimal den ECHO.
Beinahe auf den Tag genau vor 70 Jahren erschien mit "That's Alright Mama" die erste Single von Elvis Presley und nichts mehr war wie vorher.
Bei The Baseballs ist auch kaum noch etwas wie es war. Als Duo haben Sam & Basti die Band einer völligen, beinahe schon radikalen Frischzellenkur unterzogen, denn The Baseballs klingen moderner denn je. Dafür haben sie auch einige ihrer Kulthits neu aufgenommen und nichts ist entsprechend treffender, als ihr neuntes Album eben "That's Alright" zu taufen.

For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

"Sometimes you have to take sides", singt Adele Ischia im Opener des Debüts der nach ihrem Nachnamen - aber mit kleinem "i"! - benannten Band (nichts zu tun mit der gleichnamigen italienischen Vulkaninsel). Sowas nennt man wohl Statement. Da schadet auch nicht, dass "Sides" mit einem hypnotisch wabernden Gitarrenriff herein prescht, wie es einem Kevin Shields unter die Finger hätte kommen können (Ischia ist hörbar ein My Bloody Valentine-Fan, nicht die einfachste Vorgabe, die man sich als Gitarristin stellen kann). Im Februar erschien die krautrockig groovende Debüt-Single "Sleep", im September kommt das Album! In ihrem Line-Up versammeln sich Leute, die sonst mit anderen Größen der Wiener Indie-Szene auf der Bühne stehen (Endless Wellness, Yukno, Sharktank, Cousines Like Shit...). Tatsächlich sind ischia aber kein Seitenprojekt, sondern die aus jahrelanger Freundschaft und spontaner Assoziation entstandene Band rund um Frontfrau und Namensgeberin Adele Ischia. Auf ihrem Debüt-Album "Leave me to the Future" offenbart sich die breite Palette ihres Sounds, von Krautrock-Grooves bis zu Post-Shoegaze-Psychedelik, doch in dessen Kern steckt dabei stets ein melodiöser Popsong. Und ischia präsentierten einen gänzlich anderen, veritabel psychedelischen Post-Shoegaze-Pop-Sound als gewohnt gehört, entpuppen sich als Band mit breiter dynamischer Vielfalt, beseelt von einer zugänglichen Mischung aus Witz und Melancholie, ziemlich gut für eine Band, die sich erst vor etwas mehr als einem Jahr zusammengetan hat. Neben dem Release ihres Albums werden ischia dieses Jahr aus praktischen Gründen übrigens vor allem gemeinsam mit Endless Wellness auftreten. Luckily, sometimes you don't have to take sides.

"Sometimes you have to take sides", singt Adele Ischia im Opener des Debüts der nach ihrem Nachnamen - aber mit kleinem "i"! - benannten Band (nichts zu tun mit der gleichnamigen italienischen Vulkaninsel). Sowas nennt man wohl Statement. Da schadet auch nicht, dass "Sides" mit einem hypnotisch wabernden Gitarrenriff herein prescht, wie es einem Kevin Shields unter die Finger hätte kommen können (Ischia ist hörbar ein My Bloody Valentine-Fan, nicht die einfachste Vorgabe, die man sich als Gitarristin stellen kann). Im Februar erschien die krautrockig groovende Debüt-Single "Sleep", im September kommt das Album! In ihrem Line-Up versammeln sich Leute, die sonst mit anderen Größen der Wiener Indie-Szene auf der Bühne stehen (Endless Wellness, Yukno, Sharktank, Cousines Like Shit...). Tatsächlich sind ischia aber kein Seitenprojekt, sondern die aus jahrelanger Freundschaft und spontaner Assoziation entstandene Band rund um Frontfrau und Namensgeberin Adele Ischia. Auf ihrem Debüt-Album "Leave me to the Future" offenbart sich die breite Palette ihres Sounds, von Krautrock-Grooves bis zu Post-Shoegaze-Psychedelik, doch in dessen Kern steckt dabei stets ein melodiöser Popsong. Und ischia präsentierten einen gänzlich anderen, veritabel psychedelischen Post-Shoegaze-Pop-Sound als gewohnt gehört, entpuppen sich als Band mit breiter dynamischer Vielfalt, beseelt von einer zugänglichen Mischung aus Witz und Melancholie, ziemlich gut für eine Band, die sich erst vor etwas mehr als einem Jahr zusammengetan hat. Neben dem Release ihres Albums werden ischia dieses Jahr aus praktischen Gründen übrigens vor allem gemeinsam mit Endless Wellness auftreten. Luckily, sometimes you don't have to take sides.

"Sometimes you have to take sides", singt Adele Ischia im Opener des Debüts der nach ihrem Nachnamen - aber mit kleinem "i"! - benannten Band (nichts zu tun mit der gleichnamigen italienischen Vulkaninsel). Sowas nennt man wohl Statement. Da schadet auch nicht, dass "Sides" mit einem hypnotisch wabernden Gitarrenriff herein prescht, wie es einem Kevin Shields unter die Finger hätte kommen können (Ischia ist hörbar ein My Bloody Valentine-Fan, nicht die einfachste Vorgabe, die man sich als Gitarristin stellen kann). Im Februar erschien die krautrockig groovende Debüt-Single "Sleep", im September kommt das Album! In ihrem Line-Up versammeln sich Leute, die sonst mit anderen Größen der Wiener Indie-Szene auf der Bühne stehen (Endless Wellness, Yukno, Sharktank, Cousines Like Shit...). Tatsächlich sind ischia aber kein Seitenprojekt, sondern die aus jahrelanger Freundschaft und spontaner Assoziation entstandene Band rund um Frontfrau und Namensgeberin Adele Ischia. Auf ihrem Debüt-Album "Leave me to the Future" offenbart sich die breite Palette ihres Sounds, von Krautrock-Grooves bis zu Post-Shoegaze-Psychedelik, doch in dessen Kern steckt dabei stets ein melodiöser Popsong. Und ischia präsentierten einen gänzlich anderen, veritabel psychedelischen Post-Shoegaze-Pop-Sound als gewohnt gehört, entpuppen sich als Band mit breiter dynamischer Vielfalt, beseelt von einer zugänglichen Mischung aus Witz und Melancholie, ziemlich gut für eine Band, die sich erst vor etwas mehr als einem Jahr zusammengetan hat. Neben dem Release ihres Albums werden ischia dieses Jahr aus praktischen Gründen übrigens vor allem gemeinsam mit Endless Wellness auftreten. Luckily, sometimes you don't have to take sides.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s. Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations (next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

The collection spans the decade-plus career of this remarkable band, whose goth-tinged, theatrical punk-pop sound earned them legions of devoted fans. It features their most beloved songs, including the hits 'I'm Not Okay (I Promise)', 'Helena' and 'The Ghost Of You' from 2004's 'Three Cheers For Sweet Revenge'; 'Welcome To The Black Parade', 'Famous Last Words' and 'Teenagers' from 2006's 'The Black Parade'; and 'Na Na Na (Na Na Na Na Na Na Na Na Na)' and 'Sing' from 2010's 'Danger Days: The True Lives of the Fabulous Killjoys', plus many others.

It also includes a previously unreleased song, 'Fake Your Death', one of the last songs the band worked on in the studio together, three songs from the infamous 'Attic Demos', as well as a long-form DVD with two hours of never-before-seen outtakes from MCR's official music videos.

'The title is fitting, because as sad as it was to say goodbye to the band, we look at this collection as a celebration of our best songs, and hope the memory of them continues to bring joy to you all as they have for us,' said band members Gerard Way, Mikey Way, Frank Iero and Ray Toro in a statement. 'We hope you take the journey with us into MCR's past, and enjoy the small taste of what might have been.'
Vinyl:
1. Fake Your Death 
2. Honey, This Mirror Isn't Big Enough For The Two Of Us 
3. Vampires Will Never Hurt You
4. Helena 
5. You Know What They Do To Guys Like Us In Prison
6. I'm Not Okay (I Promise)
7. The Ghost Of You 
8. Welcome To The Black Parade
9. Cancer 
10. Mama
11. Teenagers
12. Famous Last Words
13. Na Na Na (Na Na Na Na Na Na Na Na Na)
14. SING
15. Planetary (GO!)
16. The Kids From Yesterday
17. Skylines And Turnstiles (Demo)
18. Knives/Sorrow (Demo) 
19. Cubicles (Demo)
 
DVD:
20. I'm Not OK (I Promise) Version 1
21. I'm Not OK (I Promise) Version 2
22. Helena
23. The Ghost Of You
24. Welcome To The Black Parade
25. Famous Last Words
26. I Don't Love You
27. Teenagers
28, Blood (previously unreleased)
29. Na Na Na (Na Na Na Na Na Na Na Na Na) and Art