Search:the me in you

The debut album from Tokyo's WENDY, now available for the first time as an extended vinyl edition. Formed as teenagers during Japan's strict COVID lockdown, WENDY secretly came together to create rock 'n' roll for a new generation. Their raw demos quickly landed them a publishing deal with Sony Music Publishing and caught the ear of Grammy Award-winning producer Marc Whitmore (Jon Batiste - "We Are"). Whitmore was so impressed he produced their debut album himself, recorded live in just nine days, with no edits, capturing the band's unfiltered energy. The process was even featured in Sound & Recording Magazine. The vinyl edition includes two exclusive, previously unreleased tracks: "Pull Me In" and the powerful "Pledge of Love".

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

Die Hardcore/Punk/Thrash Spezialisten von Fleischwolf waren noch nie Kostverächter: Ihre Musik nennen sie schlicht Mettcore, scheren sich um "Wokeness" und weitere Zeitgeist-Befindlichkeiten einen Dreck und haben eine ziemlich große Schnauze in die jede Menge Klartext und klarer Schnaps reinpasst! Mit ihrem wilden Genre-Mix und jeder Menge (Selbst)-Humor sind ihre harten Klänge voll auf Speed getrimmt, was eigentlich sehr passend ist: Seit ihrem Debut "Fleischwolf" und den beiden Nachfolgealben "Von uns für Euch" und "Gut geklaut" ist das Trio eindeutig auf der Überholspur! Ihr neuestes Werk erscheint als Doppel-10inch Vinyl und ist zum einem ein "Kleiner Vorgeschmack" auf das nächste Album mit drei neuen Songs: "Widerstand ist sinnlos - Asi Elixier" ist ein Thrash Metal-Hardcore Brett in bester Tankard-Manier! Jede Menge Spaß und Mitgröhlgarantie bietet "Genauso soll es auch sein" um dann dem alten Haudegen "Chuck Norris" mit reichlich Mötörhead-Charme, RocknRoll und Trompeten ein kleines Ständchen zu singen! Drei Volltreffer, die es in sich haben! Zum anderen ist die neue Fleischwolf aber mit der LP2 "Live" nach über 100 Konzerten auch eine Bestandsaufnahme und enthält 7 Songs mit dem ganzen Schweiss und Scheiss und Stimmung, den die Jungs auf der Bühne so von sich geben. Wer schon einmal bei einem Fleischwolf Konzert dabei war weiß was gemeint ist, den die Jungs sind auch noch großartige Entertainer - perfekt eingefangen auf Vinyl!

Die Hardcore/Punk/Thrash Spezialisten von Fleischwolf waren noch nie Kostverächter: Ihre Musik nennen sie schlicht Mettcore, scheren sich um "Wokeness" und weitere Zeitgeist-Befindlichkeiten einen Dreck und haben eine ziemlich große Schnauze in die jede Menge Klartext und klarer Schnaps reinpasst! Mit ihrem wilden Genre-Mix und jeder Menge (Selbst)-Humor sind ihre harten Klänge voll auf Speed getrimmt, was eigentlich sehr passend ist: Seit ihrem Debut "Fleischwolf" und den beiden Nachfolgealben "Von uns für Euch" und "Gut geklaut" ist das Trio eindeutig auf der Überholspur! Ihr neuestes Werk erscheint als Doppel-10inch Vinyl und ist zum einem ein "Kleiner Vorgeschmack" auf das nächste Album mit drei neuen Songs: "Widerstand ist sinnlos - Asi Elixier" ist ein Thrash Metal-Hardcore Brett in bester Tankard-Manier! Jede Menge Spaß und Mitgröhlgarantie bietet "Genauso soll es auch sein" um dann dem alten Haudegen "Chuck Norris" mit reichlich Mötörhead-Charme, RocknRoll und Trompeten ein kleines Ständchen zu singen! Drei Volltreffer, die es in sich haben! Zum anderen ist die neue Fleischwolf aber mit der LP2 "Live" nach über 100 Konzerten auch eine Bestandsaufnahme und enthält 7 Songs mit dem ganzen Schweiss und Scheiss und Stimmung, den die Jungs auf der Bühne so von sich geben. Wer schon einmal bei einem Fleischwolf Konzert dabei war weiß was gemeint ist, den die Jungs sind auch noch großartige Entertainer - perfekt eingefangen auf Vinyl!

Fiddlehead's debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat's loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. While the process of writing and recording helped Flynn cope with his personal loss there's no doubt it carries a universal message that can help ease others' loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.

Der offizielle Soundtrack zur zweiten Staffel der Sensations-Animationsserie Arcane.
Standard schwarze LP mit dem Megahit „Ma Meilleure Ennemie“ und allen Lieblingssongs aus dem rekordverdächtigen Soundtrack der zweiten Staffel.

2x 180g Vinyl in Widespine Jacket, mit bedruckten Innenhüllen, Einlage und neuem Cover

Original soundtrack of the film Little Amélie, an adaptation of Amélie Nothomb’s ninth novel The Character of Rain (Métaphysique des tubes), published in 2000 and a major literary success.



From Tokyo, Mari Fukuhara composed an airy and playful score for the film. She blends impressionistic piano (Ravel is never far), childhood timbres (marimba, traditional Japanese songs), and orchestral textures. The shakuhachi (flute) and the koto bring in a Japanese touch, at times lyrical, at times mischievous. The result is a reading and listening experience that is both deeply personal and universal.



The album unfolds like a musical tale in its own right, evocative yet profoundly intimate.



Released in France in June 2025, the film is now campaigning for the Oscars and will premiere in the U.S. in the fall.

23 Live-Tracks von der gefeierten Luck and Strange Tour auf 4 LPs in 2 Doppel-Gatefolds und Schuber. Enthält ein 24-seitiges Booklet mit Fotos von der Tour. Produziert von Charlie Andrew und David Gilmour.

Die Tour begleitete Gilmours fünftes Soloalbum Luck And Strange, das #1 in Großbritannien, Deutschland (seine erste #1 dort), Polen, den Niederlanden, Tschechien, der Schweiz, Portugal und Österreich erreichte.

Die Shows begannen mit zwei ausverkauften Warm-up-Shows im Brighton Centre, bevor sie für sechs ausverkaufte Abende in den Circus Maximus in Rom umzogen, gefolgt von der gleichen Anzahl in der Londoner Royal Albert Hall, bevor sie für ausverkaufte Abende im Intuit Dome und der Hollywood Bowl in Los Angeles in die USA zogen und mit fünf ausverkauften Abenden im Madison Square Garden in New York endeten.

Alle dreiundzwanzig Termine waren ausverkauft, und da keine neuen Shows in Sicht sind, sind »The Luck And Strange Concerts« die beste und einzige Möglichkeit, den Meister seiner Kunst auf der Bühne zu erleben.

Mark Fell inaugurates his new label – The National Centre for Mark Fell Studies – with his first solo electronic material in years; a slinky, ravishing volley of unique dance drills that have been in the works for over a decade, feeling somehow like Derek Bailey dissecting Singeli, or Autechre and Hermeto Pascoal dancing in hyperspace. There’s nothing else quite like it.

Back on the floor for the first time since dealing a pair of deep house 12”s with DJ Sprinkles, sending a contemporary classic in »Protogravity« with Errorsmith, plus a lauded collab with Gábor Lázár – all in 2015 – Fell taps back into core club concerns last explored to this uncompromising extent on his string of »Sensate Focus« EPs released between 2012–2013. He’s hardly been slacking since then, with a slew of far-reaching avant collabs with everyone from Rian Treanor to Limpe Fuchs, Okkyung Lee to Pat Thomas, Explore Ensemble to Will Guthrie – each one blurring distinctions between producer, composer, and conductor.

The »Nite Closures« EP is worth the wait – and then some. As ever, Fell manages to retain a highly distinctive, instantly identifiable sound while also tracing and mapping new bends in the continuum. His exploration of contemporary styles and patterns is here distilled and articulated with a rare, daring playfulness and sinuous intricacy – for over half an hour he flows from frantic to almost emotional at the drop of a snare. Trust it’s not your everyday / everynight club music, with an asymmetric angularity bound to wrong-foot fresher feet, but also the type of absolutely future-facing, skewed machine funk that clubs are crying out for, even if they don’t quite realise it.

As someone who’s witnessed the dominance of colouring-book Jive Bunny DJs recycle tested ideas ad infinitum, the message is a firm do-one to myopic ravers in »Nite Closures«. From the displaced anticipations tested in its extended dub and ravishing, tweaked polymetrics on its version, through a »Large Modulos #3« teeming with organismic details, to the hair-kissing swang of »auchterhouse (inversion)« and its clipped, cascading 2.1-step reprise, Fell offers thrilling new options for the loosey-gooseyest dancers at each turn. For us, it’s perhaps his greatest record this century.

Returning to Curvature for his eagerly awaited second EP, Senses brings an impressively varied array of atmospheric jungle to the table, drawing from a multitude of influences across the musical spectrum with Convex Reflex.

A1 - Ratio
A break-laden intro lays the groundwork for a considered foray into the old-school - Senses flecking the mix liberally with synths and female vocal hits of yesteryear, before the welcome crunch of thunderous amens takes over. A cascade of rip-roaring edits
floods the track taking you on an epic ride through the ages, breaks chopped with riotous energy confirming this track as a perfect DJ tool for the dancefloor.

A2 - Sun Runner
Beautifully crisp drums open a DJ-friendly intro to Sun Runner, delightfully clear sounding with distinctive cymbals, a thick snare and subtle bongos. An airy soundscape soon washes into the mix with calming synths and flutes, creating a delicately jazzy blend of styles with soothing melodies contrasting perfectly with the breaks. More pronounced synthwork follows to spice things up as the bassline rumbles along below.

B1 - Spirit Vector
Dense atmospherics are the order of the day as Senses deploys Spirit Vector, opening with an array of synths and strings to create an intro reminiscent of Intense's work in the late 90's. Soon we are treated to a paradoxical assortment of heavy amens that work impeccably in the mix - thundering forth with pads soaring high and a heavy sub bass below. Various instrument samples litter the breakdown before a vocal sample declares "Yes". Yes indeed.

B2 - Still
Closing the EP in style, Still opens with sparse breaks, lightly building with extremely subtle apache breaks in the backdrop with sporadic keys and smooth pads. The drop arrives with warm, room-filling basslines and synths to elevate the atmosphere alongside luscious flute samples.Layers are added to the excellent breaks as Senses sprinkles instrument samples, keys and a classic female vocal, completing a joyous composition for Curvature.

Words by Chris Hayes (Spatial / Red Mist)

The Scunthorpian partners-in-crime Rupert and Henry Stansall, mythologized in wanted posters as Ruen Brothers, are back in the saddle with their fourth studio album: Awooo. Titled after the lycanthropic howling chorus of their melancholic track “Sitting at the Station,” Awooo finds the duo on the road again, full of ruminative wanderlust and exploring sprawling, dark deserts, carrying with only their songbook of western-inspired folklore. The meditative, building desire of “The Cabin on the Hill,” the pensive yearning etched inside “Poison Down the Wire,“ and a tasteful reimagining of the tried-and-true traditional “Mama Don’t” that could easily pass as an original, all exhibit the creative growth that these young troubadours have established over their decade-long career. This limited first edition pressing of Awooo is pressed on frosted shadow color vinyl and is limited to 800 copies worldwide.

The Scunthorpian partners-in-crime Rupert and Henry Stansall, mythologized in wanted posters as Ruen Brothers, are back in the saddle with their fourth studio album: Awooo. Titled after the lycanthropic howling chorus of their melancholic track “Sitting at the Station,” Awooo finds the duo on the road again, full of ruminative wanderlust and exploring sprawling, dark deserts, carrying with only their songbook of western-inspired folklore. The meditative, building desire of “The Cabin on the Hill,” the pensive yearning etched inside “Poison Down the Wire,“ and a tasteful reimagining of the tried-and-true traditional “Mama Don’t” that could easily pass as an original, all exhibit the creative growth that these young troubadours have established over their decade-long career. This limited indie exclusive pressing of Awooo is pressed on frosted shadow color vinyl and is autographed by both Henry and Rupert Stansall and is limited to 200 copies worldwide.

2024 Repress
If anyone in the reggae circles could be described as having their own sound it would have to be Mr Augustus Pablo, born Horace Swaby 1954 St Andrew Jamaica. He took the humble melodica a wind blown mouth keyboard and made it shine.

His musical journey started one sunny day in 1969. Walking into Herman Chin- loy's Aquarius Records shop and on playing his melodica so impressed its owner that he was taken off to Randy's Studio 17, the very next day to cut his first record 'Iggy Iggy'. But it was his second tune under the guidance of Clive Chin again cut at Randy's, the seminal 'Java ' that put the young Augustus Pablo on the map. Clive Chin continued his work producing Pablo's debut album 'THIS IS AUGUSTUS PABLO' . An instrumental affair on which the neo-mystical ''Far East'' sound synonymous with Pablo's work emerged.

Having worked with most of the top producers of the time,Lee Perry,Keith Hudson, Bunny Lee, Augustus decided to set up his own label "Rockers", named after his brothers sound system. Where many of his tunes would first be heard.The label came to define a new and exciting chapter in reggae history.Even when versioning acknowledged classic Studio One rhythms there was a precious maturity and depth to Pablo's productions that kept him at the top throughout the late 1970s and into the 1980s. His 'King Tubby meets the Rockers Uptown' set which featured some of these rhythms reworked; Swing EasySkanking Easy, Frozen SoulFrozen Dub, stands as one of the true dub classic albums of any reggae education.

This set of dubs are taken from his classic 70's period.All rare dubs straight from the masters. You may have heard the tune, but not these versions. So sit back and enjoy the Original Rocker..... STILL SOUNDS SWEET.

RESPECT....JAH FLOYD.

Effortlessly picking up from their excellent demonstration cassette, it sees the band refining their sound even further. An audio amalgamation combining the profoundness of early Ulver, with the gloom of old Katatonia and exalted boldness of Fields of the Nephilim, thus adding unique elements of nostalgia and atmosphere to their own melodic interplay of guitars and excellent musical framework.

The album contains strong signs of a band that knew at a young age how to draw their canvas. Very Scandinavian in nature, and influenced by the American landscape of the Pacific Northwest, it firmly put Agalloch on the map and raised eyebrows about what a band from North America would be capable of. As a person that grew up checking out records based on their cover-artwork alone, this album is particularly notable for such an experience, considering the wooden cover with a gold emblazoned logo engraved. This is music that glorifies the night sky, envisions campfire magic, heralds nature over humans, arcane arts & poetry, and worships the beauty of a crackling fireplace. It could be the soundtrack for a lone wanderer striving through a wintry storm, only to end up knocking on a faded
wooden door to find shelter in a desolate cabin. In many ways the sound of forlorn times.

If you are looking to fill your heart with woodsmoke and the fire of
the mountain's spirit, look no further.

"Pale Folklore was a watershed moment in American heavy music, when a few young musicians with a shared love of underground death metal - and broad personal tastes beyond - turned their already virtuosic talents toward a fresh hybrid of metal and neofolk through a gothic lens." - Daniel Lake / author of USBM: A Revolution of Identity in American Black Metal

Effortlessly picking up from their excellent demonstration cassette, it sees the band refining their sound even further. An audio amalgamation combining the profoundness of early Ulver, with the gloom of old Katatonia and exalted boldness of Fields of the Nephilim, thus adding unique elements of nostalgia and atmosphere to their own melodic interplay of guitars and excellent musical framework.

The album contains strong signs of a band that knew at a young age how to draw their canvas. Very Scandinavian in nature, and influenced by the American landscape of the Pacific Northwest, it firmly put Agalloch on the map and raised eyebrows about what a band from North America would be capable of. As a person that grew up checking out records based on their cover-artwork alone, this album is particularly notable for such an experience, considering the wooden cover with a gold emblazoned logo engraved. This is music that glorifies the night sky, envisions campfire magic, heralds nature over humans, arcane arts & poetry, and worships the beauty of a crackling fireplace. It could be the soundtrack for a lone wanderer striving through a wintry storm, only to end up knocking on a faded
wooden door to find shelter in a desolate cabin. In many ways the sound of forlorn times.

If you are looking to fill your heart with woodsmoke and the fire of
the mountain's spirit, look no further.

"Pale Folklore was a watershed moment in American heavy music, when a few young musicians with a shared love of underground death metal - and broad personal tastes beyond - turned their already virtuosic talents toward a fresh hybrid of metal and neofolk through a gothic lens." - Daniel Lake / author of USBM: A Revolution of Identity in American Black Metal

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

In 2005, Felt 2: A Tribute to Lisa Bonet brought together two of underground hip-hop’s most respected voices of the time—Murs and Slug—for a second collaboration that felt looser, livelier, and more charismatic than its predecessor. The album captures a moment of creative freedom, where both MCs were firing on all cylinders, trading verses with sharpness, humor, and effortless chemistry. Their interplay reflects a deep mutual respect and a shared drive to push boundaries while keeping things rooted in style and substance.

Working with different producers for each volume allowed Murs and Slug to bring a unique energy to each release, and Ant’s masterful production was central to the chemistry of Felt 2.


With roots in classic soul and West Coast bounce, his beats created a warm, funk-laced foundation that allowed both rappers
to experiment with new cadences and ideas. Rather than lean on moodiness or melodrama, the soundscape of Felt 2 is expansive, colorful, and rooted in rich, infectious rhythm—an aesthetic that has aged gracefully and continues to draw new listeners into its orbit. While undeniably fun, Felt 2 is also structurally tight and full of moments that reward repeat listens. The chemistry between Murs and Slug is effortless, and their shared sense of humor, timing, and respect for the craft creates a lasting impression. It’s a standout entry in the canon of early-2000s indie hip-hop, and one that’s long overdue for a proper vinyl reissue.

In 2005, Felt 2: A Tribute to Lisa Bonet brought together two of underground hip-hop’s most respected voices of the time—Murs and Slug—for a second collaboration that felt looser, livelier, and more charismatic than its predecessor. The album captures a moment of creative freedom, where both MCs were firing on all cylinders, trading verses with sharpness, humor, and effortless chemistry. Their interplay reflects a deep mutual respect and a shared drive to push boundaries while keeping things rooted in style and substance.

Working with different producers for each volume allowed Murs and Slug to bring a unique energy to each release, and Ant’s masterful production was central to the chemistry of Felt 2.


With roots in classic soul and West Coast bounce, his beats created a warm, funk-laced foundation that allowed both rappers
to experiment with new cadences and ideas. Rather than lean on moodiness or melodrama, the soundscape of Felt 2 is expansive, colorful, and rooted in rich, infectious rhythm—an aesthetic that has aged gracefully and continues to draw new listeners into its orbit. While undeniably fun, Felt 2 is also structurally tight and full of moments that reward repeat listens. The chemistry between Murs and Slug is effortless, and their shared sense of humor, timing, and respect for the craft creates a lasting impression. It’s a standout entry in the canon of early-2000s indie hip-hop, and one that’s long overdue for a proper vinyl reissue.

Am 13. Oktober 2023 verabschiedete sich die Melbourne-Band Camp Cope mit einem letzten Auftritt vor einem begeisterten, ausverkauften Publikum in der legendären Sydney Opera House Concert Hall. Zwei Jahre später haben Run For Cover & Poison City Records ,The Final Show - Live at Sydney Opera House", um diesen besonderen Moment der Band bei ihrem letzten Live-Auftritt zu feiern. Die Vinylversion dieser Veröffentlichung enthält neun Songs aus dem letzten Auftritt, darunter Titel aus jedem der beliebten Alben der Band. Dazu gehören Songs wie ,Lost (Season One)" aus ihrem selbstbetitelten Debütalbum sowie Titel aus ,How to Socialise Make Friends" von 2018 und ihrem Abschiedsalbum ,Running with the Hurricane" von 2022. Alle Elemente, die die Musik von Camp Cope so besonders machen, sind hier versammelt - Bassistin Kelly-Dawn Hellmrich und Sarah Thompsons Schlagzeug harmonieren wieder einmal perfekt miteinander, während Gitarristin Jennifer Aslett die unverwechselbare Stimme von Sängerin Georgia Maq mit noch mehr Stimmung untermalt. Die Band ist auch nicht allein - Julia Jacklin ist bei ,The Screaming Planet" dabei, und ein Chor aus Freunden wie Rin McArdle und Courtney Hartmann singt bei ,Sing Your Heart Out" mit. Camp Cope beendet diesen letzten Auftritt passenderweise mit ,The Opener" - einem Song, der von den unglücklichen Erfahrungen einer Band inspiriert ist, die versucht, sich in einer sexistischen, von Männern dominierten Musikszene zurechtzufinden. Hellmrichs unverkennbare Basslinie eröffnet diese letzte, erweiterte Version des Songs, den die Band über zehn Minuten lang spielt. Begleitet von einem Chor aus Freunden auf der Bühne und einem ganzen Opernhaus voller Fans, die mitsingen, wirken die letzten Zeilen des Songs über anfängliche Ablehnung wie eine erfüllte Prophezeiung: ,See how far we've come not listening to you."

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Mit dem weltweiten Erfolg von Natural Brown Prom Queen im Rücken legt Sudan Archives noch eine Schippe drauf: Aus einer hands-on DIY-Künstlerin ist eine ausführende Produzentin geworden.



Aufgenommen in Los Angeles, Chicago und Detroit, hat sich die innovative US-amerikanische Geigerin, Sängerin, Songwriterin und Produzentin mit THE BPM - ihrem dritten und bislang wohl ehrgeizigsten Album – ganz der Clubmusik verschrieben. Nach wie vor geprägt von ihrem Signature Instrument, der Geige, präsentiert sich die Musik auf The BPM tanzbarer denn je.

Mit dem weltweiten Erfolg von Natural Brown Prom Queen im Rücken legt Sudan Archives noch eine Schippe drauf: Aus einer hands-on DIY-Künstlerin ist eine ausführende Produzentin geworden.



Aufgenommen in Los Angeles, Chicago und Detroit, hat sich die innovative US-amerikanische Geigerin, Sängerin, Songwriterin und Produzentin mit THE BPM - ihrem dritten und bislang wohl ehrgeizigsten Album – ganz der Clubmusik verschrieben. Nach wie vor geprägt von ihrem Signature Instrument, der Geige, präsentiert sich die Musik auf The BPM tanzbarer denn je.

The Best of Muddy Waters, erstmals 1958 veröffentlicht, versammelt 12 seiner besten Songs, darunter
„Rollin’ Stone“, „I’m Your Hoochie Coochie Man“, „I’m Ready“, „I Just Want to Make Love to You“ und
viele mehr.
Holen Sie sich den Sound des größten Blues-Labels Amerikas in High Fidelity mit nach Hause. Diese audiophilen Neuauflagen klassischer Alben und Compilations aus der Chess-Diskografie wurden von den originalen
Analogbändern remastert und bei Quality Record Pressings (QRP) auf 180-Gramm-Vinyl gepresst. Jede
Platte ist in einer Tip-On-Gatefold-Hülle aus hochwertigem Karton verpackt.

Eine halbe Dekade nach der Veröffentlichung ihres Albums "Anak Ko" (2019) hat sich Melina Duterte, alias Jay Som, sich selbst und ihren Erinnerungen geöffnet und Songs geschrieben, die den Klang ihrer Jugend wieder aufleben lassen, und dabei ihre Erfahrung als Musikerin, Produzentin und Performerin einfließen lassen. Kein vorheriges Jay-Som-Album klingt so wie "Belong", ein packendes 11-Song-Set über Selbstdefinition und Zugehörigkeit, das zwischen kraftvollen Power-Pop-Hits und verschwommenen Balladen, zwischen elektronischen Kuriositäten und aufheiternden Hymnen schwebt.

Melina wuchs mit Alternative-Rock außerhalb von San Francisco auf und lernte als Teenager die Hits des Pop-Punk/Emo der frühen 2000er auswendig. Passenderweise ist es Jim Adkins (Jimmy Eat World), einer dieser Kindheitshelden, der bei "Float" die backing vocals übernimmt. Während Hayley Williams sanfte Harmonien auf dem schwungvollen "Past Lives" beisteuert und Lexi Vega (Mini Trees) zu "Cards On The Table" beiträgt, sind diese drei Jay Soms allererste Gastsänger*innen und repräsentieren Dutertes Bestreben, mit Menschen ihres Vertrauens Neues auszuprobieren.

Seit ihrem letzten Album hat Melina beschlossen, sich selbst und ihrem lebenslangen Interesse am Recording etwas zu gönnen. Mit dem Kauf einer alten Neve-Konsole nahm sie sich vor, mehr zu werden als nur ihre eigene Tontechnikerin zu Hause. Fünf Jahre später kann sie nun auf eine umfangreiche Liste an Produktions- und Mixing-Credits zurückblicken, darunter auf Lucy Dacus’ neuestem Album "Forever Is A Feeling", Gastauftritte an der Seite von Troye Sivan, No Rome und beabadoobee, einen Beitrag zum Soundtrack von A24s "I Saw The TV Glow" und einen Grammy für ihre Arbeit an "The Record" von boygenius, der Band, der sie später als Tourmitglied beitrat.

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[BONUS TRACK]

Mit seinem markanten Flow und einem außergewöhnlichen Talent für schafsinnige Lyrics entwickelt sich JID
vom Geheimtipp aus Atlanta zu einer der prägendsten Stimmen der neuen Rap-Generation. Spätestens mit
seinem hochgelobten Album „The Forever Story“ (2022) stellt der dreifach GRAMMY-nominierte Rapper
nicht nur seine Stärke fürs Storytelling unter Beweis, sondern überzeugt mit einer Vielseitigkeit und technischen Finesse, die sich von der Mainstream-Masse abhebt. In dem 14-Track starkem Nachfolgerprojekt
„God Does Like Ugly“ würdigt er den Hip-Hop als prägende Kraft der Popkultur, aus der Perspektive eines
Künstlers aus dem Herzen Atlantas.
„God Does Like Ugly“ erscheint am 17. Oktober 2025 auf CD und Vinyl.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.