Search:the me in you

Olive green vinyl, limited to 200 copies. REPRESS of the debut full length. Even if the music is not very complex, you can see from miles away that Orchid are fairly good musicians. "Capricorn" is not only very different from the modern metal albums, but also has a character of its own. You would be able to say which song is which after just one listen. Recommended for fans of Black Sabbath, Graveyard, and Saint Vitus.

,Dogs" ist Cash Langdons zweites Album unter eigenem Namen, aber das erste mit seiner Band Meadow Dust (Bassist Matt Whitson und Schlagzeuger Reagan Bruce). Die Aufnahmen fanden größtenteils in den Portside Studios (dem ehemaligen Standort des legendären Muscle Shoals Sound) statt und wurden in nur zwei Tagen aufgenommen. Der Tontechniker Brad Timko (Dan Sartain, St. Paul and The Broken Bones) sorgte dafür, dass das Trio wild und tight klingt. Ihre unscharfe Interpretation von schwerem Country-Rock erinnert an Neil Young & Crazy Horse und verströmt die Hitze von Langdons Heimatstadt Birmingham. Wie bei Young ist seine Stimme gleichzeitig ernst und weltmüde, aber es gibt auch einen Sinn für Humor und die Resignation, weiterzumachen (,Dogs"). Diese Songs sind wunderschöne, brennende, südlich-gotische Zeugnisse der fortwährenden Gewalt, die es bedeutet, wach zu sein für die Welt um einen herum (,Lilac Whiskey Nose") und die Entschlossenheit, trotzdem wach zu bleiben (,Magic Again").

Josh Groban - Die unverwechselbare Stimme der Welt präsentiert eine Sammlung seiner gefeiertsten Songs

Mit über 35 Millionen weltweit verkauften Alben und zahlreichen Welttourneen in einigen der atemberaubendsten Veranstaltungsorte wählt Josh einige seiner persönlichsten und beliebtesten Songs aus früheren Alben aus, die in den letzten zwei Jahrzehnten veröffentlicht wurden.

GEMS enthält einige von Grobans größten Hits, darunter die Originale "You Raise Me Up" und "February Song" sowie einige Broadway-Spektakel wie "Pure Imagination", "To Where You Are" und "Somewhere over the Rainbow".

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle, Gatefold Sleeve.

”We Free Kings” gilt als eines der musikalisch kohärenteren Frühwerke von Roland Kirk. Obwohl der Saxofonist und Flötist es im Januar 1961 mit zwei unterschiedlich besetzten Quartetten aufnahm, gelang ihm eine wunderbare Balance zwischen Bebop-Nummern und souligeren Stücken. Das Repertoire unterstreicht Kirks Fähigkeiten als Komponist (sieben der neun Stücke stammen von ihm). Brillant ist aber auch seine Interpretation von Charlie Parkers ”Blues For Alice”.

DO call it a comeback! Nach nicht weniger als 22 Jahren veröffentlichen die Wiener Beat-Maestros Urbs & Cutex wie aus heiterem Himmel ihr drittes Album namens "On Our Way". Die beiden Veteranen zeigen sich bestens aufgelegt und schaffen es auf diesem Überraschungspaket mühelos dort anzuschließen, wo sie vor zwei Jahrzehnten aufgehört haben. Sie bleiben sich selbst treu, finden aber auch neue Wege ihren sehr persönlichen Stil weiterzuentwickeln und HipHop und Downtempo auf eigenständige Weise zu verschmelzen. Urbs & Cutex (der auch unter Cut Ex firmiert) sind ein Produzenten-Duo aus Wien, das sich auf entspannte Instrumentalmusik spezialisiert und klassischen East Coast HipHop mit Elementen von Triphop und Downtempo verbindet. Beide begannen Anfang der 90er Jahre als DJs und machten ihre ersten Schritte als Produzenten unabhängig voneinander, um später eine der interessantesten Gruppen der florierenden Wiener Elektronik-Szene zu formen. Zwei gefeierte Alben wurden damals veröffentlicht und noch heute werden ihre Songs von immer neuen Generationen entdeckt, was zu Millionen Aufrufen auf den bekannten Streaming-Plattformen führt. Nach 22 Jahren, diversen Solo-Alben (u.a. Urbs' "Toujours Le Meme Film" und "Geheimland"), unzähligen Singles, Remixes und Kollaborationen, haben sie also beschlossen, wieder zusammenzuarbeiten und dabei ihr Mojo sofort wiedergefunden. Mit charmanter Sturheit produzieren Urbs & Cutex weiterhin Musik, die manche als retro, andere als zeitlos bezeichnen werden. "Wir suchen nach immerwährenden Wahrheiten" bemerken sie dazu achselzuckend. Das Album beginnt daher ganz im Stil ihres letzten Albums "Peace Talks!". Soul- und Jazz-Loops werden mit dopen Beats kombiniert und man wird sogar mit dem ersten Rap-Part überrascht, der es jemals auf ihre Alben geschafft hat: T.R.A.C. aus New York, bekannt als MC von Marc Macs Visioneers, unzähligen Drum&Bass Releases und nicht zuletzt Urbs´ Solo-Alben, glänzt auf der ersten Single "Wherever You Are". Nach einigen Songs lässt sich feststellen, daß Urbs & Cutex ihren Sound aber sehr wohl subtil weiterentwickelt haben. Durch gefinkelte Arrangements und gekonntes Übereinanderschichten von Samples wird eine dichte Atmosphäre geschaffen, die weit über das hinausgeht, was Boombap üblicherweise bietet. Urbs & Cutex schaffen es auf diesen 14 Songs die Fadesse von Chillout, Lofi und Boombap zu umgehen und bauen einen Spannungsbogen, der von uplifting bis deep und hypnotisch reicht.

Das panamaische Heavy-Stoner-Alt-Rock-Duo AlphaWhores veröffentlicht sein zweites Album als limitiertes Black+Green Marbled Vinyl. Durchdrungen von ihren unverwechselbaren Gesangsharmonien und einer schneidenden Palette an schmutzigen Riffs, entwickelt die Band auf "You Can Come Out Now" ihren eklektischen Mix aus Heavy-Styles weiter. Produziert vom zweifachen Grammy-Preisträger Adrian Bushby (Foo Fighters, Muse), präsentierten AlphaWhores erste neue Albumsongs sowie ein Cover von Hot Chips Hit "Over And Over" während ihrer ersten Headliner-Tour durch Europa im Frühjahr 2025 (darunter Deutschland, Österreich). Zu den Referenzkünstlern von AlphaWhores zählen Alice In Chains, Deftones und Mastodon.

Der Savatage- und Trans-Siberian Orchestra-Gitarrist präsentiert eine sehr persönliche Auswahl von 21 Tracks aus seiner erfolgreichen Solo-Karriere, die sich neben seiner Rolle in den erwähnten Bands mittlerweile über zwei Jahrzehnte erstreckt. Die Zusammenstellung enthält Songs aus seinen früheren Soloalben, sowie seltene und unveröffentlichte Tracks, die Chris für zu wichtig hält, um sie seinen Fans vorzuenthalten.

This is what you get when an emcee/producer is fed on a diet of abstract hip-hop, Southeast Asian samples, and Taoist folklore. Together with the Clementi Sound Appreciation Club (a five-piece band of up-and-coming musicians schooled in jazz from the local scene in Singapore), Mary Sue melts samples with live instrumentation on 'Porcelain Shield, Paper Sword.' At the core of the album is the tale of a time-traveling oracle, struggling to find meaning in the modern world-where ancient wisdom feels fragile, and truth is ever-shifting. A reinterpretation of idioms shapes its journey, where spiritual pursuits feel performative, and where the weight of the past clashes with an uncertain future. The music mirrors this tension: phrases of Gamelan music dissolve into smoky brass, spectral melodies unravel over off-kilter drums, and time bends through layered textures. 'Porcelain Shield, Paper Sword' is both a reckoning and a dream, where echoes of the past find new life in the chaos of now. A porcelain shield shatters on impact; a paper sword folds before it cuts. It's about the constant, fragile push-and-pull between aesthetics and money, tradition and progress, meaning and spectacle. "Like the oracle, we're all stuck in a world where spiritual longing gets tangled up with consumerism, where authenticity is blurred by performance, and where finding real meaning feels shakier than ever," rapper and producer Mary Sue explains. "'Porcelain Shield, Paper Sword' lives in that field of tension. The album drifts between beauty and collapse, truth and illusion, and past and present, without ever landing on solid ground."

IF I WERE BRITTANIA I'D WAIVE THE RULES IS BUDGIE'S SIXTH ALBUM, RELEASED IN APRIL 1976. THE TITLE IS A PUN ON THE CONCEPT
OF BRITTANIA RULING THE WAVES. BUDGIE ARE DESCRIBED BY AUTHOR GARY SHARPE-YOUNG AS ONE OF THE EARLIEST HEAVY METAL BANDS AND A SEMINAL INFLUENCE TO MANY ACTS OF THAT SCENE WITH FAST, HEAVY ROCK - AN INFLUENCE ON THE NEW WAVE OF BRITISH HEAVY METAL (NWOBHM) AND ACTS SUCH AS METALLICA - BEING PLAYED AS EARLY AS 1971. THE BAND HAS BEEN NOTED AS "AMONG THE HEAVIEST METAL OF ITS DAY". INCLUDES ANN NEGGEN, SKY HIGH PERCENTAGE AND MORE.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali’s musical legacy lives on through his son, Vieux aka “the Hendrix of the Sahara,” an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original’s integrity. The result is a rightful ode to a legend. Ali isn’t just a greatest hits compilation. It’s a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. “To me, music is magic, it is spontaneous, it is the energy between people,” Vieux says. “I think Khruangbin understands this very well.” The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to play to bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin’s reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they’re poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. “I hope it takes them somewhere new, or puts them in a place they haven't felt or heard,” Lee says. “It is about the love of new friendship and making something beautiful together,” Vieux continues. “It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all.”

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time, cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis). ‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16 track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”. While the final result is a step away from Split Dogs early punk sound, the attitude is still there in droves. “We wanted the album to have a raw bones feel,” Martinez tells us, “real 1970s rock’n’roll!”. Harry channels the spirit of Motörhead’s Lemmy Kilmister as they tear through hook after hook, singing about the Northern Soul clubs their mother once frequented (‘Lafayette’), the Orwellian nightmare we’re heading for (“Stay Tuned”) and a touching homage to British working class culture (“And What?”). As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.

CD:
1. Appear Disappear
2. Systemized
3. Blue Me Away
4. Hey Amour
5. Blackwater
6. Tu en ami du temps
7. Intertidal
8. Mes yeux de tous
9. Shie that drone
10. Off the Radar

CD:
1. Appear Disappear
2. Systemized
3. Blue Me Away
4. Hey Amour
5. Blackwater
6. Tu en ami du temps
7. Intertidal
8. Mes yeux de tous
9. Shie that drone
10. Off the Radar

Teri Gender Bender — born Teresa Suárez Cosío — is ready to show you another side of her eccentric artistry. This time, the Mexican-American singer-songwriter and producer who was raised in Denver, Colorado, and Guadalajara, Mexico, is delving into her Mexican roots with a new Spanish-language album called “TGB.” Filled with electronic, psychedelic, and experimental pop-rock, “TGB” is an empathetic auditory vessel Teri created to understand her loved ones on a personal level. Inspired by her close friends’ woes, the singer-songwriter shows sincerity and kindness by purging their most negative feelings and transforming them into sonic masterpieces for them to reflect and heal with

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Karma Sutra had already been a band for five years when they released their elusive one and only album ,released on their own Paradoxical Records label in 1987. The Daydreams of a Production Line Worker came towards the end of the bands life span and all they had to show prior was a few demos and some tracks on compilations on Mortarhate. By the time the band entered the studio KARMA SUTRA was spreading their musical wings, moving from a straight ahead anarcho sound to a more dense and thoughtful place, adding flourishes of post punk and moody atmospheres to their agit-prop political stance thus creating one of the most idiosyncratic concept albums of their time, where situationist politics meet the most ambitious anarcho punk sound.
The album was recorded in Sheffield at Vibrasound Studio and co-produced by Spon of UK DECAY, which added yet another layer to the already complex album.
When released The Daydreams Of A Production Line Worker had little fanfare due to the rigid approach to punk of the time. But as time passed, so did this albums importance. It would sit perfectly in your collection next to bands who had ambition, tunes and thought provoking lyrics like CHUMBAWAMBA, THE MOB or THATCHER ON ACID.
The Daydreams Of A Production Line Worker reissue comes with a reproduction of the originally included 28 page booklet, which the band viewed as an inseparable part of the album to understand the concept. Dense at times and intended to be thought provoking it covers class oppression, gender, culture brainwashing, prison struggle et all the capitalism society illnesses written from an anarchist perspective and aligned with the situationism theory of revolution of every day life.

The Wild West cowboy occupies a symbolic and central place in
popular culture. The lone rider, out on the range… The whitehatted hero facing up to a gang of outlaws in a gunfight… The
wagon train heading out over the horizon… Celebrated in cinema
since the beginning of movies, the cowboy has also found a
regular home on record, as this vinyl LP compilation testifies.
Listen to these songs and, with just a little imagination, you can
picture the solitary cowboy on his trusty steed, watching a cattle
round-up, or making his way into a town like Tombstone… A
timeless myth, captured forever in these Songs Of The Wild
West…

The Bug Club sind wieder da, für ihren jährlichen Termin auf dem Markt der Garagen-Rock-Macher, wo sie eine weitere reinrassige Platte anpreisen. LP-Nummer vier, "Very Human Features", erscheint kurz nach der ersten Sub Pop-Veröffentlichung der Band, "On the Intricate Inner Workings of the System" von 2024. Mit dieser Platte setzte die Band ihre Liebesbeziehung zu BBC Radio 6 fort, begann dank einer Session mit KEXP eine neue und tauchte auf den Seiten des NME auf. Gibt es noch etwas auf der Liste? Oh ja, Festivalauftritte, unter anderem im heimischen Green Man's Walled Garden, das bis auf den letzten Platz gefüllt ist. Dann Auftritte in den USA an den Orten, von denen die Briten immer nur hören. Dieses Album - eine neue Ladung typisch verspielter, riffgeladener, intelligenter Bug Club-Songs - gibt der Band einen Vorwand, ihre nicht enden wollende Tournee fortzusetzen und ihre schreienden Fans zu füttern, die dank der unermüdlichen Veröffentlichungswelle dieser Band überschwänglich und erwartungsvoll sind. Auf "Very Human Features" haben The Bug Club ihre Gewohnheit fortgesetzt, sich als ein kollektiver Geist zu präsentieren. Zwei in Einem. Selten findet man eine Band mit zwei kreativen Kräften, die eine so einzigartige, gemeinsame Perspektive, Sinn für Humor und ein Händchen für Popmelodien haben. In "Beep Boop Computers" wechseln Sänger Sam (auch an der Gitarre) und Tilly (am Bass) zwischen I's, my's und we's hin und her, als ob es da keinen Unterschied gäbe, während sie zwischenmenschliche Beziehungen und Erfahrungen in einer glorreichen Glam-Rock-Demontage der menschlichen Aspekte, auf die der Titel des Albums verweist, auf die Schippe nehmen. Um beim Thema zu bleiben: "How to Be a Confidante" macht das, was The-Bug-Club wirklich können, indem sie, wieder als zwei Stimmen aus demselben Kopf, allgemeine Aspekte unseres Lebens herausgreifen und sie lächerlich klingen lassen. Das Surreale liegt im Vertrauten, nicht im Ignorieren des Vertrauten - The Bug Club wissen das, und dieses Verständnis bildet zusammen mit einer unerbittlichen Basslinie das Rückgrat dieses Garagenrock-angehauchten Gassenhauers. Nachdem The Bug Club in den USA dank der kräftigen Garagen-Punk-Scheibe "On the Intricate Inner Workings of the System" und der anschließenden US-Tournee eine entsprechend große Fangemeinde gewonnen haben, wird die fruchtbare Partnerschaft mit Sup Pop mit "Very Human Features" noch schmackhafter. Die neue Platte ist ein sicherer und unendlich witziger Wirbelwind aus literarischem, selbstreferenziellem und gut gelauntem Rock'n'Roll. Die Band reitet auf der immer weiter anschwellenden Welle ihrer Popularität, als ob sie auf Rollschuhen schnell über den Aldi-Parkplatz in Caldicot flitzen würde. Möge es lange so weitergehen.

With sprawling compositions and occult-tinged lyrics, "In The Dawn of November," and heralds Goya's towering return to the heavy underground! Known for crushing riffs, fuzz-drenched guitar tones and haunting, psychedelic atmospherics, Phoenix, Arizona's GOYA takes inspiration from genre pioneers like Electric Wizard, Acid King, Sleep and Weedeater, crafting a sound both hypnotic and punishing. With sprawling compositions and occult-tinged lyrics, Goya's titanic, riff-driven aesthetic evolved over three albums in four years, cementing the band's legacy of unrelenting doom and immersive sonic landscapes. In the summer of 2024, Goya returned to the road for a month-long US tour after taking a few years to write their fourth album. A monolithic work of graveyard grooves and bleak reflections on mortality, "In The Dawn of November" was recorded in Seattle in the fall of 2024 with production icon Jack Endino, and heralds Goya's towering return to a heavy underground eager to drown in their sludge metal majesty. Clear and colored LP versions and digipak CD available

With sprawling compositions and occult-tinged lyrics, "In The Dawn of November," and heralds Goya's towering return to the heavy underground! Known for crushing riffs, fuzz-drenched guitar tones and haunting, psychedelic atmospherics, Phoenix, Arizona's GOYA takes inspiration from genre pioneers like Electric Wizard, Acid King, Sleep and Weedeater, crafting a sound both hypnotic and punishing. With sprawling compositions and occult-tinged lyrics, Goya's titanic, riff-driven aesthetic evolved over three albums in four years, cementing the band's legacy of unrelenting doom and immersive sonic landscapes. In the summer of 2024, Goya returned to the road for a month-long US tour after taking a few years to write their fourth album. A monolithic work of graveyard grooves and bleak reflections on mortality, "In The Dawn of November" was recorded in Seattle in the fall of 2024 with production icon Jack Endino, and heralds Goya's towering return to a heavy underground eager to drown in their sludge metal majesty. Clear and colored LP versions and digipak CD available

Nach 25 Jahren Herman Dune und 15 Alben freut sich BB*ISLAND, Odysseús zu präsentieren, eine neue Sammlung von Songs, die den Hörer auf eine Reise durch das turbulente Leben von David Ivar mitnimmt, eine Reise voller Sehnsucht, Schmerz, Liebe, Tod, Glaube und Erlösung. Es ist das erste Mal, dass Herman Dune mit einem externen Produzenten, David Garza, zusammenarbeitet. Das Set-up besteht fast ausschließlich aus akustischen Instrumenten, die live mit der Band in einem Raum aufgenommen wurden. Es ist Folk-Musik im typischen Stil von Herman Dune mit Anklängen an Americana, Country, jüdische und hispanische Traditionen, aber mit einer ganz neuen Wendung in Sound und Arrangements, vor allem im Vergleich zu seiner letzten rein akustischen Trilogie The Portable Herman Dune. David Herman Dune über die Produktion: "...David Garza getroffen zu haben war reiner Zufall. Ich mühte mich gerade mit einem Geigenarrangement für einen der Songs ab, als er sich in einem überfüllten Café in der Innenstadt von San Pedro an meinen Tisch setzte und mich fragte, woran ich gerade arbeitete. David, ein mit einem Grammy ausgezeichneter Produzent und Musiker, hatte mit Fiona Apple, Iron & Wine, John C. Reilly und den Milk Carton Kids gearbeitet und mit einigen meiner musikalischen Helden wie Lucinda Williams und Townes Van Zandt gespielt. Wir verstanden uns auf Anhieb, und er bot mir an, meine Songs zu produzieren. Wir begannen, die Stücke jeden Abend bei mir zu Hause zu spielen, und einmal pro Woche in einem französischen Restaurant namens Le Compagnon. David kannte die besten Musiker in L.A. - Leute wie Sebastian Steinberg am Kontrabass (Fiona Apple), Richard Edson (Schlagzeuger von Sonic Youth, Schauspieler in Jim Jarmuschs Stranger Than Paradise und Spike Lees Do The Right Thing), Odessa (violin, Edward Sharpe and the Magnetic Zeros) und Paul J. Cartwright (violin, Olivia Rodrigo). Als wir uns bereit fühlten, versammelten wir alle in meinem Haus für drei Tage Live-Sessions. Es war ein chaotischer, schöner Prozess, bei dem alle in einem Raum zusammen spielten, keine Kopfhörer, keine Overdubs - nur rohe, echte Musik. Aufgenommen und gemischt wurden die Sessions von Chris Sorem (ebenso Grammy-prämiert für seine Arbeit mit den mit den LA-Legenden Los Lobos). Chris brachte eine Wagenladung alter Mikrofone mit und konzentrierte sich auf "Raummikrofone" - djene, die die Atmosphäre des Raums einfangen. Er sagte, dies sei eine Technik, die auf Alben wie Buena Vista Social Club verwendet wurde, und es erzeugte eine Magie im Raum, die spürbar war. Sogar die traurigsten Lieder wurden lebendig mit so viel Freude, Energie und Elektrizität. Die Aufnahmen waren ungefiltert, organisch und hatten Seele. Als wir mit dem Abmischen begannen, waren wir alle vom Ergebnis erstaunt, wir hörten einen Moment in der Zeit, der sich gleichsam zeitlos anfühlte"

From "Spirit Of The Air"'s violence, "Cross Over"'s industrial poundings, the PCP-infused minimalism of "High On Angel Dust", to "Someone Was There" mixing techno and hardcore, Derniere Danse Part II outlines what Manu le Malin is as a producer : not afraid to visit experimental soundscapes nor ashamed to go straight to the dancefloor point... But always soaked in darkness. This is a black gateway to the world of MKNK's head, through five of his all-time favorite tracks, including one unreleased, all remastered by Scan X and Deathmachine.

But before pressing play, consider yourself warned : the first track "Spirit Of The Air", with its tortuous intro, piano break, screams samples and references to The Exorcist saga, is relentless, violent and unpredictable. And things don't go softer with "Cross Over", also an extract from his Fighting Spirit album (2002), a downright industrial attack that sounds particularly up-to-date.

Unreleased "High On Angel Dust" then shows Manu's admiration to the label PCP (hence the powdery title) and its founder Marc Acardipan. An oddity in his discography that almost never saw the light of the day : the synths and TR-909 based track was recorded in one night, and completely forgotten in a DAT for 28 years! "Someone Was There", from the soundtrack of Jalil Lespert's 24 Mesures, and the esteemed classic "One The Way Home", available as a bonus in the digital release, conclude this handpicked selection.

Diverse, personal, tormented and yet dancefloor compatible, Derniere Danse Part I and Part II feature some of Manu's best works. But they also are a stepping stone : MKNK will now open to new artists exploring every dark corner of what hardcore music can be.

Having spent the last half decade building up a name as a jazz and soul singer of rare distinction, Ada Morghe now presents her fourth album, 'Pure Good Vibes', which features the British reggae icon Maxi Priest A trip to Jamaica in January 2024 set 'Pure Good Vibes' in motion. Ada headed to th island after hearing that her bassist and producer Livingstone Brown, was flying the to work with Maxi Priest. It was an idea that was underlined by her desire to explo the music, culture and Jamaican heritage that had also shaped the lives of her oth band members Luke Smith (keyboard) and Josh McNasty (drums). The resulting album is a beautiful, intimate reflection on adult themes, such a keeping the passion alive, making the most of life's sweet moments and capturing th closeness of two people in love, which is underpinned by a sound that, though n beholden to Jamaica's musical traditions, certainly shares a spirit with them. The are other influences - such as Michael Kiwanuka's soulful fervour, the vibrancy of '60 R&B, and a love of Sade's 'Diamond Life'. Before stepping whole- heartedly into music, Ada Morghe was already a renowne actress and an award-winning author in her homeland of Germany. Having written an starred in the play-turned-film 'Frau Mutter Tier' and been asked to write songs for i soundtrack, she found herself working with former Prince sound engineer Han Martin Buff. That led her to Abbey Road studios in London, her debut album 'Picture and 2020's 'Box', an expression of her refusal to be tied down to any one genre o profession. From there came 2023's 'Lost', a free-flowing vocal jazz suite based on th four elements. 'Pure Good Vibes', however, pulls her toward what sounds like her most natural albu yet: sophisticated jazz and soul that deals with both the romance and reality o matters of the heart.

2023 Repress

DJ Koze - with his friendly and sometimes slightly melancholic take on the world - is one of the greatest auteurs of club music today, and one of the few internationally active DJs who dares to make music that has relevance beyond the dance floor. During the 70-minute journey on his DJ Kicks - the 50th edition - Kosi
Kos manages to establish a uniform color even though genres alternate in a way that is rarely heard on a mix CD: the stripped down hip hop of Madlib, brutalist Berghain techno, timeless songwriting, floating indie-pop and outlier numbers that oscillate between absurdity andmelancholy. Koze's disregard for the stylistic yoke presents him with an immense challenge. Hence, almost all the tracks are more or less edited, and one is fully rhymed (Session Victim: Hyuwee).Koze rambles on here himself: "I didn't want to kick around ophisticated knowledge, but rather try and weave together some good gems that would make sense to anyone, even people who aren't necessarily music nerds". But this is blabbing that you can count on, also because he approaches the term "mix" from a different angle and doesn't even try to make something fit that doesn't fit: "During the day, I don't need to hear anything that's mixed on the beat. I put the focus on making sure that it works harmoniously - the idea is more to create the impression of a radio show, like people such as John Peel did so uniquely. There is a giant cosmos of music and it runs through my filter".

Man singt und es wird: Im Zuge eines Zusammenbruchs hat Max Gruber den Soloartist Drangsal gekillt und die Band Drangsal gegründet. Am Ende des Tunnels steht das im Juni 2025 erscheinende Album, Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen.

 Seit über zehn Jahren sichelt Max Gruber mittlerweile die Zick-Zack-Schneise Drangsal durch die deutsche Poplandschaft: Harieschaim aus 2016, Zores aus 2018 und zuletzt Exit Strategy – das ihm 2021 Platz 6 der Albumcharts bescherte – erdachte Gruber größtenteils im Alleingang. Und dann war da noch etwas nach seiner Exit Strategy: Ein Zusammenbruch. Max Gruber wusste nicht mehr, ob und wenn ja, wie er weiter Drangsal machen will, veröffentlichte im Ullstein-Verlag sein literarisches Debüt »Doch«, gründete Die Benjamins, holte so gemeinsam mit Charlotte Brandi, Thomas Götz und Julian Knoth Hans-A-Plast Frontfrau Annette Benjamin aus dem Ruhestand und reaktivierte unlängst das 2016 mit Stella Sommer gegründete Duo Die Mausis.

Und doch, von innen wie von außen, immer wieder die Frage nach einem neuen Drangsal-Album. Wenn es denn überhaupt nochmal eines geben soll, erkannte Gruber, musste er die Arbeitsweise, auf deren Grundlage Drangsal-Songs entstehen, fundamental verändern. Auf alles Ringen folgte, was unvermeidbar war: Der Reset. Max Gruber hat den Soloartist Drangsal gekillt und die dreiköpfige Band Drangsal gegründet – zusammen mit zwei Mitmusikern, die ihn aus seinen Gewohnheiten gelöst haben: Lukas Korn und Marvin Holley.
Erstgenannter ist Gitarrist und Produzent, spielt in der Band Lyschko, produzierte zuletzt das Album silber von Mia Morgan und hat seit 2020 als Bassist an der Drangsal-Liveband partizipiert. Zweiterer studierte Jazz- und klassische Gitarre sowie Komposition in Stuttgart und Wien, stand mit Sam Vance-Law und Fil Bo Riva auf der Bühne und arrangierte für Film und Theater. Lukas Korn und Marvin Holley haben dafür gesorgt, dass sich die zentrale Figur im Kosmos Drangsal dreiteilt.

Das Liedermachen in Bandkonstellation ließ alle Angst platzen: Getragen von Euphorie nahmen Gruber, Holley und Korn ab Ende 2022 etliche Songskizzen und damit den Unterbau eines siebzehnteiligen Albums auf. Nach Kreativurlauben an der polnischen Grenze und Ostsee stand eine von Max Rieger produzierte und von Lukas Korn Co-produzierte vierte Drangsal-LP. Sie trägt den schwergängigen Titel Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen und erscheint im Juni 2025. Gruber, Holley und Korn haben sich auf das Credo so wenig wie möglich, so viel wie nötig verständigt – und dadurch einen Umbruch im Klangkosmos Drangsals manifestiert, der völlig neue Dynamiken mit sich bringt. Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen hält Leerstellen aus, in seinem Zentrum stehen, statt Synthesizer, Akustikgitarren, die immer wieder an der Grenze zu Blues und Jazz wandeln. Wo speziell auf Exit Strategy noch überzuckerter Synth-Pop preschte, ist nun Klavier zu hören; Orgel, Klavinet und Cembalo; Xylophon, Violinen und Celli; von Ralph Heidel gespielte Querflöten und Saxophone.

Dazwischen drei Episoden, in denen sich Gospel Chöre und Technobeats breitmachen. Max Rieger hat die drei dazu motiviert, Echtheit, auch Imperfektion im Moment der Aufnahme zuzulassen – und großen Anteil daran, dass »Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen« ein realistisches Abbild des Trios bietet. Die Stimmung? Dagegen eher ein Wechselbad. Max Gruber singt von Selbstentfremdung, vom Für und Wider des Stillstands, vom Sichhingeben und Sichwegschmeißen – mal auf deutsch, mal auf englisch, mal zart, mal angewidert. Grubers Stimme klingt, nach einer klassischen Gesangsausbildung, die der Einunddreißigjährige angetreten hat, zielbewusster. Umarmungen Marke »Ich hab von der Musik geträumt und Inkomplett treffen auf Gewitterwolken à la Mein Eid und dem Sophia-Blenda-Feature Mein Mo(nu)ment. Entlang rigoroser Entkernung und Hexenjagd geht es Bergab – für dich, für mich, für Max Gruber sowieso. Er ist über weite Teile der Platte hinweg auf der Flucht vor sich selbst, den alten Geistern, dem leidigen Wachzustand: Wär’ ich doch bloß nimmermehr erwacht, ich schliefe in ewigem Glück. Gruber sucht und sucht: Nach innerem Frieden, nach Gnade, nach unverbranntem Boden, nach neuen Versionen seiner Selbst – und das vergeblich. Immerhin scheinen Erinnerungen mit der Zeit zu verschwimmen: Grubers Worte – zu sich und zur Welt – klingen im hinteren Teil der Platte sanfter, vergebender, resümierender. Ein Schlüsselmoment? Das von der Schauspielerin Rosa Lembeck eingesprochene, Monolog artig formulierte Klanggedicht Rosa – Es ist so: Man singt und es wird.

Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.

Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.

Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.

Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.

Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.

The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!

Light Yagami, a gifted young student, one day picks up the "Death Note", a notebook previously kept by a shinigami (God of death), Ryuk, who apparently was bored in his world. Just write the name of a person in this notebook, and this one dies (according to certain conditions that the shinigami will explain to Light during their meeting). Thus, with the "Death Note" in hand, Light decides to rid the planet of all criminals to make it a just world, a perfect world. However, who is he to judge people? He therefore becomes the worst wanted criminal on the whole planet.. Two composers and arrangers composed for this work: Hideki TANIUCHI (HAJIME NO IPPO, NANA) and Yoshihisa HIRANO (FINAL FANTASY, HUNTER X HUNTER).

Available 13 June 2025 on double translucent orange vinyl, Trios captures the magic of Buddy Rich's legendary three- man jam sessions-- performances that have never been officially released until now. Recorded live during international concerts in 1976 and 1977, Trios showcases Rich alongside extraordinary talents: bassists Jon Burr and Tom Warrington, and young piano prodigy Barry Kiener. These trio interludes--recorded by Rich's alto saxophonist Alan Gauvin--feature Rich playing with brushes in an intimate setting, spotlighting his dynamic range and nuance. "These trio sets were often played to give the brass section a break," says Gauvin. "But what Buddy did with those moments was extraordinary. It was a masterclass in restraint, creativity, and musical interplay." Among the album's ten tracks are beautifully reimagined standards such as "Just Friends," "Stella by Starlight," and "My Romance." Each performance highlights Rich's desire to step back and allow the piano and bass to shine--something unheard of for a drummer of his stature. The release also serves as a tribute to Barry Kiener, the immensely gifted pianist who tragically passed away at 30. "Barry had been like a son to him," remembers Buddy's daughter Cathy Rich, who serves as an Executive Producer. "This album is a rare glimpse into Barry's brilliance and the deep musical bond he shared with my father." Trios was recorded and produced by Alan Gauvin, mastered by Tom Swift, with cover art by Michael Patterson, the award-winning visual artist and USC professor known for his work on a-ha's iconic "Take on Me" video.

Bergen-born Bare Folk's songs belong to the ballad genre, with clear elements of jazz and folk music. With harmonious, original melodies, the mood ranges from the melancholic to the life-affirming. Inspired by the greats of Norwegian ballad music, Bare Folk vitalizes the connection between poetry and music. Bergen's very own folk jazz song band Bare Folk has already been critically acclaimed and established as something unique on the music scene in the city between the mountains. Nevertheless, Bare Folk plays songs that songs should sound well-known but fresh, wistful but hopeful, humorous but serious. Their debut album is called "Noe Tror Jeg & Noe Vet Jeg" (Some things I think & some things I know). No surefire title, but it is sure that it contains something for every taste. Here you will find everything from socially critical satire to traditional harp songs to love songs - and everything in-between in beautiful harmony.

Light Yagami, a gifted young student, one day picks up the "Death Note", a notebook previously kept by a shinigami (God of death), Ryuk, who apparently was bored in his world. Just write the name of a person in this notebook, and this one dies (according to certain conditions that the shinigami will explain to Light during their meeting). Thus, with the "Death Note" in hand, Light decides to rid the planet of all criminals to make it a just world, a perfect world. However, who is he to judge people? He therefore becomes the worst wanted criminal on the whole planet.. Two composers and arrangers composed for this work: Hideki TANIUCHI (HAJIME NO IPPO, NANA) and Yoshihisa HIRANO (FINAL FANTASY, HUNTER X HUNTER).

“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….” That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.

Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin. The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.

Pat Boone or Elvis Presley? That was the burning question on
the lips of Fifties teen America. Certainly, the two were the most
successful solo artists of rock’s breakthrough years. But while
Presley was the good-looking ‘white kid who sang black’, Boone
was married, God-fearing and covered hits by African-American
artists to chart-topping if unthreatening effect. Elvis, of course, is
no longer with us though his image and influence will never fade.
Pat Boone is still alive and there’s no doubting he was
responsible for some of the best-remembered classic pop of the
era.

Epitomising the very best of their hometown’s unparalleled musical heritage, Dames Brown are fully-fledged members of the extended Defected family following the release of slick, funk-filled record ‘What Would You Do?’ in 2021 and features on a number of the label’s vocal house hits. The Detroit trio continuously impress with their exquisite releases, striking lyricism and a hefty dose of house authenticity across their outputs. Now Athena Johnson, Teresa Marbury and LaRae Starr step out to properly introduce themselves to the wax lovers, with Detroit musical icon Amp Fiddler on production duties. Releasing ‘Introducing Dames Brown’ on 7”, this package also includes the Instrumental, as Detroit’s finest deliver a taste of what’s to come on their forthcoming album, capturing funk, house and soul from across the spectrum.

Neuaufgelegt mit erneuertem Artwork! HELLUCIFERNATION ist DEMENTED ARE GO's sechstes Album von 1999 und wahrhaftig eines ihrer allerbesten Studiowerke! Das Album enthält Klassiker wie "Strangler In Paradise", "Reptile Queen", "What's The Problem" und den Single Track "Daddy's Making Monsters"!! Das ist bizarrer Psychobilly, wie es nur DEMENTED ARE GO hinbekommen! Klassisch schwarze 200g Vinyl-LP

Debut album from Lou Venturini, limited edition run of 200, full sleeve & label artwork by Ciaran Birch.

In Lou Venturini's inaugural album, it finds the perfect grey area between janky noise and flawlessly manipulated sound design, with his vocals a constant throughout. The result is a constant bubble of blown out and imaginative productions with warped mutters and wheezed out vocal chords. A truly personal and deep dive into the world of Lou, it's been over six years in the making, and boy was it worth the wait.

Bringing raw club energy into your living room, KI/KI continues to merge worlds as she likes. On her latest release via her self-founded label slash, she fuses hard-hitting trance synths with Storm Mollison's silky vocals, classic hard house elements with her forward-thinking take on club music, and everyday life with the adrenaline of a big night ahead. With its infectious melody, driving bassline, and a touch of pop allure, 'Getting Ready For The Party' channels the rush of pre-party anticipation and has quickly become a fan favourite since its first play.

With its mind-altering, waltzing-through-hot-asphalt take on the Supremes' "You Keep Me Hanging On" scorching the '67 charts, Vanilla Fudge burst to the forefront of all the "heavy" new combos. The group's debut disc is relaunched here in its rare and unique mono mix, a decidedly different and more powerful listening experience than the more common stereo release. Pressed on blue vinyl, cut from the original Atco analog reels!