quête:the r a s e

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

Originally released in 2017, Beast Epic, Iron & Wine’s fourth album for Sub Pop, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth, with a lyric as pained and direct as any I've heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. The album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming,” “Thomas County Law,” “About A Bruise” to the almost croony “Last Night.” Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee. *The term "soft power" was cribbed from author and Harvard professor Joseph Nye, but used in a different context.

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

2024 Repress

Flectic Mongs was DJ Club Sandwich’s first release on his own label. Following suit of the previous eps by Matthew and Aquatronics with a tinge of acid. This EP would slowly unravel into the following styles of The Call EP and the Jack Bregman LP. The colour of the record is how it sounds.

'Can Live in Keele 1977' ist die neueste Veröffentlichung in einer Reihe von Live-Alben, die aus den Tresoren von Spoon Records und aus Fanaufnahmen ausgegraben und dann von Gründungsmitglied Irmin Schmidt und Produzent/Ingenieur René Tinner sorgfältig zusammengestellt wurden.

Live in Keele 1977 ist ein dynamisches Dokument der Spätzeit von Can. Die im März 1977 aufgenommene Kernbesetzung bestehend aus Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay wird durch Rosko Gee (Traffic) am Bass ergänzt. Gees kürzliche Ergänzung des Line-Ups bedeutete, dass Holger Czukay von seinen Bassaufgaben entbunden wurde, um „Waveform Radio und Spec“ zu spielen. Sounds“, die sich hier als jenseitige Klänge, Samples und das manifestieren, was ein Rezensent einer späteren Show als „Mondgespräch mit einem weißen Kontinentaltelefon“ beschrieb.
Das neue Album ist die letzte Veröffentlichung in der aktuellen Reihe von Live-Dokumenten, die 1975 mit „Can Live in Stuttgart“ starteten (Uncuts Reissues of the Year, Platz 2 in MOJOs Reissues of the Year, Platz 7 in The Wire's Archive Reissues of the Year und mehr). ), gefolgt von „Can Live in Cuxhaven 1976“ (das erneut eine große Rolle in den Neuauflagen des Jahres spielte); „Can Live in Brighton 1975“ („Pure Dynamit… Keep They Coming“ – MOJO); „Can Live in Paris 1973“, das erste der Reihe mit dem verstorbenen Damo Suzuki („eine lebhafte Hommage an eine der besten Improvisationsgruppen des Rock“ – Financial Times), und „Can live in Aston 1977“ (The Quietus's Reissue of the Week – „ Es ist zweifellos Musik zur Erweiterung des Geistes, aber sie dehnt das Gehirn auf eine Weise, die einzigartig bleibt – „Can waren schon immer Anbieter von Inner-Space-Rock, und jede Reise ins Unbekannte war so anders wie ihre Shows“).

Vinyl The project is the work of a collaborative team headed by Tommy Henriksen - veteran rock session bassist/guitarist, creative director for Alice Cooper and current member of Hollywood Vampires (Rock supergroup featuring Joe Perry, Alice Cooper and Johnny Depp). Henriksen worked alongside the legendary Diamond-certified producer Mutt Lange (AC/DC, Def Leppard, Bryan Adams, Shania Twain) who emerged from retirement to executive produce the project. Combining elements of David Bowie’s apocalyptic vision, The Who’s bombastic fury, and ZZ Top’s power blues, the dynamic album boasts features from Phil Collen of Def Leppard and Nikki Sixx of Motley Crue.

Founded during 2015 in New York’s Hudson Valley, Shadow Witch is an enigmatic beast of a band, harnessing decades of varied influences with a decidedly ‘vintage rock’ sensibility. Beginning with their first release “Sun Killer” in 2016 and “Disciples Of The Crow” in 2017, the band has garnered excellent reviews from the international heavy music community. The band returned in 2020 with their brooding occult-rock ode to obsession with their third album “Under The Shadow Of A Witch”. Now with their new full length, ”Eschaton (The End Of All Things)”, Shadow Witch explore new boundaries, digging into folk, prog and hard rock best traditions; a monumental heavy metal album made of retro, classic and proto rock/metal sonorities, occult doom vibes and enigmatic psychedelic twists.

After a fifteen-year hiatus from the studio, the beloved singer is returning with his first new album in over a decade! Clay returns in fine form, on the 20th anniversary of his record-breaking, 2004 Christmas album, with an all-new celebration of the holiday season. Christmas Bells Are Ringing harkens back to the musical favorites of Christmases past including your holiday favorites and a few free surprises. Produced by legendary Grammy Award-winning producer Ron Fair, Christmas Bells Are Ringing promises to be a holiday album for the ages delivered with vocal magic like only Clay Aiken can.

"Back in stock due to popular demand, the first ever release in our iconic Brazil 45's imprint!

Kicking off a series that has now clocked in over 100 releases, it all began with this stunning double header highlighting two essential Brazilian tracks from Claudia and Cizinha.

Claudia’s 'Deixa Eu Dizer' is an absolute must have Brazilian record. A timeless voice that lifts this beautiful MPB track to stratospheric heights. As sampled by Marcelo D2 on one of our favourite Brazilian hip hop records 'Desafabo', the track features on Claudia’s stunning album of the same name and had never been released on 7"" until this point.

On the flip, a sun dappled, heartfelt and hard to come by track from Cizinha. Originally released on Rozenblit in 1968, it had been, and more importantly still is, a firm favourite of ours. Shimmering horns, deft flutes and a tight percussion section providing the perfect basis to this sweet samba groove."

Is A Feeling ensures that their new 12" very much is with some classically inclined but not overly nostalgic deep house from Scott Featherstone. 'Plan B' is a bulky, wonky deep house cut for the pumping after party hours, then 'We Played House' taps into the early Chicago sound with Peach Boys style synths and dubbed-out vocals. 'Bad Mother Fucker's a raw, sleazy looper that DJ Sneak would love not least because of the rude-boy vocals and filtered synths, then 'Badass Breaks' spins out on just that. 'Journey' might be the best off the lot with its soulful xylophone melodies and smooth-cruising deep house beats. An eclectic and excellent EP.

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Vulcano gelten als einer der Begründer der südamerikanischen Extrem-Metal-Szene und wurde 1981 in São Paulo, Brasilien, ins Leben gerufen. Mit einer nicht vorhandenen Infrastruktur für diese Art von Musik kämpfend, veröffentlichte die Band 1983 ihre Debüt-EP „Om Pushne Namah“, welches auf Portugiesisch gesungen wurde, gefolgt von „Live!“ im Jahr 1985, dem ersten Metal-Live-Album, das jemals in Brasilien veröffentlicht wurde. 1986 veröffentlichte die fünfköpfige Band ihr erstes Album „Bloody Vengeance“, das innerhalb von 24 Stunden von Vulcano selbst aufgenommen und abgemischt wurde. Das Album, das es in puncto Wildheit sogar mit den damaligen Vorreitern Slayer und Kreator aufnehmen konnte, wurde schnell zu einem Underground-Klassiker und hat diesen Status bis heute gehalten. Es ist daher nicht verwunderlich, dass High Roller Records, die bereits die 2004er LP „Tales from the Black Book“ der Gruppe 2012 auf Vinyl veröffentlicht haben, die ultimative Wiederveröffentlichung von „Bloody Vengeance“ vorbereitet haben, originalgetreu restauriert und remastered von Patrick W. Engel, der laut Band „all die Hörbarkeit gebracht hat, die 1986 bereits hätte da sein sollen“. „Bloody Vengeance“ wurde im Laufe der Jahre mehrfach wiederveröffentlicht und war in jeder Hinsicht minderwertig, vor allem was den Sound anbelangt. Erlebe es endlich so, wie es ursprünglich gedacht war!

Dublin’s most dedicated Detroit district has just assembled a fresh set of space shuttles ready to take off. Xistence Records is known best from its true to the cause, hypnotic rhythms forged to the ethos of the classic Motown techno. The label owner Phil Robertson brings three variations for galloping grooves on whirling synth fields, with pulsating percussion here, chimey chords there, and even French Kiss-esque stabs appear somewhere. Last but not least, John Beltran joins the show with a beautiful Transmatic acidic bliss as his reimagination of ‘Lonely Moments’. Mesmerising.

10 years after their debut, City Of All Times audio-visual enquirers John B McKenna and Richard Greenan re-appear as Devonanon, to share the findings of a decade-long sonic experiment. Like its predecessor, Richard & John is a living, breathing collection of field recordings and compositions, gathered gradually from remote corners of the pair's lives. Familiar waypoints - interwoven microtonal synths, regurgitated live performances, polite whispering, and the gurgling hum of vehicles (land and sea) - all fold into the perpetual stew.

Where City read like a crumpled postcard account of fraternal reportage, Richard & John is a tone poem on something more amorphous, and out of time - a garbled history of human closeness, upheaval and mark-making, that seems to buckle and creak like a tapestry with no beginning or end. No two spoonfuls are the same, as our story reels through kosmische library stylings ('Wilderness Engine'), to cortex-quieting free association ('Generate Countryside'), and baroque instrumentation ('Blood Laughing', which features beautiful turns from Masayoshi Fujita on vibraphone, and Rosa Juritz on bassoon).

A collaboration between Duncan Bellamy (Portico Quartet) and Belinda Zhawi (MA.MOYO), Jump Ship, Sit Lean, Be Still, Stand Tall is a collection of sonic-poetry that sets Zhawi’s illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments, together they render these disparate forms into something distinct, melancholic and luminous.

Belinda Zhawi is a literary & sound artist based in London & Marseille, author of Small Inheritances (ignitionpress, 2018), & experiments with sound/text performance as MA.MOYO. Her work explores African diaspora research and narratives, and how art and education can be used as intersectional tools. Her literary & sound works have been featured on various platforms including The White Review, Vogue, NTS, Boiler Room & BBC Radio. She’s held residencies with Triangle-Asterides, France; Cove Park, Scotland; Serpentine Galleries; ICA London and was a Brixton House Associate Artist 2022 - 24. Belinda’s the co-founder of literary arts platform, BORN::FREE. She is working on her first full poetry collection.

Duncan Bellamy (b. Cambridge, UK, 1986) is a multidisciplinary artist based in London. His diverse practice encompasses painting, silkscreen, photography, sound and music. His work examines the shape of time, loss and our relationship to the past and present in a period of compressed transformation. He is a founding member of Mercury Prize nominated Portico Quartet, and has contributed sound work to the artist Hannah Collins audio-visual installation I Will Make Up A Song. Bellamy is working on a debut exhibition and new music.

None of Scattersun’s principal collaborators could easily meet in person. When Fax Gang and Parannoul began work on the album in 2023, they encouraged themselves to throw all caution to the wind with regard to genre and sound palette, ultimately weaving together intense strains of blown-out electronica that pull on a whole manner of stylistic threads, from two-step beats, to flashes of breakcore, cloud rap passages, and pop serenity. Jarring turns that lead to booming, emotional climaxes form the animating logic behind Scattersun. Album opener “Quiet” lulls listeners into a false sense of security before the breakdown tells them do not pay any heed to your expectations as it dismantles itself before exploding into a climax the artists describe as a spirit bomb. Such crescendos and dime-turns are all over Scattersun, defining characteristics which, in their scattered unpredictability, always culminate in enrapturing, playful mimicry of human nature.

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household"s toes tapping.

A magical and inspirational collaboration between musicians from Burkina Faso - including West African griot and balafon player Seydou "Kanazoe" Diabate and guitarist Abdoulaye "Debademba" Traore - alongside French jazz vocalist and flutist Clotilde Rullaud. In the streets of Burkina Faso, the phrase "ka nana ye" can be heard everywhere. It means "it's not easy" but also implies that things will be okay. With the album Kananaye, which takes its name from this popular saying, things can only get better. Its foundational multiculturalism, conscious lyrics, intertwined traditions, and contemporary grounding are essential qualities in these times when optimism has become a survival virtue. It's not easy, but it will get better - provided we make the effort, crossing borders where others seek to close them. Clotilde Rullaud, Abdoulaye Traore, Achille Nacoulma, Seydou Diabate and Boubacar Djiga, the creators of Kananaye, are dedicated to this cause.

Records for AIA organisation. All benefits and even a bit more have been donate in advance to the Artists In Action Association... Organising kitchen in Calais refugees camp « The Jungle ». Here we got one excellent techno tune from Crystal Distortion, one pumpin from Suburbass and a great funny tribecore track from Matt Weasel Buster Tribe :) We also have here something really sticking to the subject : a tune made with sounds from the Jungle.

Seve & SleepingWater - Run For Human Values's Video Clip

John Prine's 1984 release, is available on LP from Oh Boy Records for the first time since the original pressings.

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL!!! FEAR NO EVIL is the second studio album released in 1985 under the British independent label Ebony Records.

New Heavy Hitters album on 180g Double LP vinyl. Blue chip ensemble casting, winging improvisations that are solidly rooted in the blues, original compositions that add much to the ever-expanding repertoire of the modern jazz canon!

These are the components that you look for in ANY recording and they're all available in abundance on That's What's Up by the Heavy Hitters.

Following on from the House-infused punch of her Peach Discs release in June, Bristol’s Daisy Moon treats us to a shapeshifting debut on Timedance - entering a new era with a splash sure to be felt in most abyssal zones.

‘Shadow Of Silhouettes’ showcases a singular exploration of tough yet scintillating sounds, between wiggy electro, bass-laden grooves and inspired bursts of FWD techno- pop.

In this diverse body of work, Daisy’s vocals are the glue tying things together. They appear like sonic silhouettes, abstracted through sound design and unveiling a taste for the experimental. In other moments they are stripped from their abstract form and float above the surface, revealing Daisy Moon’s blossoming talent for ear-worm melodies.

Neues limitiertes Vinylformat für "Million Dollar Baby", dem bislang ehrgeizigsten Popprojekt, das Pixey zusammen mit Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) und Rich Turvey (Rachel Chinouriri, Blossoms, The Coral) produzierte. Die LP kombiniert Pixeys Liebe zu 90er Breakbeats mit ihren Skills als Popkünstlerin und -Produzentin, probiert und interpoliert einige ihrer Lieblingssongs, um nicht nur die Lücke zwischen alten und neuen Sounds zu schliessen, sondern einen völlig neuen Sound zu schaffen. Pixey erhält enorme Unterstützung von den britischen Popmedien und zierte hierzulande das Cover von Spotifys "Indie Brandneu" Playlist.

Maximum Violenceis Americandeath metalbandSix Feet Under's 3rd studio album. Thealbum goes back toChris Barnes' roots inCannibal Corpsewith violent themes/lyrics. Itwas also the first Six Feet Under album to featureSteve Swansonon guitars.

The "Great Escape Artist" is back! No, not THAT one - dude"s dead! We"re talking about Papa M. And HE"s talking "bout Harry Houdini - in the album title, anyway, not sure about anywhere else. So, six years since his last LP, the all-acoustic A Broke Moon Rises, Papa M rolls into the shred zone, buns glazing, with his fifth full length in 25 years of Papa M-itude! Six fat-assed songs - a couple ballads, yeah, but mostly real all-out groovers here.

COMET GAIN hatte sich 1997 eigentlich aufgelöst, aber David Christian wollte den Traum nicht sterben lassen und machte weiter. Alter Name, neue Band. Und ein neues Album! "Tigertown Pictures" wurde erstmals 1999 von Fortuna Pop in UK/EU und Kill Rock Stars in den USA veröffentlicht und wird nun von Tapete Records weltweit neu aufgelegt. "Tigertown Pictures" ist ein wilder Ritt durch alles, was mit Post-Punk, DIY, Indie-POP, internationalem Pop-Underground, Lo-Fi, Garagebeat und Folk & Rock zu tun hat., Boy-/Girl-Gesang, kratzige Gitarren, süßer Lärm und raue Melodien, Enthusiasmus und Schmerz, sogar einige undefinierbare elektronische Klänge. Es ist alles da. "Tigertown Pictures" ist eine dieser Platten, die man auflegt und sich endlich wieder lebendig fühlt.

Gitkin returns with Golden Age, a showcase of the latest evolution of his lyrical guitar-driven sound. Exploring the endless expanses of cumbia, North African/Middle Eastern music, the guitarist has increasingly brought his own personality to these traditions, creating a lively interplay between distant modes and rhythms and his own New Orleans-steeped sound.

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

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

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

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

Joshua Kitakaze's new album Darkness & Light for Acquit is a superb nine track record that comes on trifold clear vinyl. It runs the gamut from pure, dark and driving Detroit style techno to more other and astral electronics, cosmic sounds and bubbling house. The likes of 'Seven Samurai' brings crisp drums and rubbery basslines to future facing synths. 'Hidden Fortress' has a dark edge and more menace in the drums. 'Trying To Come Home' is a lighter vibe with its head up in the stars and day dreaming. A complete work, then.

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

Entomophthora was formed during a conversation about zombie flies in 2022, and consists of Roger Isaksen (vocals, bass, guitar) and Tom Wahl (guitar), both veterans in the Norwegian metal scene. Their earlier and current work includes bands like Vecordious, Nexorum, Maelstrom, Exeloume, Bethzaida, Killing for Company and Keep of Kalessin.

Their dark form of music is a natural combination of Tom Wahl's old-school death metal approach and Roger Isaksen's more modern extreme metal background. The result is Instinctual Disease; eight tracks of powerful guitars, intense vocals and rapid rhythms. Ripping death metal to the bone!

Vlek Records is pleased to announce the upcoming release of "Standing / Engraving," the latest LP from musician and video artist Jean D.L. This album features a blend of experimental folk guitar and field recordings, creating a distinctive soundscape. Each track combines guitar melodies with natural environmental sounds, producing a complex auditory experience. "Standing / Engraving" offers a meditative and immersive listening journey, evoking a range of emotions and memories. Jean D.L. has collaborated with the likes of Julia Kent (Anohni and the Johnsons), Lee Ranaldo (Sonic Youth), Margaret Hermant (Echo Collective), Mauro A. Pawlowski (Deus), Karen Willems and more

Vlek Records is pleased to announce the upcoming release of "Standing / Engraving," the latest LP from musician and video artist Jean D.L. This album features a blend of experimental folk guitar and field recordings, creating a distinctive soundscape. Each track combines guitar melodies with natural environmental sounds, producing a complex auditory experience. "Standing / Engraving" offers a meditative and immersive listening journey, evoking a range of emotions and memories. Jean D.L. has collaborated with the likes of Julia Kent (Anohni and the Johnsons), Lee Ranaldo (Sonic Youth), Margaret Hermant (Echo Collective), Mauro A. Pawlowski (Deus), Karen Willems and more

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL. SEE YOU IN HELL is the debut studio album released in 1983, on the independent record label Ebony Records.

Mit "Nobody Loves You More" veröffentlicht Kim Deal am 22.11.24 auf 4AD ihr erstes Soloalbum. Die elf Songs umfassende Sammlung ist das erste Album der in Dayton, Ohio lebenden Künstlerin unter ihrem eigenen Namen. "Nobody Loves You More" ist Kim Deals Debütalbum, obwohl es nicht das erste Mal ist, dass sie einen Alleingang unternimmt - 2013 veröffentlichte sie im Eigenverlag eine fünfteilige Reihe von zehn Songs, die limitiert als 7" erschienen. Im Einklang mit Deals akribischer Herangehensweise an ihre Kunst, wurde das Album über mehrere Jahre hinweg verfeinert. Die ältesten Songs, "Are You Mine?" und "Wish I Was", wurden 2011 geschrieben und aufgenommen, kurz nachdem Deal von der "Lost Cities Tour" der Pixies zurückkam und nach Los Angeles umzog (frühe Versionen dieser Songs waren in der besagten Vinyl-Serie enthalten). Die letzten Aufnahmen für "Nobody Loves You More" fanden im November 2022 mit dem legendären Tontechniker und engen Freund Steve Albini statt, der den letzten Track "A Good Time Pushed" in seinem Electrical Audio Studio in Chicago einspielte. Auf dem Weg dorthin hat sie eine Vielzahl von Mitstreitern aus der Vergangenheit und Gegenwart hinzugezogen, von den Breeders (Mando Lopez, Zwillingsschwester Kelley Deal, Jim Macpherson, Britt Walford) oder auch Raymond McGinley (Teenage Fanclub), Jack Lawrence (Raconteurs) sowie Fay Milton und Ayse Hassan von den Savages. "Nobody Loves You More" wurde von Marta Salogni gemischt und von Heba Kadry gemastert. Zu jedem Song gibt es eine persönliche Geschichte. Sie handeln von den Winterferien mit ihren Eltern auf den Florida Keys ("Summerland"), einem Hochzeitsband-Cover von "Margaritaville" ("Coast") oder auch der Demenz ihrer Mutter ("Are You Mine?"). Die Platte zelebriert Deals unvergleichliche Kunstfertigkeit, die nicht nur auf die Höhepunkte ihrer Karriere mit gefeierten Bands der Alternative-Landschaft (Pixies, The Amps, The Breeders) verweist, sondern auch auf ihr unverrückbares kulturelles Gewicht, das über Generationen hinweg Musiker und Musikerinnen wie Kurt Cobain und Olivia Rodrigo beeinflusst hat.

Soap & Skin kündigt mit dem Cover-Song 'Mystery Of Love' (im Original von Sufjan Stevens) ihr erstes Cover-Album 'TORSO' an, das am 22. November über Play It Again Sam erscheinen wird. Anja Plaschg alias Soap&Skin hatte schon immer ein besonderes Talent dafür, Songs mit einem ganz eigenen Ansatz neu zu interpretieren. Als das Donau-Festival sie 2022 einlud, an einem Abend sämtliche über die Jahre entstandenen Cover-Stücke aufzuführen, kam ihr die Idee zu einer festen Sammlung - die jetzt gebündelt als Album 'TORSO' erscheint.

NEW ORDER setzen die Serie der Definitive Boxsets mit dem 1986er Album Brotherhood fort. Das Boxset enthält das Originalalbum remastered auf CD und 180g Vinyl, plus eine CD mi Extras aus bisher unveröffentlichten Demos und Raritäten, sowie zwei DVDs mit den Auftritten der Band beim Festival of the Tenth im GMex, Manchester 1986 und Live in Brixton, 1987 zur Unterstützung des Welt-AIDS-Tages. Die DVDs enthalten zusätzlich Live-TV-Auftritte, Interviews und seltenes Bandmaterial. Im dazugehörigen gebundenen Buch finden sich zeitgenössische Artikel und Linernotes des irischen Radio-DJs Dave Fanning.

Das Boxset wird zusammen mit drei 12"-Singles aus dieser Zeit veröffentlicht: Bizarre Love Triangle, State of the Nation und Touched by the Hand of God - ebenfalls remastered und auf schwarzem 180g-Vinyl.

Continuing the theme of bringing through up and coming talent, Western Lore snaps up rising Manchester star, WDDS for his very first vinyl release.

After continuous support for his expertly crafted beats (previously digitally self released and via Repertoire Music) on Dead Man’s Chest’s SWU & Kool FM radio shows, Lore LTD sees the release of a trio of WDDS’ most heavyweight tunes on wax. Spaceship Riddim Jungle Tool is an utter dance floor destroyer. With an instantly recognisable and energy lifting hook and an all out assault of bassline heaven and amenisim to match, this rhythm is guaranteed to make a rave lift off.

Track A2 steps into Footwork territory, with a dance floor weapon of an entirely different ilk, pairing looped up vocal cuts with swung out and percussive drum machine rhythms, while the B side drifts back into rugged amen territory, this time drenched in deep sub and organic ambience

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

Am 22. November veröffentlicht section1 eine Sammlung von Soloklaviermusik - 'piano1' enthält Original-Solostücke von 12 Künstlern, darunter Kelly Moran, Hand Habits, Youth Lagoon und andere.

Die Songs auf 'piano1' betonen die Schönheit und heilende Kraft der Klaviermusik und bewegen sich zwischen zeitgenössischer Klassik, Experimentalmusik und Ambient.

Die Compilation stellt sowohl die beteiligten Künstler vor als auch das Klavier als Instrument und die Art und Weise, wie verschiedene Künstler ihre kreative Beziehung zu diesem Instrument gestalten. Das berühmte Zitat von Brian Eno („as ignorable as it is interesting“) diente als Leitfaden für die Auswahl der Beiträge.

Endonomos is the brainchild of Austrian multi-instrumentalist, producer and session musician Lukas Haidinger, who was mostly known for playing extreme metal in bands such as Profanity, Nervecell, Distaste and many more, but as a longtime ‘doomer’, he finally brought his sinister yet melodic sound to tape. Of what started as a one man's urge to craft menacing yet epic death/doom ‘funeral’ metal, turned into a full group of dedicated musicians in 2021 with their debut-album “Endonomos” (2022) as a result. Along with some of his closest friends to accompany Haidinger on this adventure, namely Armin Schweiger (drums), Philipp Forster (guitars) and Christoph Steinlechner (guitars), Endonomos now releases the sophomore album “Enlightenment”, recorded, mixed and mastered by Haidinger in his DeepDeepPressure Studios. Fans of acts such as Ahab, Evoken, Mournful Congregation, Katatonia, My Dying Bride, Candlemass, Swallow The Sun and Paradise Lost should give ear, as Endonomos once again unleashes a fierce blend of sinister, epic, melodic and menacing doom/death ‘funeral’ metal; low and cavernous grunt-vocals are continually breached by captivating clean vocals, combined with thick riffs, highly melodic lead guitars and, from time to time, also fragile parts, with uncanny chord progressions.

For the DJs we present a 7" single of Gorjeios b/w Jararaca Snake (Remix)! The a-side, Gorjeios, is a hypnotic blend of Brazilian rhythms and dreamy melodies. Zé Nigro’s ethereal vocals intertwine seamlessly with Arthur Verocai’s instrumental magic. The b-side, a remix version of Jararaca Snake, is a pulsing dub synthesizer journey featuring Zé Nigro’s effected vocals describing his endless quest for knowledge of why we are here.

Warpathis the second studio album by American death metal band Six Feet Under.Tracks on this album include "Death or Glory", which is a cover of a song originally done by Holocaust, and "4:20", a song four minutes and twenty seconds in length which,according to theliner notes, was recorded at 4:20 PM on April 20, 1997.The last album to feature founding guitarist Allen West.

Mit DIAMANTIK entführen MONDO SANGUE das Publikum in die schillernde, stylische Welt der Swinging Sixties. Natürlich nicht ohne inhaltlichen Twist - das psychedelisch angehauchte Pop-Art-Abenteuer liefert einige Grenzgänge: Eurospy, Abenteuer und Martial-Arts-Kino treffen auf Beat, Bossanova und sogar Disco. Heraus kommt ein zeitloser Genre-Cocktail, zusammengeschüttelt und serviert als knallbuntes Konzeptalbum. Mittels kantiger E-Gitarren, grooviger Schlagzeug-Beats, glamouröser Orchestersätze und epischer Gesangslinien erzählt DIAMANTIK von den waghalsigen Eskapaden einer von Liebe und Rache getriebenen Diamantendiebin. Dabei dürfen mörderische Ninjas, gerissene Kommissare, blutdurstige Haie und verführerische Sirenen bei dieser musikalischen Hetzjagd um die Welt nicht fehlen. Wie immer werden diverse filmische, wie musikalische Verweise ans italienische Genrekino offen ausgespielt, sodass cineastische Grenzgänger*innen ein stilsicheres Zwinkern in Richtung Mario Bava oder Ennio Morricone bemerken dürften. Zusätzlich doppelten Boden erhält die Platte durch die Hommage an die kultigen, italienischen "Fumetti neri" Comics, welche sich äußerst liberal mit den dunkleren Themen der Popkultur auseinandersetzen. Heraus kommt eine äußerst tanzbare, Beat-getriebene Mischung aus imaginärem Kult-Soundtrack und Retropop. MONDO SANGUE haben für ihr sechstes Album DIAMANTIK wieder einen illustren Kreis Gleichgesinnter um sich geschart: Neben den vormaligen Kooperateuren Bela B und Rocko Schamoni sind erstmals auch Stefanie Schrank, Sedlmeir und das Pariser Duo Eroina mit von der Partie.

"Black Stone Cherry is the debut album from American southern rockers Black Stone Cherry. They offer more than your traditional southern rock sound, it's a mix of classic rock & hard rock tight together with some ballads. This 4 piece knows how to roll & deliver, Chris Robertson’s powerful, rough voice, Ben Wells’ bluesy guitar riffs, Jon Lawhon’s impressive bass play and John Fred Young’s technical skilled drum rolls it's all there. Black Stone Cherry's debut album is indeed a real treat for rock fans.

Black Stone Cherry is available as a limited edition of 1000 individually numbered copies on translucent red colored vinyl. It comes in a gatefold and contains an insert."

New Miami material from Mickey De Grand IV & Psychic Mirrors. The band revisits their PPU debut title "Charlene" with the updated "live" version from their recent tour. “II” now ready to hit the streets with a fresh coat of LA studio high gloss sheen. "French Dip" is just a taste of what's to come in 2025. Brought to you by Amnisa & PPU records.

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

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

Strong 12" out of the perfectly moody Wain corner. Two pacy showdown steppers, with slower DJ Gonz flip riding the EP off into the sunset. TIP!

Hailing from Italy, after their selftitled debut mini album 2022 we're happy to announce the first full length namend 'Sublimis Ignotum Omni'. The new songs are a bit faster without losing that morbid feeling known from the debut. This piece of an morbid female fronted Death Metal album is highly recommended for fans of MALIGNANT ALTAR, UNDERGANG or CORPSESSED.

Oh Boy Records is proud to announce the first ever vinyl* release of John Prine's 1999 album In Spite Of Ourselves.

In the fall of 1978, John Prine returned home to Chicago for a concert performance at the city's famed, Park West. This show, captured on the originally limited edition album September '78, features another side of John Prine - backed by an electric band. Oh Boy Records originally pressed only 2000 copies of this classic album for Record Store Day back in 2015, but now you can have your own copy of this legendary recording on vinyl!

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

In 2019, Kelsey Waldon was the first Oh Boy Records signee in 15 years. At the time John said, "her voice is one of the more authentic country voices I've heard in a long time". White Noise/White Lines is Kelsey's debut on Oh Boy. Available here on vinyl!

NWOBHM legends GRIM REAPER release their first three studio albums on GATEFOLD COLOURED VINYL. ROCK YOU IN HELL is the third studio album released in 1987. It was originally released under the RCA label.

Two years after the release of the hard-hitting EP Act-U-All, Yesterdaze are ready to release their first
full-length album, Sentences. An unforgiving, raw album filled to the brim with energetic and
unapologetic rock. Sentences is an album built by contrasts. Emotionally deep messages are conveyed
through large melodic soundscapes, driven forward by playful guitar riffs, sweet bass lines and explosive
drums.

wieder lieferbar Die Camouflage? Ja, richtig: die Camouflage, Meister der Traurigkeit im Kleid des elektronischen Songs. 1987 eroberte die deutsche Band mit "The Great Commandment" Platz eins der US-Billboard-Dance-Charts, die Musik verband genialisch die Kühle von Kraftwerk, den Pop von OMD und die melancholische Düsternis von Depeche Mode. Jetzt erscheint "Greyscale": ein frappierend aktuelles, zwingendes Album. Untätig war die Gruppe seit den späten 80ern ohnehin nicht: Regelmäßig erschienen Alben, zuletzt 2006 das Album "Relocated" und 2014 eine Single-Compilation - auf Facebook zählt die Gruppe über 50.000 Fans. Die Musik auf "Greyscale" klingt weit und atmosphärisch und gleichzeitig zwingend und dicht. Produziert hat Mastermind Heiko Maile, der auch als Filmmusikkomponist Erfolge feiert. Stilsicher kontrastiert er elektronische Elemente mit akustischen, neben Beats und Gitarren sind auch ein Kinderchor und das Streicherensemble des Deutschen Filmorchesters Babelsberg zu hören. Songs für den Tanzboden und fürs Herz - und auf einem ist gar Peter Heppner zu hören.

Rasmus Littauer (School Of X), Musiker hinter gefeierten Releases und Kollabos mit Liss, Trentemøller, Mø und Deb Never, veröffentlicht seine neue LP "Seventh Heaven". Da der verworfene Erstentwurf nach einer Wiederholung früherer Werke klang, erweiterte Rasmus das Team und gab die Produktion in fremde Hände. So wurden die Songs mit neuer Band und dem Produzenten Søren Buhl Lassen (Lucky Lo, Brimheim) aufgenommen, was Raum für Rasmus schuf, sich auf Musik und Songwriting zu konzentrieren, während die Band School Of X' intensive Live-Energie und vielschichtige Musik in eine dynamische Performance kanalisierte, die energetische Ausbrüche mit zarten, intimen Momenten ausbalanciert. Die LP ist per Sticker versiegelt und nicht cellophaniert.

Wenn sich eine musikalische Familie zusammenfindet, um eine Platte aufzunehmen, kann Magie geschehen, und genau dafür sind die VAN ZANTs da!
Die Brüder Johnny und Donnie Van Zant (aktueller Leadsänger der Southern-Rock-Ikonen Lynyrd Skynyrd bzw. Gründungsmitglied von .38 Special)
fanden 1998 zum ersten Mal Platz in ihren vollen Terminkalendern und nahmen ihr gemeinsames Album „Brother to Brother“ auf: eine Hommage an
ihren verstorbenen Bruder und Lynyrd-Skynyrd-Sänger und Gründungsmitglied Ronnie. Diese Veröffentlichung wurde von der Presse und den Fans
weltweit hoch gelobt und veranlasste das Duo dazu, 2001 ein Folgealbum mit dem schlichten Titel „II“ aufzunehmen. Die Zusammenarbeit der beiden
Brüder endete nicht, als sie mit der Veröffentlichung von Get Right With the Man„ (2005 in den USA mit Gold ausgezeichnet) und später mit My Kind
of Country“ (2007) in einen mehr Country-orientierten Stil eintauchten.
Nun erfinden sich die Brüder erneut neu und bieten ein christlich geprägtes Album an, das ihre Rock- und Blues-Wurzeln (und einen Hauch von
Country) mit einbezieht. Das Ergebnis Always Look Up“ besteht aus Songs, die das Herz und die Seele des Hörers berühren, mit einer emotionalen
Tiefe, die in der heutigen Musiklandschaft ihresgleichen sucht.

In Zusammenarbeit mit WaterTower Records ist Waxwork Records begeistert, den lang erwarteten BEETLEJUICE BEETLEJUICE Original Motion Picture Soundtrack zu veröffentlichen! Beetlejuice ist zurück! Der Oscar-nominierte, einzigartige kreative Visionär Tim Burton und der Oscar-Nominierte und Hauptdarsteller Michael Keaton treffen sich für Beetlejuice Beetlejuice, die lang erwartete Fortsetzung von Burtons preisgekröntem Beetlejuice, wieder. Keaton kehrt in seine ikonische Rolle zurück, an der Seite der Oscar-Nominierten Winona Ryder als Lydia Deetz und der zweifachen Emmy-Gewinnerin Catherine O'Hara als Delia Deetz, mit den neuen Darstellern Justin Theroux, Monica Bellucci, Arthur Conti in seinem Spielfilmdebüt, der Emmy-Nominierten Jenna Ortega als Lydias Tochter Astrid und dem Oscar-Nominierten Willem Dafoe. Nach einer unerwarteten Familientragödie kehren drei Generationen der Familie Deetz nach Winter River zurück. Das Leben von Lydia, die immer noch von Beetlejuice heimgesucht wird, wird auf den Kopf gestellt, als ihre rebellische Teenager-Tochter Astrid das mysteriöse Modell der Stadt auf dem Dachboden entdeckt und das Portal zum Jenseits... -Exklusive Vinyl-Variante von Light In The Attic -Doppel LP gepresst auf violettem mit weißem Smoke Vinyl und fluoreszierendem grünen Vinyl -Etching/Gravur auf D-Seite -Gatefold-Jacket -Kommt mit limitiertem 11x11 Kunstdruck -Artwork von Jiro Fujita -Mit Songs von Donna Summer, Bee Gees, Richard Marx und vielen mehr!

Eternal Love's "L'Amore È" is a vibrant musical journey that radiates with nostalgic beats and modern electronic flair. Each track is a testament to the duo’s ability to reimagine their Italian roots through pulsating synths, captivating percussion, and ethereal vocals. With contributions from Marquis, Marianne Mirage and Dea Barandana, the EP intertwines stories of love, passion, and euphoria, all wrapped in infectious grooves that are sure to electrify any dance floor.

Die Debut-EP ,Kingdom of Decay" umreißt in vier Songs alle Stilwelten, aus denen Silverships aus Hamburg ihre Inspirationen schöpfen. Der Desert Rock der 90er und 2000er bildet das Fundament des Trios. Viele Spuren von Queens Of The Stone Age finden sich in den Songs wieder, in den brachialen Passagen fühlt man sich an Kyuss erinnert. Auch Klangmalereien der 70er Jahre Pink Floyd tauchen immer wieder auf. Psych-Poppige Momente der frühen Tame Impala werden abgelöst von düsterer, fast beklemmender Atmosphäre, die den Vibe von The Doors einfängt und sich auch als Soundtrack eines noch zu drehenden Films wohlfühlen würde. Charakteristisch für die Band ist neben opulenten Arrangements und abwechslungsreichem Songwriting die Liebe zu B-Parts, die die Songs mit vielen Ausrufezeichen beenden. Hinter der kraftvollen Produktion steckt Hauke Albrecht, der mit Mountain Witch den letzten größeren Stoner Export aus Hamburg produzierte. Für das Artwork konnte die Band BEWITCHED Graphics bzw. Benjamin Nickel gewinnen, der mit seinen psychedelischen Arbeiten z. B. schon das Reeperbahn Festival versorgt hat.

Dutch-Surinamese multi-instrumentalist Ronald Snijders announces the release of new album Penta via Night Dreamer. A jazz heavyweight who draws Latin, Brazilian and Surinamese influences into dialogue with the electric sound of Weather Report, Snijders released four albums between 1977 and 1983 that have become holy grails of deep, forward-thinking fusion.

2024 Repress

Original music from the film,"Instrument", culled from demos and various sources, by Fugazi from 1988-1998,
The 12" LP format was re-cut and re-issued in December 2009.
Originally Released: 1999
Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Die Franzosen Bryan's Magic Tears sind jetzt bester Shoegaze/Baggy/Madchester! Sommer der Liebe: den ersten haben sie nicht miterlebt, den zweiten haben sie studiert und den nächsten verplanen sie schon. Bryan's Magic Tears veröffentlichen ihr neues Album, Smoke and Mirrors, auf Born Bad. Auf den früheren Alben 4AM und Vacuum Sealed noch im Zentrum, rückt ihr Garagen-/Lärmvermächtnis ein wenig zur Seite, ohne ganz Abhanden zu kommen. Sie schwärmen von modischen Shoegaze-Oldies und geben gleichzeitig zu, dass es eine Vorliebe für All Saints haben. Der Name des neuen Albums ist treffend gewählt, denn es macht sich über Stadionmusik lustig und respektiert gleichzeitig deren Codes. Sieht aus und klingt, als hätte Shaun Ryder Liam Gallagher gegessen, schamlos Hits rausgehauen und sich dabei auf eine gut gebaute Soundwand gestützt. Die Platte ist stark von diesem typischen 90er-Shuffle-Beat geprägt, mit der die Band schon geflirtet hat...aber jetzt ist man ein Paar. Zwei Drittel der Tracks haben diesen Groove. Dazu ein Synth-Intro, dass wie ein Acid-Flashback von Underworlds ,Born Slippy" daherkommt. Das erspart den Franzosen eine Reise über den Ärmelkanal. BMT ist immer noch eine gitarrenlastige Band, aber mit einer ordentlichen und effeltvollen Trick- und Werkzeugkiste. Diese Platte, die sich von The Velvets zu Ride bewegt, bietet einen fetten Sound, der wie geschaffen ist, um die Arme auszubreiten, mit dem Kopf zu wippen und auf Festivals den Boden festzutanzen. Immer noch Musik, um Drogen zu nehmen, um Musik zu machen, um Drogen zu nehmen, um Musik zu hören.

LA-based label Milkcrate Mondays has pleased many a dancer with the MCM Edits series and now the fourth volume in relatively quick succession offers more irresistible heat from a trio of talents. DJ Abel opens up with 'Dem Nah We' which is low slung hip-hop fun with raw, characterful vocals and Afro flourishes. DJ Netwerk's 'Everlasting' is a more slow motion and Balearic joint for sundown and DJ Soulcab's 'Buena' is a shuffling and dembow-infused carnival rhythm with brilliant accordion leads.

Mord sublabel: Kazerne

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

Robin Carolan's latest soundtrack for Robert Eggers' highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack's eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan's inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score's otherworldly tone. Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan's artistry and the enduring power of collaboration.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Gavin Vanaelst runs the space Aboli Bibelot in Antwerp where exhibitions and musical performances can happen side to side with dealings in centuries-old furniture and unique pieces of folk art or volkskunst. Gavin makes music under the aliases DJ Charme, Kassett and So Sorry. This is the first album under his birth name. Takeaway Loops cycles back to the days when Gavin was working as a courier for .

is a food delivery company. Their couriers - ehm, brand ambassadors, as the company prefers to call them - dressed in bright orange, they race their bikes around the city. They deliver meals and groceries for all sorts. Thanks to them, the privileged can stay tucked in their private spaces. Interaction between the two groups - the privileged and the brand ambassadors - is mostly kept to the bare minimum. And sparse communications are often driven by annoyances - “my Coke is warm because you kept it too close to the French Fries.” And on the streets the general public dis-approaches the brand ambassadors with pity. We tell our peers: “That’s not a good job,” and “stay away from the Sharing Economy.” Because, you know, in our capitalistic dollhouse we all stand our grounds and play our parts wholeheartedly.

During his shifts for , Gavin recorded location sounds on his phone at fast food restaurants while waiting on the orders he had to pick up and deliver. Later in his home studio Gavin added piano and electronics to this source material. The result: a gloomy soundtrack for a shadow world. Seven songs in evening blue with a bright orange glare.

A few years ago, our favorite Belgian publishing house Het Balanseer released Seizoenarbeid by Heike Geissler (available in English trough Semiotext(e)). Geissler writes about her job at Amazon in Leipzig. Because her writing and freelance work did not pay the bills any longer, she was forced towards this underprivileged shadow-world of unwanted jobs. Seizoenarbeid shed a light on freedom in an unfree world. A monument of ‘we are all in this, but not together’. Takeaway Loops gives us a similar peak in a world that is at the same time so visible, but then also very veiled for many. A world that we prefer to use, yet that most of us prefer not to see - a world that we don’t like to enter.

Last year at Harbourland subway station in Kobe i was mesmerized by its sound design, created by Hiroshi Yoshimura. For each part of the subway station he composed a short phrase. While walking trough the station, a full composition grows in your head. The looping melodies guide you trough a microworld. Trough a blue world of commuters, of the homeless, of the lonely, of the fast paced, of the tourist. Gavin creates a similar effect with Takeaway Loops. The tonality somehow corresponds to Yoshimura’s work. Yet instead of being guided trough a building, we are now taken to the after dark. You feel the concrete evening heat of the city. You hear the rain. Stiff fingers during cold winters’ nights. You are alone on the bike, cruising. Your maps app telling you where to go. You just left the fake leather bench of the well-lit pastiche interior of a fast food restaurant.

Next order, number ECN44! Please wait outside, sir?

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon