Toyah’s 1994 solo album Take The Leap! is issued on limited edition picture disc vinyl for the first time ever.
The picture disc features colour images on each side of the vinyl and is housed in special die-cut outer sleeve containing previously unseen photography from the original album shoot.
Toyah’s 1994 studio album was recorded with Salisbury band Friday Forever and includes eight re-recordings of classic Toyah material and six original compositions.
Toyah’s 1991 solo album Ophelia's Shadow is issued on limited edition picture disc vinyl for the first time ever.
The picture disc features colour images on each side of the vinyl and is housed in special die-cut vinyl outer sleeves containing previously unseen colour photography from the album shoot.
A personal favourite album of her catalogue, Toyah confirms: “Above all, this is the one album I have made that truly represents me. I’m fiercely proud of it. Ophelia’s Shadow is not just a record, it’s a reflection of who I was, who I am, and who I continue to become. It’s the sound of resilience, reinvention, and raw truth.”
The album features a band line-up including Trey Gunn on stick, Paul Beavis on drums and Tony Geballe on guitar. Two tracks, Brilliant Day and Lords Of The Never Known feature Robert Fripp on guitar and were originally played live by Sunday All Over The World, the band Toyah & Robert Fripp toured and recorded with in the late 1980s.
With Processing Music, Dutch composer and electronic musician Casimir Geelhoed offers a compelling meditation on sound transformation as a metaphor for psychological and emotional processing. Operating at the intersection of overstimulation, introspection and fragility, the album unfolds as a deeply immersive and personal exploration — one that invites the listener to inhabit a space of their own projection, memory and reflection.
Rather than imposing a fixed compositional structure, Processing Music follows a bottom-up approach, allowing form to emerge organically from the interaction of sonic materials. Digital signal processing is not used here as a mere technical tool, but as a poetic device: transformation as narrative, delay as memory, distortion as tension. Through slowly eroding loops, gently collapsing textures and shifting layers of timbre and space, Geelhoed crafts a delicate sound world that is charged with friction.
What may at first seem abstract gradually reveals an emotional core. The album evokes the suspended time of a largo, the layering of memory like an excavation, the psychological tension of perceived spatial expansion. These are not literal themes, but associative keys to a music that operates in a distinctly human sonic language.
Emerging from a series of live performances, Processing Music retains a performative sensibility: the music breathes, transforms, and invites attention to nuance. It slowly unfolds a landscape shaped by the subtle interplay between structure and dissolution.
Casimir Geelhoed has presented performances and installations at festivals such as CTM, Sonic Acts, Rewire, Fiber, SPATIAL, and Aural Spaces. He studied computer science, composition, music technology, and sonology in Amsterdam, The Hague, and Utrecht.
Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.
Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute
Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.
Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.
Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.
Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.
Hailing from the historic city of Ghent (BE), Margitte crafts a unique sonic tapestry that resonates with both ethereal and fierce. Think Portishead, Pj Harvey, The War on Drugs, St. Vincent and even Gainsbourg. Her music is a journey through scapes, blending haunting melodies with intricate electronic textures and poetic lyricism.
Margitte's sound is both timeless and contemporary, weaving together the mystical and the modern with a vision that is thought-provoking as it is emotionally stirring.
Her performances are true to her artistry and passion. Margitte is not just to be heard, but to be felt, lingering on in your ears long after the last notes faded.
Come and get it, join the haze.
SOUNDS LIKE: Laura Marling, Beach House, Warhaus, Gainsbourg, St. Vincent, Liv, Portishead, PJ Harvey, Nick Cave, Neil Frances, James Blake, David Byrne, Grace Jones, Kruangbin, The War on Drugs.
Credits:
Margot De Ridder: Voice, keys, composition
Artan Buleshkaj: Guitar
Simon Raman: Drums, Percussion
Annelies Emmerechts: Voice, keys
Relive the early years of Madness with 'Hit Parade Vol. 1 1979-1986'. This 23-track 2LP set remembers the early years of Madness; containing a selection of their biggest hits and best loved tunes. It includes 23 UK Top 40 hits such as 'One Step Beyond', 'Embarrassment', 'My Girl', and 'Night Boat To Cairo'.
Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent red vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.
Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.
Experience the modern era of Madness with 'Hit Parade Vol. 2 1992-2024'. This 22-track 2LP set relives the more modern, contemporary years of Madness; containing a selection of hit singles, fan favourites and much-loved tunes. Including 'NW5', 'Shame and Scandal', 'Sorry', 'Drip Fed Fred', 'Mr Apples' and the Top 10 single 'Lovestruck'.
Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent blue vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.
Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.
Enjoy a Madness career-spanning overview with Hit Parade; a 15-track highlights LP, featuring 13 UK Top 40 hits including Our House, It Must Be Love, Baggy Trousers, Lovestruck, and the No.1 single House of Fun.
Pressed on classic black vinyl, the fully illustrated inner sleeve contains new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.
Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.
Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,
in conversation with renowned author and journalist Paul Sexton.
This Transition's label album features the concert that Donald Byrd Sextet gave in Detroit on August 23th, 1955 organized by the New Jazz Society, a group formed under the impetus of Kenny Burrell, one of the key influences in Detroit jazz.
The reissue of this hard-to-find album is significant for a number of diferent reasons. Its very rarity is one attraction for certain collectors, but more important perhaps is the fact that it was the first recording as featured artist for trumpeter Donald Byrd. It is also extremely revealing of the depth of the jazz scene in 1950s Detroit, which had nurtured Byrd and from which he was just emerging at the time of this concert.
On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.
Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.
Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.
“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.
Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.
In these shaky times we find ourselves in, A Relaxed Blur invites us to take deep breath in and switch to positive vibes. Dive into a world of serene soundscapes, where deep space reverbs and expansive echoes float freely, creating a sense of calm disorientation. Drawing from a blend of dub, psychill, and psychedelic electronic textures, this album guides you through atmospheric journeys that range from smooth, laid-back grooves to vast, hypnotic sound waves. Each track drifts between the tranquil and the transcendental, blurring the line between relaxation and introspection.
Iptamenos Discos kündigt Houdini an, die neue EP der Labelgründer Local Suicide. Die Platte enthält drei ihrer dunkelsten und kraftvollsten Originaltracks bis heute, ergänzt durch markante Neubearbeitungen des französischen Electroclash-Pioniers David Carretta und der aufstrebenden griechischen EBM-Kraft Alpha Sect. Die Houdini EP entstand im Berliner Studio von Local Suicide während zahlloser nächtlicher Sessions mit Skelesys in derselben kreativen Phase, die auch ihren gemeinsamen Hit Moustache, die Surface Of The Sun EP und Faster Faster auf Curses’ Next Wave Acid Punx-Compilation hervorbrachte. Das Ergebnis ist ihr bisher düsterstes Material, das ihren Technodisco-Sound in noch härteres Terrain führt - mit hypnotischen Basslines, industriellen Texturen und analogen Vintage-Synths. Damit zählt es zu den mutigsten Releases im Katalog von Iptamenos Discos. Die EP eröffnet mit Obsessions, einem Track zwischen Darkwave und Techno, aufgebaut auf einer brutalen Bassline, analogen Synths und eindringlichen, mantraartigen Vocals. Die wiederholte Zeile „Obsessions, they come and go“ spiegelt den unerbittlichen Sog des Stücks wider und unterstreicht seine klaustrophobische, sich ständig wiederholende Energie. Submission, eine Zusammenarbeit mit Langzeitkollaborateur Skelesys, steht dem in nichts nach: ein düsterer Low-End-Sound, verzerrte, stark bearbeitete Vocals und der Sprechgesang „Resistance, no submission“ durchziehen den Track wie eine Trotz-Erklärung, die Spannung in Kraft verwandelt. Der Titeltrack Houdini ist etwas zugänglicher, behält aber die gleiche schattige Atmosphäre. Unheimliche Orgelmelodien und der Text „The great Houdini, the big escape“ beschwören Transformation und Befreiung herauf, zollen dem legendären Illusionisten Tribut und verleihen der Nummer eine theatralische Note. Der französische Kult-DJ und Produzent David Carretta interpretiert Obsessions neu mit seiner unverkennbaren retro-futuristischen Handschrift. Seit den 1990ern bekannt für die Fusion von industrieller Präzision mit Italo-inspirierten Synths, hellt er den Track mit glitzernden Disco-Melodien und einer erhebenden Stimmung auf – eine Version, die sich bewusst vom dunklen Original absetzt und sofort für die Tanzfläche taugt. Der in Straßburg ansässige Alpha Sect, das Projekt des griechischen Künstlers George McCall, führt Submission in kompromisslose Dimensionen. Verwurzelt in Electro und Body Music mit Punk-Einflüssen, beginnt sein Remix als wuchtiger EBM-Stomper und entwickelt sich zu einem clubtauglichen Track, der Intensität mit Katharsis in Balance bringt.
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Reboot emerges as another key name on Thuishaven's Haven Trax with Signs, a three-track EP landing as the label's fourth release. Drawing inspiration from his recent set at Thuishaven, Reboot's title track 'Sunshine' captures the warmth and connection of that moment with sun-soaked textures and shimmering percussion.
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Mit Live in Bangalore legt der Kölner Schlagzeuger und Komponist Jo Beyer das dritte Album seines Quartetts vor - ein fulminantes Live-Dokument aus dem renommierten Windmills in der südindischen Metropole Bangalore. Fünf hochenergetische Tracks voller Spiellust, Wucht und Tour-de-Force-Momenten zeigen die Band in absoluter Topform. Entstanden gegen Ende einer intensiven Indien-Tournee, fängt die Aufnahme einen Abend ein, an dem alles stimmte: ein extrem gut eingespieltes Ensemble, ein Raumklang von Weltklasse und ein Publikum, das restlos aus dem Häuschen war. Sämtliche Titel existieren bereits in Studioversionen, doch hier sind sie hörbar gereift - durch jahrelanges Zusammenspiel, erweiterte Improvisationen und radikale Interaktion. Besonders prägnant ist die ungewöhnliche Besetzung ohne Bass, die ein unverwechselbares, rhythmisch starkes Klangbild schafft. Mit Pianist Felix Elsner an Bord hebt Beyer das Quartett endgültig auf ein neues Level - kraftvoll, kompromisslos und voller Überraschungen.
In 2019, a brutal epileptic seizure changed my life - the first of more to come. I was forced into solitude, and in that quiet, music became my lifeline. In the following years, I poured everything I had into creating between you and me: a raw, DIY album that is a distillation of my lived experience during this time. The album explores emotional authenticity, freedom of expression, and acceptance: not as abstract concepts, but through visceral experiences that have fundamentally reshaped my art and my sense of self. As a listener, I invite you to explore your vulnerability by joining me in mine. This album is truly between you and me.
Ozzy Jones is a Dutch-Australian interdisciplinary artist whose music blends electronica with indie. Drawing from personal struggles and raw emotion after his seizures started, his debut album between you and me explores vulnerability, male identity, and authentic self-expression. Rooted in Amsterdam's vibrant creative scene, Ozzy's work fuses sound, visuals, and storytelling to create a deeply immersive and honest artistic experience.
Following releases on Longform Editions and her own Paralaxe imprint, Dania descends on Somewhere Press with crepuscular, quixotic pop that hits a sweet spot between Mark Clifford’s Cocteau Twins remixes and Massive Attack.
Parked next to Alliyah Enyo, Slowfoam, and Angel R, Dania’s found an ideal home at Somewhere Press, and »Listless« is her most confident, transcendent set to date. Her last few albums were steeped in meaning – a way for the Iraq-born, Tasmania-raised artist to explore her identity and probe the impacts of colonisation. Here, she gives herself more room to breathe, thriving in the mysteries of nighttime – a direct reference to her nocturnal existence as an emergency doctor in Australia. The album was completely composed in the midnight hours, but it’s not self-consciously dark in the way you might expect. Opening track »On a Grassy Knoll« is one of the prettiest – and poppiest – tracks Dania has released, cracking open her voice with thrumming harmonies that she complements with granulated, Guthrie-esque guitars and, most unexpectedly, half-speed drums. It’s the first time Dania’s used percussion, and it suits her extremely well.
In fact, even when the powdery breaks drop away in the album’s final breaths, you can almost hear an outline of where they might remain. On »Write My Name«, Dania loops her voice between waved strings and slippery piano phrases, and the hypnotic closer »A Hunger« is a thudding, sub-heavy 4/4 away from being Peak Oil-style contemporary dub techno.
But the big draw here is Dania’s batch of hazy dream-pop miniatures, like the Seefeel-adjacent »Heart Shaped Burn« (with Rupert Clervaux on drums), and the Bristolian »Car Crash Premonition«, that features a rolling bassline taking us right back to 1998. Very strong – peak listening if you’re into Bowery Electric, MBV, or Mark Van Hoen.
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“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel
‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.
‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light emitting a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”
Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.”
‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.
Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.
Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:
“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”
In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.
After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.
It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.
Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.
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Do you believe in spring? Simon Wangen (cello) and Philipp Sutter (piano) pose this question as the title for their new project. Whereas Bill Evans made a demand in 1981, the two Cologne-based musicians believe that in times of uncertainty, crisis, and environmental destruction, it is ok to set a questin mark here. But politics and world events aside: Do you believe in spring? Of course! It's never too late to start something new, get creative, and test your own limits. Simon Wangen is a classically trained cellist, Philipp Sutter a trained jazz pianist. Their different musical roots merge on this instrumental album into a lively mix of neoclassical, new jazz, and Cinéma Nordique. Ten pieces come across as sometimes dark, sometimes wild, sometimes delicate, always focusing on the dialogue between the two instruments that harmonize so well. The subtle use of electronic effects constantly opens up new perspectives and builds a bridge to contemporary sound aesthetics. Cello and piano—this combination has been established for centuries, but can still add new facets today. Do you believe in spring? begins stormily and turbulently, oscillating between romantic, sad, and beautiful moments, and leads from a rather dark beginning to the final and eponymous piece in C major, which leaves the listener with a glimmer of hope. Do you believe in spring? From October 24, 2025!
Do you believe in spring? Simon Wangen (Cello) und Philipp Sutter (Klavier) werfen den Titel für ihr neues Projekt als Frage in den Raum. Wo Bill Evans 1981 eine Forderung formulierte, sind die beiden Kölner Musiker der Ansicht, in Zeiten der Unsicherheit, der Krisen und Umweltzerstörung durchaus ein Fragezeichen setzen zu können. Aber abgesehen von Politik und Weltgeschehen: Do you believe in spring? Natürlich! Es ist nie zu spät, etwas Neues zu beginnen, kreativ zu werden und die eigenen Grenzen zu testen. Simon Wangen ist klassisch ausgebildeter Cellist, Philipp Sutter studierter Jazzpianist. Die unterschiedlichen musikalischen Wurzeln verschmelzen auf diesem Instrumentalalbum zu einer lebendigen Mischung aus Neoklassik, New Jazz und Cinéma Nordique. Zehn Stücke kommen mal düster, mal wild, mal zart daher, stets die Zwiesprache der beiden so gut harmonierenden Instrumente im Fokus. Der dezente Einsatz elektronischer Effekte öffnet immer wieder neue Perspektiven und schlägt eine Brücke zur zeitgenössischen Klangästhetik. Cello und Klavier - diese Besetzung ist seit Jahrhunderten etabliert, aber kann auch aktuell immer wieder neue Facetten hinzubekommen. Do you believe in spring? beginnt stürmisch und aufgewühlt, changiert zwischen romantisch - traurig - schönen Momenten und führt von einem eher düsteren Beginn hin zum letzten und namensgebenden Stück in C-Dur, das die Zuhörenden mit einem Hoffnungsschimmer entlässt. Do you believe in spring? Ab 24.10.2025!
Smashed Sunset Vinyl, limitiert auf 400 Exemplare. Energiegeladen - so lässt sich The Birch am besten beschreiben. Treffende Riffs, druckvolle Rhythmen und alles eingebettet in psychedelische Klangfarben - so erschaffen sie eine Atmosphäre purer Ekstase. Vicious Mind ist ein Abstieg in die moderne Psych-Rock-Welt. Mit seinen sieben Tracks zeigt es auf Seite A eine eher düstere Facette der Band, die sich auf Seite B in eine weichere, mehr Rock'n'Roll-geprägte Stimmung auflöst. Mit einer Reise ins Ausland verschlug es The Birch nach Miami Beach, wo sie ihr zweites Studioalbum aufnahmen - ein Aufenthalt, der dem Album durch die Eindrücke aus dem ,Land of the Free" eine neue Note verlieh. Twangy Gitarren und eine geradeaus treibende Rhythmussektion führen den Hörer in psychedelische Klanglandschaften, die durch einen konstanten Beat lebendig gehalten werden, der einen durch die 30 Minuten von Vicious Mind begleitet.
One Instrument welcomes Morning Seance, composer and sound artist, originally from Italy and based in Vienna. On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame.
With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience.
The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.
The electronic music of Morning Seance is built on constant variation and intricate, looping patterns with no clear beginning or end. This variation is not simply applied to an audio element, but enacted as a compositional logic — avoiding mechanical combinations and obvious rhythms. The result is a mutable mass of audio matter and tonal debris, guiding the listener through richly divergent environments.
When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.
Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.
Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.
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Green Vinyl. Twenty-five years after their first recording, Panzerpappa - perhaps Norway's most cordial avant-prog ensemble - felt the time had finally come to release their first-ever concept album. In 2025 the band will launch Landsbysladder, their eighth studio release. Landsbysladder is Norwegian for "village gossip" and the album comprises seven instrumental pieces centred on the themes of rumours, tales, and gossip in a small village - a musical chronicle of minor and major dramas unfolding in a tight-knit community where everyone knows everyone - or at least thinks they do. Landsbysladder tells a vivid story without uttering a single word. The music shifts between open, melodic passages and sudden bursts of intensity, drive, and complexity. Tempo changes, rhythmic twists, and harmonic detours mirror the unpredictable way gossip can spread, grow, and shift the mood in an instant. The album features several distinguished guest musicians: renowned folk artist Rannveig Djonne on diatonic accordion, seasoned performer Silje Hveem Lofthus on flute, internationally acclaimed soloist and professor Håkon Stene on tuned percussion, Håkon Borve on the rarely heard contra-alto clarinet, and last but not least, jazz luminary Ståle Storlokken - known from Elephant9, Terje Rypdal, Motorpsycho, and Supersilent - on synthesizer.
A collection of remixes of the Radioactive Man album ‘Jam Out The Kicks’, cunningly titled ‘Jam Out The Mix’. Featuring remixes from dBridge, Jerome Hill, Ben Pest, Ara-U, Berwick, and Radioactive Man. Ranging from the finest in Electro and Techno to full-on DnB/Junglist vibes - designed to test the bassbins out!
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On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the "70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony"s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony"s mad old lines. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA"s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dreamladen songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition.
Forever's spirit is high and tight, its sinews rumbling with communal joy as Glyders' power-trio formation, in it "for life", grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album - which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!
Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.
The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.
With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.
Scuba channels timeless, euphoric energy on his Crosstown Rebels debut, ‘GetUppp’. The Hotflush boss delivers two tracks crafted for the later hours, set for release on 21st November 2025.
Damian Lazarus’ Crosstown Rebels welcomes electronic pioneer Scuba for his first appearance on the label with ‘GetUppp’, a two-track release that fuses the UK artist’s trademark low-end pressure with the euphoric pulse of house. The title track glides on slinking percussion, interwoven with subtle soulful vocal nuances, building an irresistible groove that climbs steadily toward full dance-floor release. On the flip, ‘406 Dub’ dives deeper, a stripped, head-down workout that channels the tension and space of dub techno into something hypnotic, trippy, and captivating.
A producer who has continually defied convention, Paul Rose, aka Scuba, has shaped the direction of underground music for over two decades. From his formative role in the UK’s dubstep movement to his era-defining SUB:STANCE residency at Berghain, he’s evolved through techno, house, and beyond while steering his influential Hotflush Recordings imprint - the launchpad for artists like Mount Kimbie and Joy Orbison. He has also delivered critically acclaimed mixes for DJ Kicks, Fabric, and Ostgut Ton, cementing his reputation as one of electronic music’s most astute tastemakers.
Following his acclaimed Digital Underground live tour across 2024, and his latest headline run across Asia with shows in Kyoto, Nagoya, Tokyo, Koh Phangan, Singapore, Danang, Shenzhen, Shanghai, and Beijing, Scuba returns with fresh energy on ‘GetUppp’ - a record that captures the forward-thinking sound that has made him one of underground electronic music’s most influential figures.
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Nach Jahren in der kreativen Zwangsjacke kehrt eine der talentiertesten und markantesten Stimmen Großbritanniens zurück. Ella Eyre kündigt ihr lang erwartetes zweites Studioalbum „everything, in time“ an, das am 21. November über Play It Again Sam erscheint.
Ein Jahrzehnt nach ihrem UK-Top-4-Debüt „Feline“ und unzähligen hochkarätigen Kollaborationen präsentiert Ella endlich ein Werk, das so ungefiltert, furchtlos und vollendet ist wie sie selbst. Mit den 15 Songs von „everything, in time“ erschließt sich das in London geborene Kraftpaket einen Sound, der in sattem Soul, mutigem R&B, Retro-Funk und emotionaler Wahrheit verwurzelt ist.
Nach einer Stimmbandoperation während der Pandemie, die sie zwang, das Sprechen buchstäblich neu zu lernen, gewann Ella neues Selbstbewusstsein. Sie trennte sich von ihrem ehemaligen Label, nahm ihre Aufnahmen mit und startete neu durch. Dieses Album ist sowohl ein Höhepunkt als auch ein Neuanfang: eine mutige Erklärung einer der widerstandsfähigsten und bekanntesten Stimmen der britischen Musik.
The project is co-led by Copenhagen-born saxophonist Andreas Toftemark, a European Jazz Master and recipient of the Bent Jædig Prize, whose career has taken him from the Conservatorium van Amsterdam to The New School in New York. He is joined by Benny Benack III, the multi-award winning Emmy-nominated trumpeter and vocalist lauded for his charismatic performances with the likes of Christian McBride, Chad Lefkovitz-Brown, Peter Bernstein and more. Rasmus Sorensen adds a vital piano voice, fresh from winning a Danish Music Award in 2024 and releasing Balancing Act (2024) featuring modern drum icon Kendrick Scott. On bass, Finnish talent Kaisa Mäensivu - leader of her own project Kaisa"s Machine - brings international credentials shaped at the Sibelius Academy, Manhattan School of Music, and festivals including Pori Jazz. Completing the lineup is New York drummer Joe Peri, a Grammy-winning artist featured on Tony Bennett & Lady Gaga"s Love for Sale and a familiar face at Birdland, Mezzrow, and other NYC institutions. Together, they craft Roadmap - a set of originals born from tours around the Copenhagen Jazz Festival and honed on the road. Each member contributes compositions: from Toftemark"s modal-driven title track and brisk swinger What Gets You to Peri"s hard-hitting opener Icebreaker, Mäensivu"s funk-tinged The Lemur, and Sorensen"s harmonically dense New York Attitude. The quintet also delivers moments of intimacy, with Again - a co-write between Toftemark and Benack - adding lyrics penned on tour and sung with understated warmth. As Benack reflects: "When I play with Andreas, I"m thinking of Joe Henderson and Kenny Dorham, of Clifford Brown and Harold Land. But this isn"t just a revival of a classic hard bop record-the heart and soul of it is the Copenhagen-New York connection."
Talk Show is a new duo collaboration featuring Steph Richards on trumpets and resonating surfaces and Qasim Naqvi on drums, almglocken bells and modular synthesizer. Having worked together on other projects for almost two decades, Miss America, released by We Jazz Records, marks their first, pure duo collaboration - a space to engage with a sonic language they"ve been cultivating together for years. The album was recorded live, with Qasim crafting real-time electronics and drum set work, and Steph using trumpets and resonating percussion to summon sympathetic vibrations and otherworldly sounds through timpani, snare and water. The trumpet sounds electronically processed, though every sound is acoustic. Both artists wanted to retain the live nature of their process, so what you hear is virtually untouched.
This album is a clear evolution in their journey and yet a distinct departure from Ahkatari"s debut. "Blood: Act I" sees the Detroit duo double down on the grit and dive even deeper into the streets. Whitaker"s beats are grainy, layered and dusty. His sample selection and ability to manipulate is as much a part of the storytelling as Ahk"s lyrics.
With her ninth studio album, Irish-born, Edinburgh-based singer Heidi Talbot pays tribute to strength, resilience, and inspiration - from legendary figures to the unsung heroines within her own family. Rooted in both personal experience and collective lore, the collection weaves stories of women legendary and intimate. The warrior queen Grace O"Malley (Gráinne Mhaol), the goddess Brigid of Co. Kildare, and Anna Parnell, leader of the Ladies" Land League, appear alongside Talbot"s grandmother Kathleen, whose recorded voice opens the closing track. Throughout, themes of resilience, love, ancestry, and grace echo across time. Following the critically acclaimed Sing It For A Lifetime, Grace Untold continues Heidi Talbot"s evolution as a songwriter of remarkable honesty and depth. It is a record of stories - whispered and sung, remembered and reimagined - a woman"s tribute to all women who have inspired, protected, and passed the song forward.
Ohne Musik kein Kino. Ohne Philippe Sarde kein französisches Kino!
Philippe Sarde ist einer der größten Filmkomponisten. Das ist umso bemerkenswerter, als er seine gesamte
Karriere in Frankreich und bei französischen Produktionen verbracht hat. Er ist verantwortlich für die
Musik von „Les choses de la vie“ (Claude Sautet), „Mort d’un pourri“ (George Lautner), „Beau-père“
(Bertrand Tavernier), „La guerre du feu“ (Jean-Jacques Annaud) und „Music Box“ (Costa Gavras). Es
brauchte ein „Best Of“, um die 50-jährige Karriere dieses Giganten zu feiern. In 40 Titeln durchquert er
Epochen, Genres und Atmosphären. Unverzichtbar für jeden großen Musikfan. Dieses Album ist als CD
und Doppel-Vinyl erhältlich und enthält Auszüge aus den 40 Original-Soundtracks der Filme, die 10 Jahre
lang bei BMG digital veröffentlicht wurden, sowie den Titel „La chanson d’Hélène“ aus dem B.O. „Les
choses de la vie“.
Johnny Marr, einer der einflussreichsten Gitarristen seiner Generation, wagte 2013 mit seinem Debütalbum
„The Messenger“ den Schritt in die Solo-Karriere und erreichte damit die Top 10 der britischen Albumcharts. Nun erscheint dieses bahnbrechende Soloalbum in einer exklusiven, limitierten Vinyl-Edition mit
dem stilvollen „Messenger Marble“-Design – ein absolutes Muss für Fans und Sammler. „The Messenger“
markierte einen entscheidenden Wendepunkt in der Karriere des Kultgitarristen und festigte seinen Status
als Solokünstler nach Jahren erfolgreicher Kollaborationen. Das Album zeigt Marrs Songwriting-Talent und
seinen unverwechselbaren musikalischen Stil, der über seine Arbeit mit The Smiths hinausreicht. Von der
energiegeladenen Hymne des Titelsongs und „Upstarts“ bis zur introspektiven Schönheit von „New Town
Velocity“ entführt das Album den Hörer in Marrs vielfältige musikalische Welt.
Die unvergleichliche Klangqualität des Albums, aufgenommen in Großbritannien und Berlin und gemischt
in den legendären Abbey Road Studios, wird in dieser Sammleredition perfekt wiedergegeben. Ob Sie das
Album zum ersten Mal hören oder es erneut entdecken – „The Messenger“ ist ein Beweis für Johnny Marrs
außergewöhnliches Talent und ein Meilenstein der modernen Gitarrenmusik.
Erleben Sie „The Messenger“ in diesem besonderen neuen Format: Die Neuauflage auf der exklusiven
„Messenger Marble“-Vinyl ist ab dem 21. November 2025 erhältlich.
Zum 15-jährigen Karrierejubiläum der belgischen Songwriterin Selah ist es Zeit für ihr allererstes LiveAlbum mit dem Titel ”As One”.
Das Best Of Live , daß alle ihre großen Hits enthält (”Raggamuffn”, ”This World”, ”Alone”, ”Pills”...).
Als Blu Ray ist die Live Show, die im letzten Jahr in Löwen – Het Depot (Belgien) aufgenommen wurde,
der CD Version beigefügt.
Shygirl feiert das 5-jährige Jubiläum ihrer Kult-EP/Mini-Album „Alias“ mit 7 Titeln, mit der sie sich vor
ihrem Debütalbum „Nymph“ aus dem Jahr 2022 bekannt gemacht hat. Zum ersten Mal physisch im Handel
erhältlich. Enthält „Slime“ und „Tasty“.
