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We celebrate our 10th anniversary with the 3rd and brand new deluxe version of the 'Family Matters' series. No anniversary release would be complete without a signature track from Innershades. He has been a cornerstone of the label since day one. Betonkust embodies our Dutch-Belgian connection in many ways and with Breezeway Cafe he delivers yet another melodic gem. Brussels Based dj and producer DC Salas is the new kid on the 9300 block. He delivers a New Beat infused banger that nails our labels distinctive sound: raw, melodic, and steeped in what Legowelt once called 'Flemish greyness'. To top it all off, there's a timeless piano-driven masterpiece by After Club, a heartfelt tribute to the legendary Belgian nightclub Carat. Limited to 300 copies!

DAYBREAKERS return with Volume 2 of their Music Station Traxx series, following the success of the first dive into Jeffrey Collins’ revered 90s imprint from Englewood, New Jersey.

This time, they go deeper, repressing the legendary full EP from the Nathaniel X Project — a true holy grail for deep house heads. Originally released in 1994, this four-tracker is a masterclass in soulful, spiritual, and uncompromisingly deep club music, and hasn’t seen a proper reissue until now. Now coming with an essential remaster - this record won’t leave the bag.

Each cut oozes raw grooves, warm chords, and the kind of vocal snippets that made Music Station a staple in the trolleys of US house DJs coast to coast. It’s a slice of East Coast house history, lovingly remastered, repackaged and repressed for today's dancefloors.

Don’t sleep — these are the kind of records that are built for the clubs. Essential gear for DJs and house heads alike.

Buy or cry.

Spanish producer Larsson delivers a deep and hypnotic 4-tracker for Fuxbau Records, marking his vinyl debut on the label. Written in the rural village where Larsson grew up, the EP carries a sense of groundedness and clarity. Created in his parents' home, surrounded by nature and far from urban distraction, the tracks reflect a setting where ideas unfold organically. The result is a tightly cut selection of groovy, rolling techno - stripped back, hypnotic, and full of tension. That contrast between calm surroundings and high-impact club energy runs through all four tracks: stripped-back yet detailed, functional yet full of soul.

The Knowledge Imprint 'Selected Reissues' series brings together handpicked tracks from the label's back catalogue to be pressed for the first time on high quality vinyl. Previously available only as digital and small-batch dubplate editions, these tracks will also be given new life with fresh remastering and simple repackaging.

This second release of the edition brings together a collection of standout tracks that have been highly requested on vinyl since their initial releases between 5 and 7 years ago. Yant & William Arist's tracks were the foundation of the 10th label release back in 2020, while label-owner Deano's track 'Tension' was largely responsible for putting the label on the radar in 2018. VIL's 'Golpe de Estado' taken from the label's first VA back in 2019 closes the package.

The Pusher Distribution / info@thepusher.fr
Hyperjazz Records presents the self-titled debut album from Tera Tera, an unexpected collaboration between two
visionaries of the Italian music scene. Drummer Jacopo Battaglia, founder of the cult Italian trio Zu and collaborator with
Mike Patton and The Bloody Beetroots, joins forces with guitarist Adriano Viterbini, founder of the rising sensation I Hate
My Village and collaborator with Rokia Traorè and Bombino. Born from two intense jam sessions of pure improvisation, this
album emerged through multiple phases of fragmentation, psychedelic experimentation, and sonic reconstruction. Hours
of raw material were distilled into structures, then subjected to further manipulation and synthesis, documenting the inherent
chemistry between two sound wanderers. Tera Tera's primary interest lies in exploring sound, creating new pathways
toward transcendence. Their music defies genre boundaries, pushing beyond conventional limitations into uncharted
psychedelic territories.
Jacopo Battaglia
Jacopo Battaglia has established himself as one of the most innovative and respected drummers in the Italian experimental
music scene. As a founding member of the cult band Zu, he pushes the boundaries of music since 1997. Blending elements
of noise rock, free jazz, and avant-garde into a distinctive style, he’s a pivotal figure in the “evolutionofavant - gardemusic”
internationally.
Adriano Viterbini
Over the years, Adriano Viterbini has built an international credibility like few other Italian musicians. He’s one of the most
inspired guitarists of contemporary Italian music, best known as founding member of I Hate My Village and Bud Spencer
Blues Explosion bands. An entire career voted to the research of the purest language of blues, Viterbini's impact extends
far beyond Italy, influencing a new generation of musicians with his dynamic approach to composition and performance.

"Impressed are thrilled to be presenting The Bamboos Best, a compilation in celebration of twenty five year anniversary of the formation of The Bamboos.

The definitive collection of one of Australia’s most celebrated, influential and enduring Soul & Funk acts - tracing the history of the band that laid the foundation for the now internationally recognised Australian Soul scene.

Twenty songs taken from across their extensive catalogue, including many that have been unavailable on vinyl since their original release, and one track appearing in the format for the very first time.

From their raw Deep Funk origins through their own genre defying musical path, The Bamboos have reinvigorated a classic sound whilst seamlessly incorporating contemporary influences to create something altogether brand new.

Managing to appeal to both Soul/Funk purists as well as casual music fans along the way, the band have always focused on what’s important: songwriting, groove and powerful vocals.

Light Up Goldist das zweite Studioalbum der US-amerikanischen Indie-Rock-Band Parquet Courts und wurde ursprünglich 2012 in Eigenregie veröffentlicht, bevor es Anfang 2013 über das Label What"s Your Rupture? neu aufgelegt wurde. Mit seinem rohen, energiegeladenen Sound und einer Mischung aus Punk, Garage Rock und intelligenten Texten wurde das Album schnell zu einem Geheimtipp und markierte den Durchbruch der Band in der alternativen Musikszene. Das Album wurde von Kritikern für seine Energie, seinen Witz und seine Direktheit gelobt. Es wirkt wie ein urbaner Schnappschuss des Lebens junger Erwachsener in New York City - nervös, rastlos und reflektiert.Light Up Gold etablierte Parquet Courts als eine der spannendsten neuen Bands der 2010er Jahre und wurde später zu einem der wichtigsten Indie-Rock-Alben des Jahrzehnts gezählt.

Newton Faulkner"s eighth studio album, OCTOPUS, marks a bold new chapter for the multi platinum selling singer-songwriter - his most authentic and adventurous to date. Over five years in the making, the album sees Faulkner stepping into a new era with a refreshed sense of artistic freedom, blending unexpected influences from funk and R&B to soul and Latin grooves. Swapping his trademark acoustic guitar for a distortion-charged Hofner Violin Bass, he unlocks a fresh songwriting approach that fuels standout tracks like the anthemic lead single "Alright, Alright, Alright." Rich in collaboration, OCTOPUS features contributions from Lissie, Los Bitchos and Bloom Twins, bringing new textures to his sound. It"s a record that celebrates creative reinvention, grounded by moments of heartfelt reflection and driven by a renewed passion for making music.

Newton Faulkner"s eighth studio album, OCTOPUS, marks a bold new chapter for the multi platinum selling singer-songwriter - his most authentic and adventurous to date. Over five years in the making, the album sees Faulkner stepping into a new era with a refreshed sense of artistic freedom, blending unexpected influences from funk and R&B to soul and Latin grooves. Swapping his trademark acoustic guitar for a distortion-charged Hofner Violin Bass, he unlocks a fresh songwriting approach that fuels standout tracks like the anthemic lead single "Alright, Alright, Alright." Rich in collaboration, OCTOPUS features contributions from Lissie, Los Bitchos and Bloom Twins, bringing new textures to his sound. It"s a record that celebrates creative reinvention, grounded by moments of heartfelt reflection and driven by a renewed passion for making music.

The hotly anticipated follow-up to 2007"s Horizons, Deep Blue raised the bar in every conceivable way. While maintaining the band"s uncompromising metallic-hardcore style at its core, it pushed into exciting new realms, drawing from a wider scope of influence, incorporating everything from anthemic pop-punk to bloodcurdling death metal. With improved musical abilities and a thoroughly inspired approach to songwriting, Parkway Drive has tied the music and lyrics together into one all-encompassing concept. "It"s basically about the search for truth in a world that seems to be devoid of that," says vocalist and lyricist Winston McCall, explaining the narrative running through Deep Blue. "The story is told through the eyes of a man who wakes up and realizes that his life is a lie and nothing he believes in is real. So he tries to find the truth within himself and his journey takes him to the bottom of the ocean and back again."

Danny Elfman, film composer, classical composer, singer-songwriter, and recording artist, has garnered international recognition for composing over 100 feature film scores, as well as compositions for television, stage productions, and the concert hall. Elfman has been Tim Burton’s composer for more than 35 years, having scored 17 Burton films such as Batman, Pee-wee’s Big Adventure, Beetlejuice, Edward Scissorhands, Charlie and the Chocolate Factory, Big Fish, Alice in Wonderland, and Beetlejuice Beetlejuice, as well as music, lyrics and songs for  The Nightmare Before Christmas for which he also sang the part of Jack Skellington. Elfman was also the lead singer and songwriter for the LA rock band Oingo Boingo for 17 years.
Waxwork Records is thrilled to release BULLET TIME Original Animated Picture Soundtrack by Danny Elfmanas a deluxe 7" vinyl EP and also on cassette! Features include 90s inspired splatter colored vinyl, an insert, and artwork by Kostas Firinidis and cassette artwork by Tristan Tait and Kostas Firinidis.

On his new album All Cylinders, Yves Jarvis expresses a brazen songcraft and pure musicianship. 11 tracks he played himself, without a single additional contributor, transforming his now four-time-Polaris-nominated vision into the stuff of verses and choruses, hooks and hits, vibrating like a cosmic anthropology. Whereas once he had fetishized analog tape, now Jarvis appreciated the value of working without any such preciousness: much of All Cylinders was recorded on bare-bones Audacity, sans plugins, channeling the spirit of Paul McCartney’s II.

Jarvis is an omnivore, and All Cylinders smashes together a stunning array of influences: Serge Gainsbourg, Judee Sill, Sheryl Crow, Captain Beefheart, Jackson Browne, Throbbing Gristle, Ray Charles, Brian Eno, Fleetwood Mac… All distilled into tunes that feel like taking sips from a cup, or drags from a cigarette. Vivid and self-contained songs that are just two or three minutes long. “I feel like this is the least contrived thing I’ve ever done,” Jarvis declares. Lyrics that matter. Vocals up front, where people will actually hear them. “If something’s true to you,” he explains, “it’s probably true to a million other people.”

The first run of All Cylinders on limited edition vinyl sold out, leading to this highly anticipated second pressing. This edition includes 4 bonus tracks from the forthcoming deluxe release, making it an essential piece for fans and collectors alike. Originally released via In Real Life to critical acclaim from Pitchfork, Financial Times, NPR, Aquarium Drunkard, Far Out Magazine, New Noise, Out Front, KCRW, RANGE, Atwood Magazine, The Luna Collective, Billboard Canada, The Fader, Blamo! Podcast, Stereogum, and Guitar World.

A1 - Course Of Action
Opening the EP with a thoroughly entertaining, unique breakbeat workout of the ilk we've come to appreciate from Eusebeia, we are treated to sharp snares ripping into the mix backed by a lethal apache break dripping with old school appeal. An ever-evolving atmosphere is guided by intense vocal samples and shimmering synth backdrops, interspersed with intense melodies and darkly effects to complete a mesmerising collage of sound.

A2 - Embracing Imperfection
Next up we see Embracing Imperfection, a sci-fi inspired track littered with a detailed myriad of synthwave-esque melodies, transporting you to an ethereal episode of the X Files as Eusebeia flexes atmosphere and breaks intertwined with synths and whooshing FX. The breaks are superbly effective as ever with distinctive cymbal hits and echoed samples adding flecks of detail to an impressive composition.

AA1 - Point Of Isolation
A tense introduction punctuated by a reverberating melody evoking enigmatic mystery slowly unfolds, as Point of Isolation displays Eusebeia's diverse repertoire of breakbeat editing techniques. Darting metallic snares and deep kicks & basslines ebb and flow, a tangled maze of rippling energy lifted straight from the soul. This track is equally suited to the headphones and the dancefloor, causing ructions to both.

AA2 - Soul Searching
Closing the EP, Soul Searching sees Eusebeia release a gradually enveloping system of seductive breakbeats, twisting and intertwining with a whole host of vivid soundscapes delivered through pulsing synthwork and jostling micro-melodies. Throughout the track, the distinctively thick breaks are the true star of the show, encompassing the sensibilities of Spatial perfectly. Until the next time.

Words by Chris Hayes (Spatial / Red Mist)

With »Roto«, Derek Piotr revisits the aqueous terrain first explored in his 2016 album »Drono«, where the paradox of water’s stillness and perpetual motion was refracted into looping voices and glitching textures. Conceived as a »spiritual successor« and recorded in 2019, the album has lain dormant for six years before surfacing on Discreet Archive. That stretch of silence seems to have deepened its charge – the sound feels unearthed rather than made, like a whirlpool biding its time in obscurity until now.

Unlike »Drono«’s mosaic of shorter pieces, »Roto« unfurls as two expansive half-hour tracks, allowing Piotr to probe repetition with greater intensity. Vowels accumulate until they shimmer with alien sentience, drones grow dense and psychoacoustic, and the smallest digital artifacts flicker like neural sparks. The result is a work that denies familiarity; recurrence here only breeds strangeness, unspooling into a procession of hidden pulses and altered voices that resist prediction, drawing the listener deeper into a submerged, otherworldly space.

Derek Piotr is a folklorist, researcher and performer whose work focuses primarily on the human voice. His work covers practices including fieldwork, vocal performance, preservation and autoethnography; and is primarily concerned with tenderness, fragility, beauty and brutality. He has collaborated with artists including Scott Solter, Nathan Salsburg and Thomas Brinkmann across various disciplines.

He is lead archivist and creative director of the Fieldwork Archive.

»Downriver« unfolds like a dérive through obscured geographies, echoing the psychogeographic journeys of Iain Sinclair. Just as Sinclair’s writing blurs the tangible and the imagined, Sequences, the project of Antwerp-based artist Niels Geybels, drifts into spaces where memory and environment overlap. Single-take recordings stretch into slowly mutating drones, fractured textures, and ghostlike voices that seem to seep in from unseen thresholds. The atmosphere is one of decayed grandeur, evoking disused monuments, neglected warehouses, and corners of the landscape where centuries of history accumulate beneath the surface.

This is music shaped by wandering without a map: a patchwork of distortion, hidden detail, and abrupt rupture. The sense of time loosens, the everyday unravels, and new contours emerge out of drift and delay. Downriver situates itself between sound art and environmental music, drawing listeners into liminal zones where place becomes porous, haunted by what has been and what might yet be.

Written and recorded by Niels Geybels Mastered by Jacob Calland

“There are some corners of the universe which have bred the most terrible things…They must be fought.” Demon Records presents, for the first time on 2LP vinyl, the complete full-cast soundtrack of this ‘lost’ classic BBC TV adventure, with linking narration by Frazer Hines. The Second Doctor (Patrick Troughton) is thrown into his first rematch with the Cybermen in the year 2070. Humans have colonized the Moon, and the Cybermen have identified their base as a strategic vantage point from which to invade Earth!

Can the Doctor and his companions Polly (Anneke Wills), Ben (Michael Craze) and Jamie (Frazer Hines) stop them? First broadcast in 1967, this exciting adventure was written by Kit Pedler and directed by Morris Barry, with a guest cast including Patrick Barr, Andrew Maranne, Michael Wolf and John Rolfe. Whilst only two of the four episodes are known to survive on film, thankfully all four are available as sound recordings, complete with the BBC Radiophonic Workshop’s familiar Doctor Who theme music. With a superb cover illustration depicting the Cybermen on the Moon, these two translucent ‘Blue Moon’ discs are housed in beautifully designed inner sleeves with vintage TV guide-style listings for each episode.

Sababa 5 returns with another essential 45 for Batov Records" Middle Eastern Groove series. This time, they team up with two very different artists on two distinct tracks built from the same hypnotic groove: soulful Turkish alt-pop sensation Canay Dogan and reed flute specialist Itzhak Ventura.

The Delines "Scenic Sessions" 10th anniversary Coke Bottle Green Colored LP reissue. Originally issued in 2015 as a Rough Trade and Tour exclusive The Delines album, Scenic Sessions sold out in a period of weeks with their End of the Road Festival appearance that Sept. It was time for a reissue as it is one of the fans favourites and never available outside of the UK at retail with only 1000 copies printed. The band always thinks of this one as The Delines at summer camp. We recorded it during a minor heat wave, it"s loose and a bit rawer than most of our other records, and there"s a no pressure easy going feel to the session that really comes across. It"s a band favorite, too, because while recording it I think we all knew we were becoming a real band.

Mit ihrer ersten EP beweisen Fuller, dass es oft nicht viel braucht, um gute Rockmusik zu machen - außer Gespür, Haltung und ein bisschen Mut zur Reduktion. Der Aufbau ist klassisch: Schlagzeug, Bass, Gitarre, Gesang. Doch was daraus entsteht, ist weit mehr als die Summe seiner Teile. Die Songs sind kurz, direkt und dabei voller Details, die sich erst beim genaueren Hinhören entfalten. Die Band verzichtet bewusst auf überflüssige Effekte und verliert sich nicht in ausufernden Arrangements - stattdessen setzen sie auf rohen, ehrlichen Sound, der an DIY-Proberäume und verrauchte Spätsommernächte erinnert. In Stücken wie "Mew" feiert die Band die einfachen Freuden des Lebens, während "The Nix" melancholisch und reflektiert in persönliche Verlusterfahrungen eintaucht - ohne in Klischees abzurutschen. Es sind diese Kontraste zwischen Leichtigkeit und Schwere, zwischen Spielfreude und Nachdenklichkeit, die den Reiz der Platte ausmachen. Die Gitarre übernimmt dabei oft eine tragende, fast erzählende Rolle, während Bass und Drums für das nötige Fundament sorgen. Produziert wurde das Ganze gemeinsam mit Christian Bethge, dessen Feingefühl für Klang und Atmosphäre der EP zusätzlich Tiefe verleiht. Fuller brauchen keine großen Bühnen, um Eindruck zu hinterlassen - sie bleiben lieber im Proberaum, wo alles echt klingt und nichts inszeniert wirkt. Und genau das macht sie so besonders.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

12 Bob Dylan classics produced and arranged by Steve Howe (Yes/Asia), features guest vocalists Jon Anderson, PP Arnold, Max Bacon, Allan Clark, Dean Dyson, Annie Haslam, Phoebe Snow and Keith West, first time on ltd. 2LP available (red vinyl, 300 ww copies, etched d-side).

François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.

Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.

Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.

Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.

François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.

Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.

Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.

Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.

Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.

Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
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Julia Wolf ist eine einzigartige Künstlerin, eine genreübergreifende Geschichtenerzählerin und eine Inspiration für Musikfans, Trendsetter und Musikkollegen gleichermaßen. Ihre Reise ist eine lebendige Erzählung von Verletzlichkeit, Wachstum, Experimentierfreudigkeit und menschlicher Erfahrung. Julias digitales Debütalbum ""Good Thing We Stayed"" (2023) verband eindringlich schöne Vocals und gefühlvolles Songwriting mit Trap-inspirierten Popmelodien. Mit ihrer neuen, auch physischen LP ""PRESSURE"" samt der Single ""In My Room"" kehrt die Künstlerin aus Long Island wieder zu ihren Rockwurzeln zurück, zeigt ihre vielseitige Kunstfertigkeit und Missachtung konventioneller Grenzen. Julias Bindung zu ihrem Publikum geht über die Musik hinaus; ihre Texte finden eine so tiefe Resonanz, dass Fans sie oft in Tattoos verewigen, während sie auf Spotify auf über 2 Millionen monatliche Hörer bauen kann.

50 Jahre Wahnsinn – der erste Monty-Python-Soundtrack jetzt auf goldfarbenem Vinyl

Zum 50-jährigen Jubiläum des Films erscheint Monty Pythons legendärer erster Soundtrack in einer neuen, umweltfreundlichen Edition – als 1LP auf Gold Nugget Vinyl.

Mit dem herrlich absurden Titel The Album of the Soundtrack of the Trailer of the Film of Monty Python and the Holy Grail erschien das Original bereits 1975. Die LP enthält eine Mischung aus Filmszenen und eigens produziertem Studio-Material – darunter eine fiktive Kinoeinführung im „Classic Silbury Hill Theatre“ sowie der „Marilyn Monroe“-Sketch, geschrieben von Graham Chapman und Douglas Adams (Per Anhalter durch die Galaxis).

Ein urkomischer Meta-Soundtrack, der Monty Pythons anarchischen Humor perfekt auf Vinyl bannt.

Frantic (2002) ist ein von Kritikern gefeiertes Soloalbum von Bryan Ferry, das den legendären Künstler in
seiner kreativen Renaissance zeigt und seinen unverwechselbaren Gesangsstil mit einer reichen Mischung
aus Rock, Blues und atmosphärischen Balladen verbindet. Mit herausragenden Eigenkompositionen wie
„A Fool for Love“ und „San Simeon“ sowie eindrucksvollen Interpretationen von Bob Dylan- und Lead
Belly-Klassikern demonstriert das Album Ferrys meisterhafte Fähigkeit, Songs mit Eleganz und emotionaler
Tiefe neu zu interpretieren. Mit Gastauftritten von Brian Eno von Roxy Music und Johnny Marr von The
Smiths ist Frantic nicht nur ein Karrierehöhepunkt, sondern auch ein unverzichtbares Sammlerstück – ein
fesselndes Hörerlebnis von Anfang bis Ende, das Ferrys avantgardistische Wurzeln mit zeitlosem Songwriting
verbindet. Ein Muss für Fans anspruchsvoller, genreübergreifender Musik.
Das Album erscheint zum ersten Mal seit 2002 als limitierte blaue 1LP-Vinyl- und 1CD-Edition. Bryan
Ferry hat auch die aktualisierten Grafiken für beide Formate überwacht.

Bryan Ferrys gefeiertes Album „Avonmore“ aus dem Jahr 2014 ist eine meisterhafte Mischung aus anspruchsvollem
Songwriting, eleganter Produktion und atmosphärischem Charme – von Kritikern als sein bestes Werk seit
„Avalon“ gefeiert. Mit Kollaborationen mit langjährigen Bandkollegen von Roxy Music und Gastauftritten
von Johnny Marr, Nile Rodgers und Marcus Miller liefert das Album einen modernen und doch klassischen
Ferry-Sound. Herausragende Tracks wie „Loop De Li“ und „Driving Me Wild“ zeigen seine charakteristische Mischung aus Eleganz und Melancholie, während Coverversionen von Stephen Sondheims „Send in
the Clowns“ und Robert Palmers „Johnny and Mary“ für zusätzliche Tiefe sorgen. Ein Muss für Fans von
Bryan Ferry und raffnierter Pop-Kunst und eine fesselnde Ergänzung für jede Sammlung.
Das Album erscheint zum ersten Mal seit 2014 wieder auf limitierter roter Vinyl-LP und CD. Bryan Ferry
hat auch das aktualisierte Artwork für beide Formate gestaltet.

”The Definitve Croce”, eine Sammlung von Jim Croces unvergleichlichem Studioalben, die 1972 und 1973
veröffentlicht wurden, ist wieder als limitierte 3LP-Box aus farbigem Vinyl oder als limitierte 3CD-Box
erhältlich. Alle drei Alben enthalten aktualisierte Mixe von Paul Hicks (George Harrison, John Lennon).
Disk 1 ist das Studioalbum von 1972 „You Don’t Mess Around with Jim“. Das Album erreichte Platz 1 und
ist mit GOLD ausgezeichnet, und enthält die Nummer-1-Single „Time In A Bottle“, sowie die Hits „You
Don’t Mess Around With Jim“ und „Operator (That’s Not The Way It Feels).“ Disk 2 ist das Studioalbum
von 1973 „Life and Times“. Das Album erreichte die Top 10 und ist mit GOLD ausgezeichnet, und enthält
die GOLD-Nummer-1-Single „Bad, Bad Leroy Brown“, sowie den Hit „One Less Set Of Footsteps“. Disk
3 ist das letzte Studioalbum von Jim Croce „I Got A Name“, das 1973 veröffentlicht wurde. Das Album
erreichte Platz 2 und ist mit GOLD ausgezeichnet, und enthält die Top 10 Hits „I’ll Have To Say I Love
You In A Song“ und „I Got A Name“ sowie den Top 40 Hit „Workin’ At The Car Wash Blues.“

Seit ihrer Gründung im Jahr 2013 in Metro Detroit, Michigan, hat die Metalcore/Post-Hardcore-Band I
Prevail eine Menge kritischer und kommerzieller Erfolge erzielt. Ihr erstes Album, „Lifelines“ von 2016,
erreichte sowohl in den USA als auch in Kanada Goldstatus, während „TRAUMA“ von 2019 diese Leistung
in Kanada wiederholte. Letzteres wurde bei den Grammys in dem Jahr für das beste Rockalbum nominiert,
die Single „Bow Down“ war zudem Anwärter für die beste Metal-Performance. Mit „TRUE POWER“ aus
dem Jahr 2022 ging die Band weiterhin ihren eigenen musikalischen Weg und weigerte sich, den Erwartungen des Genres zu entsprechen.
Jetzt, mit ihrem vierten Album „Violent Nature“, geht die Band eine Stufe weiter. Das Album wurde
in zwei Etappen in den Blackbird Studios in Nashville aufgenommen und unter der Leitung von Bassist
und Keyboarder Jon Eberhard selbst produziert. Außerdem handelt es sich um das erste Material, in dem
Vocalist Eric Vanlerberghe als einziger Sänger der Band sowohl cleanen als auch nicht cleanen Gesang
übernimmt. Es geht hart zur Sache. Die erste Single des Albums, der Titeltrack, ist möglicherweise der
brutalste, extremste und wildeste Song, den die Band je veröffentlicht hat. Doch nicht alles ist so brutal
und intensiv. Obwohl die Single „Rain“ alles andere als sanft ist, fühlt sich der kraftvolle, hymnische Refrain
des Songs im Vergleich dazu wie ein Schlaflied an, obwohl der Text Andeutungen derselben Wut und Pein
enthält. Nichtsdestotrotz veranschaulich

Die Boomtown Rats waren eine der erfolgreichsten Bands der 1970er Jahre in Großbritannien. Ihr erwachsener Ihre realistischen Geschichten beflügelten die Fantasie des Massenpublikums. Als Anführer der Rats
führte Bob Geldof seine Band aus Dubliner Post-Punkern mit den britischen Nummer-1-Hits ”Rat Trap”
und ”I Don’t Like Monday’s” direkt an die Spitze der britischen Charts . ”THE FIRST 50 YEARS: SONGS
OF BOOMTOWN GLORY” auf Vinyl feiert die Höhepunkte der geschichtsträchtigen Karriere der Gruppe.
In der Klappcover-Hülle mit brandneuem Artwork und Kommentar wurden alle Titel von der Band selbst
ausgewählt. Dies wurde zeitgleich mit ihrer 50. Jubiläumstour veröffentlicht und ist das Allerbeste von
den Boomtown Rats und eine Zusammenstellung ihrer Texte und Melodien aus eigener Hand.
Erhältlich ab dem 19. September!

Vor zwanzig Jahren kam der Film „Brokeback Mountain“ heraus, der längst als jüngerer Klassiker Hollywoods gilt und mit seiner dramatischen und anrührenden Story ein riesiges Publikum erreicht hat. Oscars
gab es nicht nur für die beste Regie und das beste Drehbuch, sondern auch für die Filmmusik von Gustavo
Santaolalla (The Last Of Us, August: Osage County, Babel).
Das Soundtrack-Album zum Film wurde ebenfalls ein großer Erfolg, es enthält neben dem Score auch
Titel von u.a. Willie Nelson, Rufus Wainwright, Linda Ronstadt und Emmylou Harris. Zum zwanzigsten
Jubiläum des Films erscheint der Soundtrack jetzt weltweit erstmals als LP.

Human Leather have always been a ferocious live act, unbelievably loud for a 2 piece. Their gigs are often an overwhelming wall of sludge, howls and amphetamine-addled drums, with spectators flying joyously around the pit. Previous recordings did full justice to the impact of the live show; however, the second helping is something else. On Here Comes the Mind, There Goes the Body the sludge is still present, rising, and lapping at your ankles, but there's a new clarity showing off exactly how f*cking good those riffs are. There are ear worm riffs for days, shout along vocals that roar, shriek and reform into a Greek chorus, drums that thump you repeatedly in the chest and then the whole thing vanishes in just under 30 minutes, leaving you bruised, deafened and with Some Questions about your life. Squint your ears a bit and you'll hear the influences of bands like Karp, Torche and Big Business but they're thrown into a much crustier stew. The lyrics span a variety of political issues, not limited to the landed gentry, global warming and consumerist harbingers of doom. Importantly the songs are also not afraid to discuss class issues (unlike many political bands who you suspect have a much sturdier security net). While this could easily feel preachy, every line is delivered with the knowing wink of the underdog and good humour (I am going to smile every time I think of "clod damn" or "QVC Hands" staring up at me from the lyric sheet), and the vibes are as they've always been in difficult times - "we know we're fucked, tonight we mosh, tomorrow we march". And what is the point of a revolution you can't dance to? Speaking of dancing, the final track features an honest-to-god dance beat, acid squelches and disembodied vocal samples, pointing to an alternative universe in which Human Leather are a heavy electroclash band. Here comes the record of the year, bring what is left of your eardrums. You didn't need that body anyway

First released on August 18, 2023, "Outline of Nature" started as an experiment in building a modular synthesizer system and ended up as a voltage controlled outpouring of love for the natural world. Sylvan-born and pastoral-powered, sap-blooded and lightning-charged, this album grew out of the damp florescent corners of the woods, each note and sound, a fractal extension of their seedling sounds. It was nurtured into being at The Twilight Research Centre, a studio facility situated on the border of Somerset and Dorset. During Covid lockdown 1.0, I spent the outdoor hours we were permitted, wandering through the centre's surroundings, in the green lanes, woodlands and corridors of the wilds with their wary and flickering inhabitants, beneath the distant eyes of the soaring buzzards and the hulking red kites. I didn't expect it, but it was in the quiet, ferociously vibrant dens of nature, that I found a deeply profound connection with the natural world. It once again made sense to feel as much a part of the woods as the trees were; I felt like a natural entity in its habitat again, not something I'd properly felt since running wild through the gullies, dells and fells of the Midlands as a child. And I became afflicted with a powerful urge to build strange electronic sound systems that were organic, chaotic, fractal and in some way reflective of the awesome natural systems that surround us and surround the centre. I plugged in the modular, and went searching for signs of life. Adding to this, just before the lockdowns, I stumbled across a three volume nature encyclopedia in a local charity shop, called "Outline of Nature in the British Isles" by Sir John Hammerton. The sub-heading reads "A Comprehensive Photo-Survey of the Varied Life of Field and Hedgerow, Moor and Mountain, River, Pond and Sea", and it's a stunning collection of grainy photographs, beautiful illustrations and wondrously poetic writing, some of which inspired track titles and of course, the album title. I also rekindled my love of Ladybird nature books such as the "What to Look for in Spring/Summer/Autumn/Winter" series, "Birds and How They Live" and "Butterflies, Moths and Other Insects", rebuilding a small collection I had as a child and discovering numerous volumes new to me. Between the two literary sources, I had a rich well of imagery, writing and pastoral nostalgia to draw from; and coupled with the extended sessions of blissing out in my own heavily ecstatic awe descended on me in the sheer grandness of the wilderness, I set about enticing out of the woods an album of phosphorescent electrical music, abundant with comparatively microscopic, but persistent and wild life-forces.

A guitar player, writer, producer, and composer, Stevie Salas has recorded on over 70 different albums with artists as diverse as George Clinton, Justin Timberlake, Buddy Miles, T.I., Mick Jagger, and Rod Stewart. Having sold over two million solo albums around the world, Stevie has been cited as one of the top 50 guitarists of all time. Dreaming of a career in music, Stevie left the small town of Oceanside, California in 1985. Eight months later he was discovered by funk music legend George Clinton as the lead guitarist for Clinton's albums. Stevie received his first major label producer credit with Was (Not Was) when he co-produced the UK hit "Out Come the Freaks" from the album "What up Dog?" Rolling Stone Magazine listed "What up Dog?" as one of the top 100 records of the decade. With an extensive solo career, Stevie has now teamed up with Deko Entertainment to reissue some of these albums starting with the 30th Anniversary of "Back From The Living (Deluxe Edition)"













k MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)











[k] MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)

Jennifer Touch release her next LP 'Aging at Airports' on Fabrika Records. The idea for the record title came before the music even existed as Touch was spending an increasing amount of time in airports while touring. In her own words: "It felt like I waste a large part of my life waiting for the next show to come, to entertain and perform my music and build timeless moments with others. This waiting, the slowly ticking time at the gate, was in complete contrast to what I want to do as an artist: to be in flux, to create things that will last forever. The airport, as a busy hub, was like a symbol of this ambivalence. And a reminder: every second, whether waiting or on the move, I have to accept that I am fading, that my creative power, my face, and my body are fading. As a (performing) artist, everything feels like a strange contrast. While you want to stay true to yourself and speak authentically from the soul, you are also expected to appear forever young, and powerful. Artists are often wanted to distract people, but creating this art forces me to confront my own transience. I feel the struggle to fit into this powerful artificial framework that the world has set and the desire to break free from it."

On Friday, September 5 Liv Andrea Hauge Trio releases its third album, Dognville, on Norwegian label Hubro. The record explores the feeling of being "dognvill" a Norwegian term describing the sensation of being out of sync with time and reality, like during jet lag or insomnia. The music inhabits this liminal space between structure and freedom, consciousness and dream. Half of the compositions were written while pianist and composer Liv Andrea Hauge was bedridden with a high fever in a semi lucid, dreamlike state. The other half emerged ahead of the trio's European tour in autumn 2024.The result is a fusion of fresh inspiration and songs shaped and seasoned through live performance a record rooted in both spontaneity and maturation.Since forming in 2022, the trio Liv Andrea Hauge (piano), Georgia Wartel Collins (bass) and August Glännestrand (drums) has become a compelling voice in modern acoustic jazz. With extensive touring across Norway and internationally, and two previous album releases, the band has cultivated a strong, intuitive musical chemistry.Dognvillereflects this presenting a sound that is more serious and contemplative than earlier works, echoing the uncertainty and introspection of our times.

Disasternoon is an album of psychedelic melancholia, a carousel of dreams, otherworldly and fantastical, each song sculpted into an allegory, elegant, rich, textured and authentic. Crayola Lectern explore memories, separation, isolation and the times that changed us, with lyrics scattered sparingly throughout. Crayola Lectern is the project from Chris Anderson, often compared to the piano led jazz of Robert Wyatt, the psychedelic folk of Gorky's Zygotic Mynci, with echoes of Mercury Rev, or Flaming Lips, and experimentalism of Fred Frith. In 'Disasternoon' Chris Anderson performs on vocals, piano, mellotron, synths, organs, sax, guitars and bass, with Alistair Strachan on trumpet, cornet, glockenspiel and Damo Waters on drums and percussion. Bic Hayes performs electric guitar solos on Disasternoon and Coscoroba, and Maria Marzaioli plays violin in Coscoroba. The live show often also featuring the likes of Jon Poole (Cardiacs, Widhearts) heading-up electronics, gadgets, sounds and keyboard parts, Bob Leith (Cardiacs) on drums, and Bic Hayes (Cardiacs, Levitation) on guitar.

"Oh Snap features twelve very personal songs by Cécile McLorin Salvant - plus a cover of a verse from the Commodores’ 1977 hit “Brick House” - mostly recorded outside of a traditional studio environment and showcasing her genre-spanning tastes and influences. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis. Salvant has US and international tour dates throughout the summer and autumn; find more details at nonesuch

The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the center of her writing process. She originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami - from boy bands to grunge to classical to folk - and include party tracks with beats, samba grooves, and quiet folk songs.
"

BUY! HERE’S WHY! • The revolutionary 1959 stereo extravaganza returns on slime-green Vinyl and CD. • Features vocals by Paul Frees (Boris Badenov, The Haunted Mansion’s unseen Ghost Host), Thurl Ravenscroft (Tony The Tiger, “You’re A Mean One, Mr. Grinch”), George Rock (“All I Want For Christmas Is My Two Front Teeth”), and Loulie Jean Norman (singer on the theme from Star Trek). • Detailed liner notes from Joe Marchese (theseconddisc) feature new interviews with Spike’s children: multiple Grammy-winning engineer Leslie Ann Jones, Emmy-winning producer-director Spike Jones Jr., Linda Lee Jones, and Gina Jones.

On Wednesday, September 10th, WHIRLWIND TRAX drops its debut vinyl release, presented under the banner of the label's ULTRANOVA clubnight series. Marking two years of ULTRANOVA at RSO.BERLIN, this first edition brings together a heavyweight selection of past guests and standout producers, including Bours?, Danny Wabbit, Faster Horses, KTK, and label founder Xiorro. Packed with dark, driving grooves, each track is built for maximum impact-essential peak-time weapons for any record bag.