Suche:trail

First vinyl release of the 1992 recordings by these Wisconsin Underground Rock trailblazers, includes a fold out insert with the story of the band. Limited edition of 300 copies. Remastered recordings of these Northeast Wisconsin Underground Rock trailblazers, originally released on cassette in 1992. An obscure gem of powerful 90's music with one foot firmly planted in the American Midwest tradition of Twin/Tone Records bands like The Replacements and the other in loud, fiery, High Energy Rock'n'Roll.

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

HEMELBESTORMER have been a commanding entity in the heavy music scene for over 10 years, with their idiosyncratic take on the merger of post-rock, doomgaze and black metal. Made up of veterans from the Belgian hardcore and metal community, the four piece from Hasselt, Belgium create intricate sonic journeys through space and time built over punishing riffs and spine-chilling climaxes. With their fourth full-length The Radiant Veil HEMELBESTORMER take their songwriting and production to new heights, honouring their name as trailblazers on the intersection of dark and light, the crushingly heavy and the hauntingly beautiful. Having appeared at many of Europe's finest music festivals - ranging from Roadburn festival to Dunk! festival to Graspop Metal Meeting - HEMELBESTORMER feel right at home on stages with a wide variety of heavy, experimental and ethereal acts. The road combining ethereal post-rock with seething black metal has been travelled by many acts, but with HEMELBESTORMER that winding path has taken a different turn. Facing away from shoegaze or indie rock influences, the band find a more sophisticated way of incorporating unsettling melodies, blast beats and lo-fi synthesizers to emulate the dark void of space and eerie cold light of stars. HEMELBESTORMER are a sight to behold on stage, and with The Radiant Veil they penetrate deeper than ever into the farthest reaches of their sonic space ethos. Once more the Belgians capture the cavernous expanse between the cold lights of the universe, but also our power as humans to explore it, proving their greatness as masterclass storytellers in sight and sound. FOR FANS OF Neurosis, ISIS, Year of No Light, The Ruins of Beverast, WuW

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

REPRESSED !!
Exhumed '77 OST frond 'Riddles Of The Sphinx'...magick Mike Ratledge unfurls coils of ARP, Moog &VCS-AKS via Denys 'Lucifer' Irving's hacked Z-80 sequencer...these post-Soft Machine plumes spiralin stasis to the frame pans and lockdown Maddox's
& Mulvey's dialogue like SE17 dunes...the concentric riddle of the missing original master tapes...film reel audio prised from the BFI vaults & transferred straight to zeros & ones by hieroglyphic
happenstance...this acrobatic dredge has revealed more than enough mercury to further protract the riddles within..."You've got my number if you need anything"...IBM 'The film's ground-breaking electronic score, by The Soft Machine's Mike Ratledge, was composed on synthesisers which were developed in collaboration
with Denys Irving (the man behind the mysterious and controversial 1970s band Lucifer).'Film extract (Official BFI Trailer: http://youtu.be/UlBaUd5Y58M)
Please note: The digital will be available to
download from Monday 28th of October. The
vinyl will start shipping from Friday 8th of
November....

Probably the first experiment in mixing hardcore attitude with OI! songwriting ever made within the UK punk movement, Attak were born as a four piece in New Mills in l98l, but immediately reversed to a trio when their singer left for school commitments and released two incredible singles on the No Future label in this form, right before recruiting a new guitarist and record “Zombies”, that came out in l983 on the same label. Known for featuring Mackie from BLITZ’s sister on drums, (and sounding a lot like his band!), Attak definitely split up in late 1983. This criminally underrated classic gets reissued on vinyl with his original artwork and fully remastered. Limited to 500 copies on Color Vinyl, complete with big 60x40 cm folded poster!

This 15-track project cements BigXThaPlug's status as one of hip-hop's most authentic and compelling voices. Executively produced by Bandplay—the mastermind behind "The Largest"—alongside longtime collaborators Tony Coles, Charley Cooks and others, Take Care offers a raw and unfiltered reflection of BigXThaPlug's rise to stardom. The album showcases his electrifying energy while exploring new sonic territories, all while remaining true to his signature sound.

BigXThaPlug's artistic evolution is evident in his lyricism, a masterful blend of melodic instrumentation and commanding beats. Drawing inspiration from the sounds of '70s and '80s hip hop, Take Care features a powerful tracklist that includes viral sensations "Mmhmm,” and “Change Me,” along with fresh tracks like "Lost The Love," "2AM," and "The Story of X." Throughout the project, he crafts an innermost narrative that speaks to his journey, proving that success hasn't clouded his vision or altered his core values.

The album announcement arrives with a compelling trailer and the launch of pre-orders, igniting anticipation among BigXThaPlug's devoted fanbase. Masterfully directed by creative director TreySoulss, the intimate trailer features his grandmother's voice guiding viewers through precious family footage and pivotal moments, revealing the forces that shaped his meteoric rise. This project not only promises to further establish him as a leading voice in hip-hop's new generation but serves as testament that his success is no fleeting moment—it's the foundation of an enduring legacy.

REPRESS

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.


Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India?
In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris.
In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“
The people I lived with supported my idea of writing music, they introduced me to great mu-
sic. There used to be a great garage scene in San Francisco, like The Oh Sees also Ty Seagall, Mikal Conin, all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.


At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.


For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s THUMP subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op-
Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new PCRC enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.


Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time.
If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener
on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.


Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.


The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.


A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al-
lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.


Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo Väisänen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit Väisänen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as “Vakio”, “Kulma”, “A’ and “Aaltopiiri” Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumours of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments.

Taking a break from the ecstatic cacophony of Pan Sonic, Väisänen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms.

Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as Väisänen’s native Finland permeates these recordings as much as the idea of experimentation itself.

Autioitu 1 opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. Tukahduttaja is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. Klikki is comparable to a microscopic version of Pink Floyd’s “Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”. Asumaton is a foreboding miniature acting like a segway to Vallitseva which embraces the icy clicks that punctuates much of the Pan Sonic output. Arvioimaton Ongelma is an audio riddle whilst Jaettu jitters around a dancefloor crawl. Autioitu closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic ‘dance’ music.

Adrian Sherwood meldet sich mit seiner ersten Musik als Solokünstler seit 13 Jahren zurück: den rhythmisch mutierten Soundlandschaften der EP "The Grand Designer", dem neuesten Teil der langjährigen und beliebten On-U Sound Disco-Plate-Serie.

Der Titeltrack dient als Trailer für sein bevorstehendes Album, auf dem verschiedene Instrumente, die durch Sherwoods Effektpalette gefiltert werden, über einen unwiderstehlichen Groove und die typisch raffinierten perkussiven Details harmonieren. "Let's Come Together" verwandelt denselben Rhythmus in einen mystischen Dub, wobei der leider verstorbene Freund und Kollaborateur Lee "Scratch" Perry für die typisch schrägen Gesangseinlagen sorgt. Die Kollaboration erinnert auch daran, dass Sherwood seit seinem letzten Release unter eigenem Namen alles andere als untätig war: In den letzten Jahren veröffentlichte er von der Kritik gefeierte neue Alben nicht nur mit dem Upsetter, sondern auch mit Horace Andy, Sonic Boom (Spacemen 3) und Panda Bear (Animal Collective), African Head Charge, Spoon, Creation Rebel, Pinch, und anderen. "Russian Oscillator" ähnelt den Platten von Sherwood & Pinch vielleicht am meisten: Experimentelle Elektronik verwebt sich mit schweren Soundsystem-Klängen und einem an Ruffneck-Dancehall erinnernden Swing. Die EP endet mit "Cold War Skank", einer Linksabbiegung vom Highway in glühenden Wüstenblues, verzerrten Slide-Gitarrenmustern über der Atmosphäre einer Breitwand-Filmmusik.

Erhältlich als streng limitiertes 10"-Vinyl-Sammlerstück, gemastert und geschnitten von Frank Merritt im The Carvery Studio, eingepackt im klassischen On-U-Disco-Sleeve mit einer Collage von Studio Tape-Echo, basierend auf einem Originaldesign von Kishi Yamamoto.

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

The Carter series didn’t just raise the bar—it became the bar. Multi-platinum trailblazer, 5x Grammy winner and the undisputed GOAT Lil Wayne returns June 6 with Tha Carter VI—the highly anticipated next chapter in one of the most influential series in hip-hop history. From reshaping mixtape culture to birthing a generation of rap superstars, Tha Carter legacy is untouchable. Now, Wayne is back to remind the world why he’s the greatest rapper alive.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."