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• Earliest known full concert recording of Buck and his Buckaroos!
• Mastered from the original tape by Grammy®-winning engineer Michael Graves.
• Extensive liner note from co-producer Scott B. Bomar.
• First pressing on Strawberry Jam-colored vinyl.

Buck Owens and his Buckaroos were a phenomenon when they burst onto the scene in the early 1960s. in 1963–1964, they had five #1 Country hits including “Act Naturally,” “Love’s Gonna Live Here,” “I Don’t Care (Just As Long As You Love Me),” and “My Heart Skips A Beat.”

Their live Carnegie Hall Concert release hit #1 in 1966, but how exciting they were onstage before that was largely unheard. Unless you were there. Until now. The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 is the recently discovered, earliest full-concert recording of The Buckaroos onstage. The band, performing the aforementioned #1 hits and more, shows how their presence and performance in front of a live audience cemented their status as one of the greatest acts of all time—in person and on record.

Painstakingly restored and mastered by multiple Grammy-winning engineer Michael Graves, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 shows a band ready to take over the world. (Even showing appreciation to their new labelmates, The Beatles, with a cover of “Twist And Shout.”) With a first pressing on strawberry jam colored vinyl, The Exciting Sounds Of Buck Owens And His Buckaroos Live From Richmond, Virginia, 1964 looks and sounds like it could and should have appeared in 1964, but with 21st century style and technology.

So, head to Richmond and hear Buck Owens And His Buckaroos firing on all cylinders. It may have happened over six decades ago, but it sounds as vital and important to music history now as ever.

Celebrate the 5th anniversary of Future Nostalgia with this stunning special edition triple vinyl set. Including Future Nostalgia Moonlight Edition and Club Future Nostalgia. This unique release features vibrant new artwork and a limited-edition splatter vinyl.

“I will forever be grateful to the album that changed my life and taught me so much about myself over these past five years. I have memories to last a lifetime, and songs to go with them. Future Nostalgia forever”. DUA x

At the heart of Tuesday Night Music Club, Sheryl Crow’s impressive debut, is collaboration – the title comes from the shorthand used to describe the group of musicians who came together on Tuesdays to work on the project. Not released on vinyl in 1993, the album was remastered in 2023 and released as a 1LP. Now available on limited edition blue vinyl.

Originally released in 2014, Strut re-introduces Hardcore Traxx: Dance Mania Records 1986-1997, the highly sought-after definitive retrospective of one of Chicago"s most important and innovative house music labels.

Tappa Zukie is not only one of Jamaica’s greatest DJ’s, is also a much respected producer and arranger. Looking back through his master tapes we have found a lost release that due to being a worldwide recording artist and the pressures that this carries, it has stayed on his musical shelf and been passed over... until now.

When rhythm was King way back in the 1970’s, the predominant feature of the final mix down would in most cases be the drums and bass. Bringing drums and bass to the fore, the other instruments that create the tunes mood would take a back seat in the mix. With such fine musicians in the horn sections as Vin Gordon, Deadly ‘Headley’ Bennett and the unstoppable Tommy McCook, it sometimes felt, their services if nothing else were slightly underused.

So one way of rectifying this situation was one that Tappa himself instigated, putting a release together by picking some of his favourite productions that carried classic horn lines alongside those tightly recorded rhythms. Pushing those horn lines up in the mix and so making a feature of some of those touches that although added some colour to the original cut, laid back in the mix to the more Sound System friendly drum and bass cut.

When looking at the music with this approach, some of the other influences that were also in Tappa’s mind can be noticed more. Maybe it’s a Jazzier / Bluesy feel shining through. A strange thing happens that almost takes the song down the avenue of a soundtrack album. An unreleased film score to accompany an unreleased film.

So sit back and enjoy a lost release that time and place did not find time to see the light of day. As the opening track testifies and in the immortal words of Mr Tappa Zukie himself.. “Your Musical Daddy is back... Horns Up !!!!”

2025 Repress

"Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism and droning incidentals with an overdue vinyl and digital reissue.

An offshoot of the now-féted The Cat’s Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP, a single-sided 7” sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton’s empyrean vocals.

Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighbourhood shops undetected.

Unter dem Banner Sleep Token verbirgt sich die einzigartige, breit gefächerte Vision eines Einzelnen - anonym, schweigend, maskiert und bewaffnet mit einem atemberaubenden Stimmumfang, einem geschickten Händchen an den Keyboards und einem Live-Ansatz, der nie weniger als voll engagiert ist. Die britischen Metal-Shootingstars Sleep Token. Sleep Token begannen, alle zwei Wochen Songs zu veröffentlichen. Jeder Track hatte sein eigenes Emblem und führte das Sleep Token-Universum auf dem Debütalbum 'Sundowning' ein. Das zweite Album 'This Place Will Become Your Tomb' ist jetzt auf schwarzem Doppel-Vinyl erhältlich.

The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding, the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian 60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between people where desires, feelings and loss hangs in the air, resolute and unresolved.

Tauche ein in die Glam-Metal-Magie von Steelhearts Debütalbum aus 1990 - jetzt als Neuauflage auf schwarzem Vinyl, mit zeitlosen Hits wie der Ballade 'I’ll Never Let You Go', dem energiegeladenen 'Everybody Loves Eileen' und dem Hymnenklassiker 'Rock 'N Roll (I Just Wanna)'.

Released in 1957, Thelonious Himself is a solo album by Thelonious Monk. The only exception to this is the final track “Monk’s Mood”, where he is joined by John Coltrane and Wilbur Ware. The album was Monk’s fourth on Riverside and was given a coveted 5 stars by DownBeat magazine. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

Yukimi, die gefeierte Sängerin und Mitbegründerin der Grammy-nominierten Band, Little Dragon, veröffentlicht ihr Debütalbum „For You“ am 28. März 2025 bei Ninja Tune.

Mit ihrem Debüt-Soloalbum löst sie sich von einer Band und schafft einige ihrer schönsten und intimsten Werke, die es bisher gab: sehr persönlich und brillant nachvollziehbar. Auf „For You“ verwebt Yukimi auf elegante Weise Musikstile von Jazz über Soul und elektronischen Pop bis hin zu Hiphop, Folk und Psychedelic, aber die Themen ihrer Solosongs gehen tiefer als je zuvor und umfassen Liebe, Verlust, weibliche Energie und angeborene Widerstandsfähigkeit. Die Zusammenarbeit mit Erik Bodin (Schlagzeug bei Little Dragon) und Lianne La Havas war für Yukimi das erste Mal, dass sie mit einer anderen Frau Musik schreibt und kreiert, was ihr erlaubt, ihre weibliche Energie auf eine befreite und persönliche Weise auszudrücken. Passenderweise geht es in den Texten des Songs um die Erforschung ihrer inneren Stärke während herausfordernder Lebenserfahrungen. Es ist ein bemerkenswertes Statement einer Künstlerin, die eine neue Phase ihrer Karriere als Solokünstlerin einleitet, jedoch mit der Gelassenheit und Intuition einer „alten Häsin“ mit jahrelanger Erfahrung im Musikbusiness. Yukimis markante und anmutige Stimme hat seit der Gründung von Little Dragon ihre Fans in ihren Bann gezogen. Der Erfolg der Band führte dazu, dass sie auf einigen der größten (und kleinsten) Bühnen der Welt auftrat - von Coachella bis zu NPRs Tiny Desk - und mit Künstler:innen wie u.a. KAYTRANADA, Killer Mike, Gorillaz, Tinashe, Mac Miller, De La Soul, BADBADNOTGOOD, DJ Shadow, ODESZA, Kali Uchis, Faith Evans, Dave Sitek, Big Boi, Flume und JID zusammenarbeitete.

- Format: 140G schwarzes Eco Vinyl mit bedruckter Innenhülle und Downloadcode-Sticker

2026 Repress After the memorable performance at Mostra festival, the electronic music group Sonic Wave Collective aka SWC, formed by the producers Absis, Cyklos and Spear, release their first vinyl record for Arketip Discs. SWC introduce a new avant-garde voice to the underground scene, weaving a mesmeric narrative that combines textures of introspective and refined techno with a very personal style.

This debut features six cuts that reveal the trio's diversity of influences and sonic sophistication.

Forest on Stasys is a renowned Argentinian artist who not only runs Aura Sonora, and is Co-Founder of Danza Nativa, but has released music on Claudio PRC's 012, Harmony Rec, and Fur:ther Sessions amongst others.

»Re:Polyism« is a track-by-track reinterpretation of Friedrich »Fritz« Brückner’s 2022 debut solo album as Modus Pitch, »Polyism,« through artists affiliated with Altin Village & Mine and/or former collaborators of the prolific Leipzig-based musician and producer. Each track from »Polyism« has been remixed or reworked by different artists such as Modeselektor, Angel Bat Dawid, Maya Shenfield or Mouse on Mars member and HJirok producer Andi Toma, but the album—mastered by Tim Roth a.k.a. Sin Maldita and released as a strictly limited vinyl LP with reimagined artwork by Carmen Orschinski—follows the original record’s tracklist. This makes »Re:Polyism« a veritable musical prism, refracting the creativity inherent to Brückner’s genre-transcending original works through other people’s artistic lenses to create an even more colourful end result.

First off are the Gebrüder Teichmann with their take on opener »Drive,« carefully adding more depth and uncanny sounds to the jazzy, drum-focused piece. Unsurprisingly, Modeselektor go a lot further with their remix »Rainbow,« turning the two-minute track into a dubstep-adjacent banger with infectious synth work that is twice as long and comes with a mind-melting breakdown. With their take on »Hilltop Jacuzzi,« Peaking Lights turn the blissful original into a piece that calls to mind experiments at the intersection of dub, ambient, and industrial music in the mid-1990s. Cloud Management radically transform the eerie »Compound Eye Dialogue« into a rhythmically charged mid-tempo post-krautrock epic, while the Seekers International’s »Jelly Roll Dub« of »Gelée Royale« uses the original’s lush textures to turn up the intensity even further.

On the flipside, Andi Thoma gives the intricate synth pop/breakcore fusion of »Suspender« a similarly dubwise treatment before venturing into gqom territory, pulling it out of the leftfield and straight onto the dancefloor—peak-time use only. Maya Shenfeld then brings her trademark modular synth work to »Outer Veil,« accentuating the focus on Hendrik Otremba’s uncanny spoken word performance even further. This sets the mood perfectly for vocal experimentalist Agnese Menguzzato working her singular magic. Under her hands and with her voice, the multi-layered ambient soundscapes of »Lava Fans« become even larger-than-life-like than before. When Angel Bat Dawid takes the menacing drones of »Iridescent Path« as a template for a trap-inspired beat over which she lets loose on the clarinet, that serves as both the ultimate counterpoint and perfect coda to »Re:Polyism.«

These nine reinterpretations of the highly diverse source material underline Brückner’s singular approach to music-making while also emphasising their makers’ idiosyncratic talents. This makes »Re:Polyism« more than simply a remix album—it’s a polylogue between visionary minds.

London-based vocal and electronic collective NYX have announced their long-anticipated eponymous debut album, to be released digitally and on vinyl on 28th March 2025 via their own label, NYX Collective Records.

Alongside today’s news, they’ve also shared the first single, “Daughters”: a hair-raising, untamed cry that surrenders to the intensity of the human experience. With the lead vocal recorded in a beach-side kitchen in New Zealand, cicadas bleed through the soaring chant and heavy, visceral drums. The track opens soft and earnest, expanding in their rage, resilience, and liberation, transforming pain into a re-wilding of the spirit, a celebration of their collective power.

NYX say of the track: "Daughters” is an initiation into the underworld - an invitation to come face to face with our losses. To look towards the shame, rage, and pain embedded in our bodies, and open through the fear that has closed down our throats. These are our wild voices that want to be heard and loved - by ourselves, by our pack."

NYX is the result of years of collaboration and transformation, reflecting the collective’s signature blend of experimental vocal techniques and electronic alchemy. NYX’s debut album pulses with primal energy and delicate introspection, weaving together the ancient and the futuristic. It’s a spellbinding journey through the human experience, crafted not just to be heard, but also deeply felt.

The album brings together the group's full evolution and experimentation, collaborators on the album include sound designer, composer and NYX string player Alicia Jane Turner, harpist Miriam Adefris, as well as additional drums and production by Memory Play and Sebastian Gainsbourgh (Vessel), artwork by NYX member Shireen Qureshi, co-produced by Marta Salogni and mastered by Heba Kadry.

NYX showcases the choir's far-reaching emotional breadth. The introduction, “Mother”, is inspired by the first chapter of the foundational work of Taoism, Lao Tzu’s Tao Te Ching. In this, NYX’s opening prayer, the listener finds themselves in a swelling crescendo of NYX’s all-encompassing vocals and synth drones. The album spirals through swirling loops of haunting voices and layered strings that come together like crashing waves, bursting through in feral upheaval. “Through Fire” and “Daughters” erupt into heart-wrenching post-apocalyptic chorus and pounding bass-heavy drums, then slip into a blissful sound bath, “Awe”, whose choir harmonies layered with lush harps radiate pure wonderment, and the closing track, a cover of Suicide’s 1979 “Dream Baby Dream”, dissolves into reverberating echoes. NYX leaves an indelible mark, reminding us of the radical potential of healing and love.

In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. Inspired by this duality, NYX’s music harnesses the voice as a limitless medium for profound emotion, capturing the vast spectrum of human experience with power and authenticity.

London-based vocal and electronic collective NYX have announced their long-anticipated eponymous debut album, to be released digitally and on vinyl on 28th March 2025 via their own label, NYX Collective Records.

Alongside today’s news, they’ve also shared the first single, “Daughters”: a hair-raising, untamed cry that surrenders to the intensity of the human experience. With the lead vocal recorded in a beach-side kitchen in New Zealand, cicadas bleed through the soaring chant and heavy, visceral drums. The track opens soft and earnest, expanding in their rage, resilience, and liberation, transforming pain into a re-wilding of the spirit, a celebration of their collective power.

NYX say of the track: "Daughters” is an initiation into the underworld - an invitation to come face to face with our losses. To look towards the shame, rage, and pain embedded in our bodies, and open through the fear that has closed down our throats. These are our wild voices that want to be heard and loved - by ourselves, by our pack."

NYX is the result of years of collaboration and transformation, reflecting the collective’s signature blend of experimental vocal techniques and electronic alchemy. NYX’s debut album pulses with primal energy and delicate introspection, weaving together the ancient and the futuristic. It’s a spellbinding journey through the human experience, crafted not just to be heard, but also deeply felt.

The album brings together the group's full evolution and experimentation, collaborators on the album include sound designer, composer and NYX string player Alicia Jane Turner, harpist Miriam Adefris, as well as additional drums and production by Memory Play and Sebastian Gainsbourgh (Vessel), artwork by NYX member Shireen Qureshi, co-produced by Marta Salogni and mastered by Heba Kadry.

NYX showcases the choir's far-reaching emotional breadth. The introduction, “Mother”, is inspired by the first chapter of the foundational work of Taoism, Lao Tzu’s Tao Te Ching. In this, NYX’s opening prayer, the listener finds themselves in a swelling crescendo of NYX’s all-encompassing vocals and synth drones. The album spirals through swirling loops of haunting voices and layered strings that come together like crashing waves, bursting through in feral upheaval. “Through Fire” and “Daughters” erupt into heart-wrenching post-apocalyptic chorus and pounding bass-heavy drums, then slip into a blissful sound bath, “Awe”, whose choir harmonies layered with lush harps radiate pure wonderment, and the closing track, a cover of Suicide’s 1979 “Dream Baby Dream”, dissolves into reverberating echoes. NYX leaves an indelible mark, reminding us of the radical potential of healing and love.

In Greek mythology, NYX is the primordial goddess of the night, born from chaos giving birth to light and day. Inspired by this duality, NYX’s music harnesses the voice as a limitless medium for profound emotion, capturing the vast spectrum of human experience with power and authenticity.

Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)

Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.

Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.

It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).

Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).

Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.

Kapote background

Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.

Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").

An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.

KEY POINTS

• Collector Crystal Clear LP deluxe packaged – the very First reissue of the cult 11 track EP – Street Album from year 2000 by DJ Mehdi collecting his Espionnage adventures

• “DJ MEHDI : Made in France” : an Arte 6 episode exclusive serie about DJ Mehdi from September 12th ! DJ Mehdi was the one building bridges between french hip hop and electro, and becoming a key composer,producer and DJ. He was a game changer in himself, helping both french rap & electro scenes to rise in the late 90’s & early 200’s . 13 years after DJ Mehdi’s sudden death, his long-time friend and Director Thibaut de Longeville imagined & directed the serie, with archives materials & exclusive interviews and words from big names from Rap & Electro about their collaborations & relationships with DJ Mehdi.

SHORT BIOG

“Rather than a compilation, this record is a summary of what Espionnage has done in the past two years, from the rap 12”s, the instrumental 12”s to the remixes I was given the opportunity to do. The members of The Espionnage Sound System, Yvan from Double Pact included (even if he only appears here on the interlude betweeen “Camille Groult Starr (rmx)” and “Si Tu Savais (rmx)”), have been essential to the label’s development as a whole. The Chronowax Distribution staff has been equally vital to a structure primarily dedicated to independent vinyl production. By the way, I have to thank Ulysse Genet who, on top of lending his name to a track title, suggested the name “Espionnage” instead of “Le Cirque Disques” (which was my initial idea) and drew the first logo. Many thanks to my team : Olivier Rosset, Charlotte Dutoit, Thibaut de Longeville, Alexander Wise, the 360 Creative & Marketing teams, as well as X2N, Tom Kan, DJ Gilb’R, Roulé, Crydamoure, Benoît Blue Boy and his daughters Ludella and Amadine ; who have all contributed on one level or another to what this record is. Of course I can’t forget my family: the Essadis, Faveris, Gassamas, Majira (and their many relations) as well as my other family, the 113 Clan and the whole African Mafia and most particularly my group, Idéal J, for the respect and freedom with which they’ve let me express the somewhat unusual ideas I had about all of this”.
Peace, DJ Mehdi, NYC, March 29th 2000.

Cactus Lee ist texanische Musik in ihrem Kern, eine Mischung aus Austin-Nachtclub-Vibes und staubiger Dancefloor-Energie. Cactus Lee ist ein Projekt des Austiner Songwriters Kevin Dehan und spiegelt eine tiefe Liebe zu texanischen Country-Songwritern wider, die mit dem kühnen Geist von Outlaw- und Outsider-Einflüssen verwoben ist. Mit einem Sound, der gleichzeitig kindlich, verträumt und scharfsinnig ist und an Ikonen wie John Prine und Tom T. Hall erinnert, hat sich Cactus Lee seit seiner Gründung 2019 eine unverwechselbare Nische in der Musikwelt geschaffen. Über sechs Alben, darunter zwei Veröffentlichungen im Jahr 2023, ein Live-Album und mehrere EPs, waren Dehans Songwriting und seine auf vier Spuren selbst aufgenommenen Bemühungen die Grundlage für ein sich ständig weiterentwickelndes Projekt. Auf dem neuen, selbstbetitelten Album Cactus Lee beschäftigen sich die Songs mit Themen wie Liebe, Verlust, Familie und Selbstfindung und bieten flüchtige Momentaufnahmen von Charakteren und Momenten, die von einem einladenden texanischen Charme durchdrungen sind. Das Eröffnungsstück "Rabbit" stellt einen verliebten, aber schwer fassbaren Protagonisten vor, der durch Bukka Allens Akkordeon und Adam Amrams ansteckenden Rhythmus zum Leben erweckt wird. "Sister" ist ein zartes Versprechen auf bessere Zeiten und gemeinsame Momente, perfekt für offene Straßen und luftige Tage. Roll Maggie" mit seinem Zusammenspiel von Saxophon und Steel-Gitarre erforscht das Glücksspiel der Liebe als ein aufregendes Glücksspiel. "Got A Heart Like Rainwater Blues" zelebriert die unnachgiebigen Bande einer Familie auf der Flucht, durchdrungen von einer bluesigen Unverwüstlichkeit. "Lorelei" zeichnet das rätselhafte Porträt einer fesselnden Figur, untermalt von Doo-Wop-Harmonien. "The Fiddler" fängt die hypnotische Magie einer Tanzfläche ein, untermalt von einem eindringlichen Bratschensolo. "Twenty Dollars", das das Album abschließt, ist eine zutiefst persönliche Ode an Dehans Tochter Jolene. Das selbstbetitelte Album von Cactus Lee unterstreicht die Fähigkeit von Kevin Dehan, die Essenz des texanischen Twang in Songs zu destillieren, die weit über den Lone Star State hinaus Anklang finden, und zwar durch eindrucksvolle Texte und eine durchdachte Instrumentierung.

Fleetwood Mac released five back-to-back multi-platinum albums between 1975 and 1987, an astonishing feat that drove them to become one of the best-selling bands in the world.

On March 28, these classic albums will be reissued on crystal-clear vinyl as a 6LP boxed set as well as a 5CD set. This collection includes Fleetwood Mac (1975), Rumours (1977), Tusk (1979), Mirage (1982), and Tango In The Night (1987).

The Darkness"s new album "Dreams On Toast" marks a bold new chapter for the band. With their signature blend of flamboyant rock anthems and tongue-in-cheek lyrics, this album cements their place at the pinnacle of British rock. Expect soaring guitar riffs, infectious hooks, and a nostalgic yet fresh take on the genre that will resonate with longtime fans and new listeners alike.

The Darkness"s new album "Dreams On Toast" marks a bold new chapter for the band. With their signature blend of flamboyant rock anthems and tongue-in-cheek lyrics, this album cements their place at the pinnacle of British rock. Expect soaring guitar riffs, infectious hooks, and a nostalgic yet fresh take on the genre that will resonate with longtime fans and new listeners alike.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival,
collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern
Productions behind the clubs and hardcore vinyl enthusiasts to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues to push the freshest rising talent alongside now established stalwarts, continuing its role as a modern tastemaker in both jungle music and the wider electronica scene. This 4 track LP sampler is a flavour taster for the next iteration of the Blunted Breaks compilations, with Vol.3 due late Spring 2025.

Für ihr Debütalbum hat die Band einen Vertrag mit High Roller Records unterzeichnet. Neben dem Hitten-Sänger, der auch Rhythmus- und Leadgitarre bedient, komplettieren Mirko Negrino am Bass, Mattia Itala an der zweiten Gitarre sowie Marcello “Cell” Leocani hinterm Schlagzeug die Besetzung. “Dieses neue Projekt ist noch niemals zuvor in der Öffentlichkeit diskutiert worden”, erklärt der Sänger. “Vor einigen Jahren ist eine Demoversion von ‘Shadow Rider’ im Internet hochgeladen worden, doch danach ist die ganze Sache für einige Jahre wieder auf Eis gelegt worden. In der jüngeren Vergangenheit haben wir uns dann dazu entschlossen, die Arbeiten abzuschließen, weil das Material viel Potenzial hat. Die aktuelle Besetzung hat neuen Enthusiasmus in die Sache hereingebracht, was letztendlich zu einem vollständigen Release geführt hat.” Und was für ein Debütalbum Vigilhunter da gelungen ist! Kompositionen wie “Disconnected”, “Titan Glory” oder “Sacrifice” sind einige der besten Songs, die Queensryche nie geschrieben haben. Alexx Panza fühlt sich geschmeichelt: “Ich nehme das als ein großes Kompliment. Natürlich sind wir stark von Queensryche beeinflusst, aber wir könnten niemals zu 100% Songs schreiben, die sich anhören wie sie – so etwas ist ein Ding der Unmöglichkeit. Dieses Projekt zeichnet sich durch mannigfaltige Einflüsse aus, stilistisch lässt es sich nicht auf eine bestimmte Band herunter brechen. Es liegt uns fern, das Rad neu erfinden zu wollen, aber ich denke schon, dass wir als Band eine eigene Identität besitzen. Ich kann jedenfalls sagen, dass eine Menge Arbeit in die Platte eingeflossen ist und wir mit dem Endresultat äußerst zufrieden sind. Ich kann es kaum erwarten zu sehen, wie die Platte dort draußen ankommt. Ich denke allerdings, dass alle Anhänger des originalen US Power Metal viel Gefallen an dem Album finden werden.” Davon ist stark auszugehen, denn neben Queensryche schwingen bei Vigilhunter auch noch ein wenig Crimson Glory und frühe Fates Warning mit. Alexx Panza lacht: “Damit hast du die Referenzpunkte ziemlich genau erkannt. Das ist genau der Sound und die Atmosphäre, die wir einfangen möchten. Dazu noch ein Schuss Savatage und Vicious Rumors. Manchmal kommen allerdings auch Songideen aus Bereichen, mit denen man nicht gerechnet hätte.”

1-800 FANTASY is the third studio album from producer, artist, and visionary, BLK ODYSSY. In what represents somewhat of a sonic shift for BLK ODYSSY - from the dark, brooding blend of R&B & G-Funk to a brighter, warmer and more upbeat Alternative leaning sound - the concept album tells a coming of age story of a teenage boy in the 90s navigating the unfamiliarities of love and lust. The 13-track album includes the previously released singles, “WANT YOU,” “XXX (feat. Wiz Khalifa),” “STANK ROSE (feat. Joey Bada$$),” & “CHANGES” - as well the song, “PHASE,” which was premiered via COLORS. This latest project marks a pivotal moment in BLK’s career, cementing his role as a forward-thinking artist who continues to push the boundaries of R&B and beyond. “Between exploring a new level of storytelling and also a new world of production and songwriting, this record has been a new chapter for me as an artist.” BLK ODYSSY says about the new album. Pressed on Baby Blue Galaxy vinyl, includes double sided insert.

Mint green vinyl, limited to 350 copies. Dead Meadow's highly anticipated tenth studio album Voyager to Voyager marks a defining moment in their illustrious 26-year journey. Revered as a pioneering force in the heavy psychedelic rock scene since their formation in the late '90s, the band delivers not only their most emotionally charged and sonically expansive album to date but also a powerful tribute to their brother, late bassist Steve Kille, whose battle against cancer and untimely passing in early 2024 has made it the poignant end of a chapter in the band's history. Written and recorded across three intense sessions in downtown LA's Ultrasound Studios, Voyager to Voyager perfectly encapsulates Dead Meadow's raw energy and creative chemistry. During the sessions, the band worked quickly, using only the first or second take to preserve the immediacy found in their live show, with drummer Mark Laughlin delivering some of his best performances to date.

Zum 100. Geburtstag von Hildegard Knef erscheint mit „Musik aus einem Leben“ eine besondere Werkschau ihres musikalischen Schaffens. Diese Vinyl-Edition (1LP) enthält 14 Titel, darunter Klassiker wie „Für mich soll's rote Rosen regnen“, „Von nun an ging’s bergab“ und „In dieser Stadt“. Die Songauswahl zeigt Knef als Chansonnière, Erzählerin und Kämpferin.

Stone Foundation release the 3rd 7" single taken from their 11th album The Revival Of Survival. Featuring guest vocals from J.P. Bimeni (who recently collaborated with Moby), this single follows up a staggering 17 consecutive Top 10 hits on the UK Vinyl Singles chart. This release includes a non-album b-side in the form of Starting From Zero, and the 7" will be released the same day as The Revival Of Survival. Limited to just 500 copies worldwide - it's sure to be another future collectible

"Quique" von Seefeel erschien 1993 auf dem Label Too Pure und verschmolz Elemente von Shoegaze, Ambient und elektronischer Musik zu einem innovativen und genreübergreifenden Sound. Die komplexen Texturen, pulsierenden Rhythmen und ätherischen Melodien des Albums sorgen für ein intensives Hörerlebnis, wobei Titel wie "Climactic Phase #3" und "Industrious" den bahnbrechenden Ansatz der Band verdeutlichen. Mark Cliffords aufwändige Produktion, kombiniert mit Sarah Peacocks zartem Gesang, schafft eine traumhafte Atmosphäre. "Quique" war ein Wegbereiter für die Verschmelzung von organischen und digitalen Klangwelten. Das am 28. März erscheinende, komplett neu gemasterte Reissue ist als Doppel-CD in der erweiterten "Redux" Version mit 9 Bonus Tracks sowie neuem Artwork und als Doppel-Vinyl in der ursprünglichen Länge und dem originalen Artwork erhältlich.

American Standard is the second studio album by American post-grunge band Seven Mary Three. It was released in 1995. The album would be Seven Mary Three's breakthrough success, rising to number 24 on the Billboard 200 and was certified platinum in the United States and Canada. Many of the songs were rerecorded versions of tracks off Seven Mary Three's independent debut, Churn. The album's biggest hit single was "Cumbersome" (#1 on Billboard's Hot Mainstream Rock Tracks, #7 on Hot Modern Rock Tracks, and #39 on the Billboard Hot 100).Other Billboard-charting singles were "Water's Edge" (#7 on Hot Mainstream Rock Tracks and #37 on Hot Modern Rock Tracks), and "My My" (#19 on Hot Mainstream Rock Tracks).

By the close of the 1960's, Lloyd 'Charmers' Tyrell was firmly established as one of Jamaica's premier talents, having previously made his mark as a key member of leading vocal outfits, The Charmers and The Uniques. His move into record production in 1968 swiftly resulted in numerous Jamaican hits, with his success attracting the attention London-based reggae music giant, Trojan Records, with whom he swiftly signed a licensing deal in 1969. As the '60s drew to a close, Trojan released 'Reggae Is Tight', on which the multi-talented Charmers demonstrated his keyboard-playing talents over a dozen fast-passed rhythm tracks. This is from the golden age of boss reggae sounds. A must for all true fans of vintage Jamaican sounds. Reggae Is Tight is available as a limited numbered edition of 500 copies on orange coloured vinyl

"Irma Thomas, born Irma Lee and widely celebrated as the Soul Queen of New Orleans, is a Grammy-nominated artist who recorded her first single in 1959. Her second solo album, released in 1966, features the song ""Anyone Who Knows What Love Is (Will Understand),"" co-written by Randy Newman and country music star Jeannie Seely. The single peaked at #52 at the Billboard Top 100 chart and this iconic track has been featured in multiple episodes of the acclaimed science fiction television series Black Mirror. "

This double vinyl captures two legendary concerts, one in Paris in February 1960, the other at an unknown location in 1961. Side A features tracks like “This Night Mountain” and “Ceciliana,” showcasing dazzling rhythmic mastery, supported by Tommy and Stanley Turrentine. Side C enchants with “Who Will Buy?” elevated by Abbey Lincoln’s mesmerizing vocals. Finally, Side D peaks with “Stop Motion,” a masterpiece of bold percussion. A must-have for jazz enthusiasts.

VINYL COMES IN A HIGH-QUALITY SCREEN-PRINTED COVER!
LIMITED TO 200 COPIES!

Coinciding the cinema release of ‘Der Wald in mir’, the soundtrack by Gregor Schwellenbach is being released in an exclusive edition in high-quality screen-printed covers by director and artist Sebastian Fritzsch. Microtonal strings in dialogue with electronic sounds, noise music, drones and ambient, complemented by improvisations by experimental string wizards Emily Wittbrodt and Matthias Kaiser. These different worlds of sound are linked by melodic motifs that come together in the final end credits song. This closing track was created in collaboration with indie artist Jungstötter, 'a singer, whose intense aura I associate with the sensitivity and emotional depth of the main character Jan, just as I hear the strength and unflinching devotion of the character Alice in co-singer Isabelle Pabst.’ (Gregor Schwellenbach)
Pünktlich zum Kinostart von „Der Wald in mir“ erscheint der Soundtrack von Gregor Schwellenbach in einer exklusiven Schallplattenedition in hochwertigen Siebdruck-Covern von Regisseur und Künstler Sebastian Fritzsch. "Um Jans Innenwelt gerecht zu werden, wollten wir uns einer enormen musikalischen Vielfalt bedienen: Mikrotonale Streicher im Dialog mit elektronischen Klängen, Geräuschmusik, Drones und Ambient, ergänzt durch Improvisationen von Emily Wittbrodt und Matthias Kaiser, bis hin zu New Wave und zur Indiepop-Ballade. Diese verschiedenen Klangwelten werden durch melodische Motive verbunden, die im finalen Abspannsong zusammenfinden. Dieser Schlusstitel entstand in Zusammenarbeit mit Jungstötter, einem Künstler, dessen intensive Aura ich mit der Sensibilität und emotionaler Tiefe der Hauptfigur Jan verbinde, so wie ich in Co-Sängerin Isabelle Pabst die Stärke und unbeirrte Zugewandtheit der Figur Alice höre." (Gregor Schwellenbach)

Straight outta Montreal, Canada, Spleen is a one supergroup featuring members of local royalties such as punk bands Béton Armé and Puffer and black metal acts Conifère and Vespéral.

Formed in 2022 and taking their name from Paris Spleen by Charles Baudelaire, they released their first cassette on Roachleg Records in 2023 delivering five post-punk cuts inspired by the colder aspect of french bands like Camera Silens, DEM and later-era Blitz.

Having added a new, sixth member on synthesizer, their second demo was released on Roachleg again just one month ago, taking on new influences from 60’s and 80’s psych garage rock and developing a unique sound not easily categorizable.

Not unlike the latest Duke of Oi! EP by Criminal, picture French skankin’ punk rockers from the 80s (I’m thinking Identité X) meeting somewhere cold with the California dreamers from the Paisley Underground (The Dream Syndicate, of course) and you’ll get the vibe.

And if you think this is odd for people playing also in Oi and BM groups just remember that Blitz first covered Lou Reed’s Vicious back in 1982 so you should not be surprised.

With everything just said we simply couldn’t back out of pressing both EPs on one tasty 12” vinyl compilation, one demo per side, with new sci-fi-influenced artwork by the band’s own Dan and Mathias.

Revolution Rock Deluxe vereint das bahnbrechende erste Album von Greenleaf mit ihrer lange vergriffenen Debüt-EP in einer einzigen atemberaubenden Neuauflage! Angeführt von Gitarrist Tommi Holappa von den europäischen Wüstenrock-Ikonen Dozer, begannen Greenleaf als informelles Kollektiv von Freunden, die Musik machten, inspiriert von ihrer gemeinsamen Liebe zum Riff-Rock der 70er Jahre. Nachdem sie sich 2013 in eine richtige Band verwandelt haben, stehen Greenleaf jetzt an der Spitze der globalen Heavy-Szene, nachdem sie ihr letztes Album The Head & The Habit 2024 veröffentlicht haben. Im fünfundzwanzigsten Jahr ihrer unglaublichen Karriere markieren sie diese beeindruckende Leistung mit einer speziellen Neuauflage ihrer frühesten Veröffentlichungen. Mit Jungs von Dozer, Lowrider, Demon Cleaner und anderen wurde Greenleafs erstes Album Revolution Rock 2001 in Eigenregie veröffentlicht und seit der ursprünglichen Auflage von 500 Exemplaren noch nie neu aufgelegt. Revolution Rock Deluxe vereint dieses bahnbrechende Album mit der lange vergriffenen Debüt-EP von Greenleaf aus dem Jahr 2000 in einer einzigen, atemberaubenden Ausgabe. Alle Songs wurden von Karl Daniel Lidén komplett neu gemastert und das ursprüngliche Artwork und Design von Lowriders Peder Bergstrand brillant aufgefrischt und aktualisiert.Feiern wir ein Vierteljahrhundert majestätischer Riffs mit Revolution Rock Deluxe und erleben Greenleafs Big Bang zum ersten Mal wieder! Präsentiert in einer luxuriösen, aufklappbaren 2LP-Edition auf limitiertem farbigen Vinyl oder als Einzel-CD im Digipack. Alle Songs wurden vollständig neu gemastert und die Verpackung und das Design aktualisiert und aufgefrischt. Eine der aktivsten und beliebtesten Bands der europäischen Stoner-/Desert-Rock-Szene

Der Nachfolger von City of Evil, Avenged Sevenfold's viertes Studioalbum, das selbstbetitelte Album im schlichten Weiß mit Logo, debütierte auf Platz 4 der US Billboard 200 Chart und Platz 24 in UK. Mit dem Fan-Favoriten "Afterlife", "A Little Piece of Heaven" & "DearGod", wurde das Album mit dem Kerrang!-Awards als Album des Jahres ausgezeichnet. Das Album ist auch auf Kerrangs "666 Alben You Must Hear Before You Die" aufgenommen. Für Fans von Metallica, Slipknot & Bullet For My Valentine. Avenged Sevenfold (abgekürzt A7X) ist die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, die 1999 gegründet wurde. Das aktuelle Lineup der Band besteht aus dem Sänger M. Shadows, dem Rhythmusgitarristen Zacky Vengeance, dem Leadgitarristen Synyster Gates, dem Bassisten Johnny Christ und dem Schlagzeuger Brooks Wackerman. Avenged Sevenfold sind bekannt für ihren abwechslungsreichen Rocksound und teilweise für ihre dramatischen Bilder auf Albumcovern und Merchandise-Artikeln. Die Band trat mit einem Metalcore-Sound auf ihrem Debütalbum Sounding the Seventh Trumpet in Erscheinung und setzte diesen Sound bis zu ihrem zweiten Album Waking the Fallen weitgehend fort. Der Stil der Band hatte sich bis zu ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label, City of Evil, zu einem traditionelleren Heavy-Metal-Stil entwickelt. Mit dem selbstbetitelten vierten Album erkundete die Band neue Klänge und feierte einen anhaltenden Mainstream-Erfolg, bevor ihr Gründungsschlagzeuger Jimmy ,The Rev" Sullivan 2009 starb. Trotz seines Todes machten Avenged Sevenfold mit Hilfe des Dream Theater-Mitglieds Mike Portnoy weiter und veröffentlichten 2010 ihr fünftes Album Nightmare, das an der Spitze der Billboard 200 debütierte und ihr erstes #1-Album war. Doppel-LP, 2025er Pressung in rot-rotem Vinyl!

Repress auf rotem, 180g schwerem Vinyl. Kommt mit Downloadcard. Die 2003 gegründete schwedische Band "The Baboon Show" veröffentlichte am 21.10.2011 ihr Album "Punkrock Harbour" als LP und CD erstmalig in Deutschland. Etwas verwunderlich ist das schon, vor allem wenn man bedenkt, dass dies bereits das 4 Album der Band aus Stockholm ist. Zudem wird es zum ersten Mal eine Vinylveröffentlichung der Band geben. Umso besser, dass es nun endlich soweit ist. Es wäre schließlich eine Schande dieses außergewöhnliche Album dem hiesigen Publikum vorzuenthalten. Strotzen die 11 Tracks der Platte doch vor Spielfreude und Energie. Der Band ist anzuhören, dass sie ganz genau wissen, was ein guter Song braucht und wie dieser zu klingen hat. Überflüssige Spielereien sucht man auf der Platte vergeblich. Und wieder stellt sich die Frage, wieso so viele großartige Bands aus Skandinavien kommen? Auch live wurde die Band bereits zu einem der besten schwedischen Live-Acts gewählt, was wir in jedem Fall unterschreiben können. Wer sich selbst davon überzeugen möchte, kann dies bei einem der Deutschlandkonzerte im Oktober diesen Jahres tun. Mehr sollte an dieser Stelle nicht schwadroniert werden. Hört Euch das Album an und urteilt selbst.