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2022 LIMITED RELEASE "POP UP" VINYL Amon Amarth's ninth full-length album, Deceiver of the Gods, will be released in North America on June 25th, 2013. The album was recorded at Backstage Studios in Derbyshire, UK between January and March 2013. Acclaimed producer Andy Sneap (Opeth, Megadeth, Killswitch Engage) produced, mixed, and mastered Deceiver of the Gods. Cover art was, once again, completed by Tom Thiel, and is revealed across three panels, the center of which is the cover of the album. Fans will also recognize a guest appearance on this album: Messiah Marcolin (ex-Candlemass) provides guest vocals for the eighth song, Hel.

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience

Limited Clear Vinyl edition, 300 copies! Recorded in 1961 and released on Blue Note in 1964, “It May As Well Be Spring” is often considered as an ideal companion to Quebec’s famous “Heavy Soul” . Here the saxophone player displays a relaxed set of standards, including classic songs from the American repertoire such as “Willow weep for me”, “Lover Man” and “Ol Man River”. Perfect material to express his warm, lyrical tenor sax voice while Freddie Roach on organ, Milt Hinton on bass, and Al Harewood on drums perform with their usual high sense of interaction .

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Vinyl is limited to 200 copies per colour. 'Rad Wings of Destiny' is the long-awaited, brand-new album from Californian band Ugly Kid Joe. It will be their first new album since 2015's 'Uglier Than They Used Ta Be'. 'Rad Wings of Destiny' will see the band teaming up with Producer Mark Dodson – who was behind the desk for Ugly Kid Joe's multiplatinum debut album release 'Americas Least Wanted' in 1992. An album which celebrates its 30th Anniversary this year. The 10-track album includes the singles “That Ain't Livin'”, “Kill The Pain” and “Long Road”. It features Whitfield Crane on Vocals, Klaus Eichstadt and Dave Fortman on Guitar, Cordell Crockett on bass and drumming duties shared between Zac Morris and Shannon Larkin. Ugly Kid Joe return to the UK for a headline appearance at Hard Rock Hell along with a co-headline tour alongside Massive Wagons. Tracklisting: That Ain’t Livin’; Not Like The Other; Everything’s Changing; Kill The Pain; Lola; Dead Friends Play; Up In The City; Drinkin’ And Drivin’; Failure; Long Road

Recorded live December 5, 1980, New West is proud to present a limited
edition Swamp Color vinyl pressing of Tony Joe White's Austin City Limits
performance
Featuring hits like the classic 'Polk Salad Annie' along with 'Mama Don't Let Your
Cowboys Grow Up To Be Babies'. This title will be pressed on 150g vinyl and will
feature an etched 4th side in tribute to Tony Joe White.

John Scofield's first guitar-solo-recording ever gives a résumé of all the
influences and idioms he has cultivated over his career in performances
on guitar, accompanied by his own rhythmic pulse and chordal backing
using a loop machine
Besides jazz, John is known to have always also had a soft spot for the rock and
roll and country music he grew up with, revealed here in unencumbered renditions
of Buddy Holly's "Not Fade Away" and Hank Williams' "You Win Again". Between
elegant and personal readings of standards, like "It Could Happen To You", the
traditional "Danny Boy" and Keith Jarret's "Coral", Scofield presents his own
timeless compositions - some new, others known.
For the guitarist, it's all about "the way you get the sound out of the string and
what you do with it after you attack it."
John Scofield: electric guitar and looper
Press:
"Scofield is as fiery as ever, plugged in and using loops to give himself a
background groove on some of his gritty originals or putting a punkish spin on
romantic ballads." - **** The Times
"This isn't an album to listen to in a hurry; but if you were pressed for time, the last
two tracks alone would give you a sense of Scofield's extraordinary range. The
bebop- heavy Trance De Jour is antic, angular, questing. But then we close with
You Win Again, a Hank Williams cover, serene as a sunset over the prairie." - ****
The Daily Telegraph
"Here he has distilled his decades in this crazy business into a baker's dozen of
songs that may appear modest in ambition - only one track runs to more than five
minutes, several run to barely three - yet is mighty in impact...This album needed
no other title. This is John Scofield." - **** Jazzwise
"(8/10) The result offers an intimate insight to Sco's skills as both guitarist and
arranger. It's a late-night album - quiet, introspective and really quite beautiful, too,
with Sco's musical soul laid bare before us." - Guitarist

JEFF COTTON OF CAPTAIN BEEFHEART & HIS MAGIC BAND FAME
RELEASES HIS FIRST EVER SOLO ALBUM -'THE FANTASY OF REALITY'
After playing guitar, lap steel & vocals with the legendary Captain Beefheart & his
Magic Band, appearing on the ground-breaking album 'Trout Mask Replica' (under
the pseudonym Antennae Jimmy Semens), as well as playing on 'Strictly
Personal' & 'Mirror Man', Cotton withdrew from the commercial music business
for nearly 50 years. Using the island state of Hawaii as a home base, he emerges
from his seclusion in 2022 with his first ever solo album; 'The Fantasy Of Reality'.
Whimsical, playful & tongue-in-cheek - Cotton delivers a psychedelic journey that
will delight Beefheart devotees while bringing plenty of new ideas to the table
across the sprawling 22 track, 66- minute runtime. 'Trout Mask Replica' cover
designer Cal Schenkel collaborates once again as he returns to contribute to the
internal artwork of the album to continue the Captain Beefheart canon into the
2020's.
Across the decades, the Magic Band's power & influence has only grown in might
& the cult following of 1969's 'Trout Mask Replica' still excites fans to this day, in
part due to the mystery & enigma of members such as Antennae Jimmy Semens
(aka Jeff Cotton). In 1967, Cotton was scoped by Don Van Vliet - Captain
Beefheart himself, replacing Ry Cooder on guitar. He then went one to help craft
some of Captain Beefheart & the Magic Band's most vibrant recordings & later
contributed to the cult band MU.
Now blending together musical strands such as jazz, delta blues, Hawaiian & the
avant- garde to create a melting pot of ideas, Cotton astonishes fans with his
comeback.
The magic will continue on 'The Fantasy Of Reality', available via Madfish.

Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.

Mondo, in conjunction with WaterTower Music, is proud to present the premiere vinyl pressing of Hans Zimmer’s incredible score to WONDER WOMAN 1984.

Featuring incredible artwork by La Boca and housed in a tri-fold jacket with holo-foil elements, with liner notes by writer and director Patty Jenkins, the vinyl pressing is available on 3x 180 Gram Swirl colored vinyl.

Hans Zimmer’s score to WONDER WOMAN 1984 is quite possibly our favorite piece of superhero film scoring since John Williams’ SUPERMAN: THE MOVIE (1978), and Danny Elfman’s BATMAN (1989). We know that sounds hyperbolic, but even before our test pressings arrived, it was one of our most listened to albums on Spotify of the last 6 months. It’s that good. We can’t wait for you to hear how good it sounds on vinyl, out of big speakers.

Composed by Hans Zimmer
Artwork by La Boca
Manufactured in the Czech Republic

True concept albums are actually few and far between. While it can be said that The Who’s Tommy and Quadrophenia, or Pink Floyd’s The Wall were designed from the ground up, that’s not necessarily the case for equally mythical, yet composite, albums such as Bowie’s The Rise And Fall of Ziggy Stardust…, or Lou Reed’s Berlin. In France, the genre established its pedigree in the 1970s with Serge Gainsbourg, then in the early 1980s with Léo Ferré. Cri d'amour by Mélanie Chédeville adds to this list of albums that tell a story through characters.

Cri d'amour was produced in a seaside setting, which may explain its flowing, organic character. It is all by herself that the violinist-by-training composed, wrote and arranged this collection of string-drenched songs that recall Jean-Claude Vannier’s work for Serge Gainsbourg. The latter would undoubtedly have been impressed by Mélanie’s fine-cut lyrics and melodies that are as raw as they are sophisticated, vocalized in a sprechgesang recalling his own. The deliberately retro palette, up to the bass sound so typical of 1960s English rock, betrays an artist indebted to the creator of Bonnie & Clyde and Initials B.B. through a sensual, clear tonality. Yet, polyrhythms borrowed from the late afro-beat legend Tony Allen, and the touches of guitar, piano, percussion and synthesizers distilled here and there by Éric and Mélanie, end up giving the whole affair a resolutely atemporal color.

Mélanie was sixteen with a head full of Beethoven and Brahms when she succumbed to an unexpected fascination for the world of Éric, a pianist, composer and sound engineer, who regularly delivered scores for Marc Dorcel’s X-rated films. She evokes him in L'Alpha-bêta and Le Pornographe, through whispered choruses that would suit the late Julee Cruise or Vanessa Daou to a tee, and explicit allusions to a “sword of Damocles” of “XXL” dimensions.

These are not the only texts on this album that remind us of the Franco-American author Anaïn Nin’s erotic poems, a model that Mélanie willingly takes on, adding to the list of her literary influences alongside Apollinaire and his Debauched Hospodar:

Some may find this album old-fashioned, which, far from being a flaw, is a credit to the fine musician that Mélanie is. Others will call it a charming album, which is not a bad way to describe it, provided that it is a powerfully relentless charm.

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

Rush Hour-affiliate and Amsterdam local Relmer is back with what may well be his best work so far. ‘H2O’ expertly displays the vibrant energy he’s known for around these parts with two Amazon-inspired deephouse groovers, a melancholic walk through the jungle, a Detroit-infused progressive anthem and a hypnotic midtempo floorwarmer. Absolutely stellar stuff from A to Z.

“Super nice versatile EP by Relmer, Bummers Paradise has been a firm favourite this summer”
Esa Williams

"Blissful sounds, dancefloor material, and most of all, all very fun music to listen to. 10/10"
Fatima Yamaha

Here comes a fat Toy Tonics remix package. COEO made 2 club versions of this track originally by Toy Tonics head honcho Kapote - featuring New York born, Berlin based Soul singer Kosmo Kint. Coeo's Garage version is a heavy booty shaker, quite different from their last release. This is very UK. You can hear that Coeo has been DJing a lot in the UK lately. Of course the other one rmx is a killer remix too .... You get what you know from a Coeo work.

The Kapote remix package also includes a version by Detroit original hero Dez Andres. A sneaky dancefloor slammer that will get a lot of attention.

Meltdown was the fourth smash hit album from Ash. The album again reached No.5 within the UK and has since become a gold record. The hard rock album contains mega hits including Clones, Orpheus, Starcrossed, Renegade Cavalcade and Meltdown.

Ash and BMG are proud to reissue Ash’s fourth LP ‘Meltdown for the first time on Orange and Black splatter vinyl. This album has not been re-issued since it’s 2004 release, so will be an exciting prospect within the Ash community. Meltdown contains hit after hit and with its hard rock sound resonates strongly with a wide audience. Upon release Ash drew critical acclaim from multiple publications including Pitchfork, The Guardian, Drowned In Sound and many more, whilst touring with allusive contemporaries The Darkness, and headlining Coachella Festival.

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label. The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

"Hey, there's this new guy around that plays like Herbie Hancock!!". When Chilean pianist Matías Pizarro arrived in Argentina fleeing Pinochet's dictatorship, word spread like wildfire in the local jazz scene.

In the two short years that Pizarro spent in Buenos Aires, he became one third of the Viejas Raíces project alongside local jazz heroes Jorge López Ruiz and Pocho Lapouble, recorded with famed Italian trumpeter Enrico Rava and released his own solo album, Pelo de Rata ("Rat's hair").

Pizarro was no beginner though. Whilst in Chile he had already participated in several music projects and worked as a producer and arranger for the IRT label, and was connected to influential bands such as Los Jaivas and Blops. He had also studied in the Berklee School of Music where he not only met and lived with the cream of an emerging new wave of musicians, but he also had the chance to attend live performances of giants such as Miles Davis or Thelonious Monk.

In the recording of Pelo de Rata Pizarro is joined by fellow Chilean Alejandro Rivera (Sacros, Grupo Sol) on quena and charango, Swedish bassist Bo Gathu on bass, Uruguayan saxophonist Finito Bingert and an impressive percussion team featuring Pocho Lapouble, "El Zurdo" Roizner and the mighty Domingo Cura. The album draws from the US jazz fusion currents of the time (think Chick Corea and Miles Davies), adding an undeniable Latin American character, all projected through Pizarro's own musical prism which displays his acute sense of harmony and a musical intimacy that reminds of those sincere, dreamy moments in Viejas Raíces.

The 8-page booklet that accompanies the vinyl edition will give you a deeper insight into the story of Matías Pizarro, with previously unseen pictures and liner notes by Argentinean journalist Humphrey Hinzillo (La Nación , Rolling Stone Argentina).

A new compilation titled Erased Tapes _+ù_¦ö, encompassing a two hour cross-section of the label"s 15-year history including hidden gems and previously unreleased material, will be available on November 4 to coincide with specially curated festivals in London and Berlin. The first offering comes from UK producer Kevin Richard Martin aka The Bug and Japanese voice artist Hatis Noit who share their paranormal first collaborative cut After the Storm amongst other unique pairings such as The Art Ensemble of Chicago featuring Moor Mother, Bell Orchestre interpreted by Colin Stetson, Douglas Dare joined by The London Contemporary Orchestra and Ben Lukas Boysen remixed by Kiasmos. Premiered exclusively via The Wire magazine in form of a free download ahead of their debut live performance at Le Guess Who? Festival 2019 in Utrecht, the track is now finally made available on vinyl and streaming platforms alongside other previously unreleased pieces from electronic producer Ryan Lee West aka Rival Consoles and Icelandic composer Högni. "As a solo vocalist and voice artist, I"d always dreamed of floating and being drowned in a beautiful sonic storm. And then I met Kevin Martin" - Hatis Noit The artwork is composed of the Japanese kanji for "15" - calligraphed by label founder Robert Raths and designed by Munich-based artist Bernd Kuchenbeiser.

Following the release of Barbie Bertisch’s debut album Prelude in June 2022, Love Injection is thrilled to announce Prelude Remixes via Love Injection Records, which features six artists new to the label, kicking off with a two-track 12” single followed by a full digital release. Love Injection is the label and fanzine Bertisch runs with her partner, Paul Raffaele. The duo are romantic about remixes as an artform and always intended to have reinterpretations be the next phase after Prelude. Often reduced to ways to extend a hype cycle, or disjointed add-ons, Love injection’s remixes exist in dialogue with the artist’s songs.

The 12 inch single will inaugurate the project, with Montreal’s Gene Tellem on the A side, and Panorama Bar residents Lakuti and Tama Sumo on the flipside. On the “GT Remix”, Bertisch gushes that “Gene is very good at creating and sculpting atmospherics in her productions. She really grabbed the song and took it to a different place.” Tellem's version of “After The Storm” is faster, elastic and pulsing with an almost primordial intensity.

Creative and life partners Lakuti and Tama Sumo take on “Fertile Garden (Emerge)”. Lakuti, originally from South Africa, got her start DJing in the Johannesburg house scene of the ‘90s. She is now based in Berlin and often DJs with Tama Sumo, who grew up in Bavaria and moved to Berlin in 199x and has been a staple in the scene there since. The duo, both residents of Berlin's Panorama Bar, turn “Fertile Garden” into an ecstatic, unrelenting beat-down, best fit for peak time.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

The essential series from the ’80s has been rebuilt, remastered, and carefully portioned onto a five disc set of 7-inch singles, including all the classic vocal bits that became iconic samples, and more than a few new additions to bring things up to date.

Where would dance music be without Acapellas Anonymous? Although many records claim to have changed the game, the arrival of the Acapellas Anonymous series in the mid/late ’80s actually did just that. A hugely popular, multi-volume set of vocal tracks sourced from a wide variety of dance classics, AA was used extensively at the dawn of sampled music to provide hooks for numerous hits. “I’ve Got the Power,” “Ride On Time,” multiple Clivillés and Cole tracks, Pal Joey’s “Party Time,” ’90s Italo house and rave cuts, and untold others all found their choruses among the many acapellas collected on the series. As Ultimate Breaks & Beats was for funk and hip-hop sampling, so was AA for dance music, both for producers and as a must-have for the creative DJ. Sure, before these records came along, DJs had their own choice vocal bits that they used in sets or layered into edits. But suddenly, much like Ultimate Breaks, these carefully guarded secret sources were available easily, and in convenient form, for the first time. And the response, from DJs and a new generation of producers, was immediate.

That part of the story is widely known, and indeed, was widely experienced by anyone paying attention to music of the time. But the questions linger: who was it that found these acapellas, many of them only existing on promo singles, or as tiny fragments buried on obscure B-sides? Who edited and put them together? By now, you may have guessed that once again we owe an enormous debt to the maestro of edits and our hometown hero, Danny Krivit. And it’s to him we must tip our collective caps for this latest release, a carefully revised, fully remastered, and immaculately executed update to the series — this time on 7-inch.

All of the classics are here, rinsed but still powerful: “Let No Man Put Asunder,” “Weekend,” “Don’t Make Me Wait,” “You Don’t Know,” and dozens more. New additions make a few clever appearances as well, with Roland Clark’s “I Get Deep” (used for Fatboy Slim’s “Star 69”), and Rickie Lee Jones’s stoned rambling known as “Little Fluffy Clouds” showing up for the first time. This is no nostalgia trip — Acapellas Anonymous was recently tapped for a Cardi B megahit, and naturally you’ll find that source, Frank-Ski’s “Whores In This House,” included. All in all, an astounding 80 high-quality acapellas and vocal hooks are spread across the five 7-inch, 33RPM singles, which have each been sequenced thematically with attention paid to timings and tempos to provide maximum utility for the working DJ. And if the past is any indicator, we will likely see a new crop of tracks spring up as these find their way into the production toolkits of the world’s track-makers.

Paddy Hanna, Ireland’s best-kept indie secret, will release his fourth studio album Imagine I’m Hoping via Strange Brew on Friday, 21st October, 2022.

There are few artists who could count Burt Bacharach and Fontaines DC amongst their fans but Paddy is one of them. The Dubliner has long eschewed passing fads in favour of timeless melodies and fine songwriting, leading indie music bible The Quietus to call him “a songwriter with a propensity for wildly infectious hooks and choruses that burrow into your brain with no intention of leaving.”

Happy Mondays release a special 7" in memory of their legendary bassist Paul Ryder, who tragically passed away earlier this month. The 'Tart Tart’ limited edition 7inch contains the original of the track, which originally appeared on Happy Mondays 1987 debut album Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out) and was produced by John Cale. On the B-Side is a live version of the track from a BBC John Peel session.

Paul’s brother, Happy Monday’s vocalist Shaun Ryder comments: "This special release of Tart Tart showcases the unique musical talent of our brother Paul Ryder who passed from this world ... we will all miss you Horse...he brought the funk and the rock n roll to Happy Mondays … love you long time R kid”.

A private press rarity that few know of, ‘Song of Island’ was the third album from pianist Yasuhiro Kohno’s trio, recorded live at the jazz club and live house (gig venue) ‘Again’ in August 1985. Pressed up in small numbers, ‘Song for Island’ was issued on the private ASCAP Records, set up by pianist and band leader Yasuhiro Kohno. The album is a follow up to Kohno-san’s previous two albums, ‘Peace’ and ‘Roma in the Rain’, released on the cult Aketa’s Disk label. However, unlike the ‘Peace’ and ‘Roma in the Rain’ albums, ‘Song of Island’ has never been reissued before – until now. The title track was included on J Jazz volume 3. This is a very special album that captures a special time in Japanese jazz, when exemplary acoustic jazz was still being performed and recorded by dedicated and talented artists at the height of mid-80s synth pop. ‘Song of Island’ features four original compositions by Yasuhiro Kohno plus a distinctive take on a jazz standard. Yasuhiro Kohno was born in Nara, southern Japan, in 1953 and made his professional debut as a member of Japanese rocker Eikichi Yazawa's band before going on to accompany actor/singer Masatoshi Nakamura. As well as recording and performing under his own name, Kohno has also played with American musicians such as Richard Davis and Mal Waldron and continues to perform regularly in Japan. ‘Song of Island’ will be issued as a full reproduction of the original work, with inserts, translated original sleeve notes, plus new sleeve notes, photos, and interview with Yasuhiro Kohno by Tony Higgins.

Sunsleeper was halfway through the touring cycle for their debut album when the pandemic halted live music. For the Salt Lake City indie rockers, that pause allowed them to reframe what their journey as musicians and people inspires them to create and say. After forming in 2016 and briskly realizing their Nathan Hussey-produced debut EP Stay the Same, the band entered the studio for their debut album, inking a deal with Rude Records. You Can Miss Something and Not Want it Back dropped in summer 2019, with the band celebrating with runs featuring their collaborators and friends in All Get Out, an Audiotree live session, and most recently, a run with TWIABP and Bent Knee in fall 2021.While the pandemic still rages on in uncertain terms, Sunsleeper found themselves more solidified than ever writing their sophomore LP, with their road-tested lineup collaborating cohesively and with united goals. While You Can was recorded and produced by Brett Romnes (Oso Oso, Hot Mulligan) and mastered by Will Putney (Counterparts, Knocked Loose). Enlisting heavyweight personnel across scenes and genres underlines what the band views as this album’s mission: to connect with and inspire as many listeners as possible while venturing into their most daring and expansive material to date.

Hailing from the North West of England, XENTRIX was formed in 1985 by guitar player Chris Astley. After numerous changes to the line up XENTRIX signed to Roadrunner records and entered the studio to record their first album 'Shattered Existence' with producer John Cuniberti (Vio-lence, Forbidden, Joe Satriani). XENTRIX were one of the leading lights of the British thrash metal movement. They had music videos which all had regular air time on MTV’s Headbangers Ball. Gaining global notoriety, XENTRIX had many high energy performances with audiences of thousands. XENTRIX released their comeback album 'Bury the Pain’ in 2019 with production from Andy Sneap and Mastering by Russ Russell, this new recording showed the band sounding heavier than ever, while still retaining their signature sound. “Seven Words” is the 7th studio release from UK Thrash outfit Xentrix and is a crushing compendium of all that has made this band what it is today. New tracks such as “Reckless with a smile”, “Anything But The Truth”, “The Alter Of Nothing”, “Everybody Loves You When You're Dead”, and the title track “Seven Words” will take their rightful place next to the Xentrix classics. Xentrix’s guitarist Kristian Havard Comments: “This LP is the culmination of the last 2 years of us experimenting and trying new ideas. It feels like a big step forward for the band, but without stepping away from our Thrash Metal past and I can’t wait for people to hear it.” Recorded in the UK at Backstage studios in Derbyshire and Viscon studios in Lancashire, the album was mixed & mastered by Andy Sneap (Judas Priest, Exodus, Megadeth) and returning to create the cover artwork was Dan Goldsworthy (Accept, Corpsegrinder, Alestorm).

In the spring of 2008, almost exactly two years after the last time they began recording, the band returned to Bogren's studio in Orebro to show there was still room for improvement with Twilight of the Thunder God.

Minas-cover Minas is a world music duet comprised of Orlando Haddad and Patricia King. Minas reflects a perfect musical marriage with a stage presence and chemistry that only a lifetime can produce. Drawing on the passionate styles of Brazilian and American roots music, the two create a fresh and innovative sound. With a catalog of 8 recordings released on their label Bluezul and a collection of over 100 songs, they have been building their reputation. Multi-talented as composers, vocalists, and instrumentalists, and equally comfortable in Brazilian jazz, folk, and classical genres, Minas is now bringing their world music approach to the Beatles with their latest album titled Beatles in Bossa. This re-imagination of fourteen Beatles' songs is infused with American Jazz and Brazilian styles of Bossa Nova, Samba, Choro, Partido Alto, Afoxé, Marcha Rancho, and Frevo. "Blackbird" has a nylon-strung guitar and vocal intro that sets the tone for this Brazilian-themed arrangement. Minasminas-1 transforms the melody to something new while still keeping the theme recognizable. The male and female vocals of Haddad and King blend beautifully as the band builds a relaxed Brazilian feel. John Swana plays an expressive Evi solo, adding a modern color while still being vivid. Haddad wrote this creative arrangement with a fresh approach to this classic Beatles melody. "With A Little Help From My Friends" is another Brazilian arrangement that is all Minas. The concept came from Haddad and King with the horn arrangement provided by Andrew Neu. Haddad's nylon-strung guitar keeps a Latin pattern as the horns accent the two vocalists trading phrases of the melody. Neu plays an exciting solo. The arrangement is rewarding, enabling us to hear the melodic lines, harmony, and orchestration from a different perspective.minas-2Minas' Beatles in Bossa impresses with its natural, vibrant, and heartfelt presence, allowing us to hear and appreciate the colors and textures of the exceptional music of the Beatles through a Brazilian perspective and thoughtful performances.

Limited Clear Vinyl edition, 500 copies! Besides playing with the likes of T. Monk, J.Coltrane, A. Blakey and R. Weston, bassist and oud player
Abdul Malik is mostly remembered as one of the first to explore how elements of Middle Eastern and North African music can integrate with Jazz
idioms. Originally released in 1963 on Prestige Records, this is his fifth studio effort featuring Bilal Abdurrahman - alto saxophone, clarinet, Korean
reed flute, percussion, and William Henry Allen - bass, percussion, A peculiar combination of different instruments and sounds for a step into the
Eastern side of Jazz.

John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell.

The music on Lost Themes is there for Carpenter’s acolytes to visualize their own nightmares.

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfield’s Tubular Bells and Goblin’s Suspiria.“They’re little moments of score from movies made in our imagina- tions,” Carpenter says. “Now I hope it inspires people to create films that could be scored with this music.”

Sacred Bones is now repressing this incredible debut by the one and only master of horror in a bunch of new colors in celebration of the label’s 15th year anniversary.

Repress in soon, note new price. RIYL Steve Gunn, Hiss Golden Messenger, Ryley Walker, Itasca, Bill Callahan, Kurt Vile, Angel Olsen. “Timeless ... Measured, perceptive storytelling. A singer with an unmistakable and communicative voice, able to convey hope and hurt with equal clarity.” Pitchfork / “She writes literate songs with unusual precision and sings them in an understated, open-hearted way that lends good poetry the directness of conversation.” Uncut / On her fourth album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The Weather Station is her most direct and candid record, and the first one to include tracks one might characterize as pop songs. Throughout, the record grapples with some of the darkest material Lindeman has yet approached: it is, according to her, the first album on which she touches on her personal experiences of mental illness. And yet the gesture inherent to the record is one of unflinching embrace. Despite it all, the characters “fall down laughing, effervescent, and all over nothing, all over nothing.” “Well, I guess I got the hang of it” she sings wryly, “the impossible.” By saying more than ever before, The Weather Station seeks to reveal the unnamable, the unsayable void that lies beneath language and relationships. It’s willfully messy and ardent and hungry. Tracks : A1 Free A2 Thirty A3 You and I (on the Other Side of the World) A4 Kept It All to Myself A5 Impossible B1 Power B2 Complicit B3 Black Flies B4 I Don’t Know What to Say B5 In an Hour B6 The Most Dangerous Thing About You

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. The tracks from the accompanying single (Juju Funk / Return Of Baron Samedi) have already received very strong radio responses from around the world. They have both been supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, with Nasser Bouzida discussing the rhythm influences of Return Of Baron Samedi on the Cerys show. Many specialist funk shows from Australia, Germany, France Canada and the US have also been supporting those tracks. Expect further support for this the second single Double Groovy as it is sent to radio and goes live on streaming services. This is set to be an essential 45 for funk DJs. Grab a copy of this very limited release while you can. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. This is the second single, the two sides of which will be sent to radio though Sept / October / November. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Double Groovy B Side – Trans-Pacific Express

The Jive Aces are the UK's top jive and swing band and are renowned for their high-energy jump jive and spectacular stage show in their hallmark yellow suits. The band’s repertoire stretches from the timeless tunes of the swing era to the glitz of the Rat Pack, with a dash of rhythm & blues, swinging jazz and the roots of Rock ‘n’ Roll and Elvis.
Originally forming in London the band gained steady success year by year and are the first live band to reach the semi-finals of "Britain’s Got Talent" famously putting grumpy Simon Cowell “in a good mood”. This was followed by a performance to the late Her Majesty The Queen as part of her Diamond Jubilee celebrations. They are unquestionably the UK’s finest band in their genre.
They performed at hundreds of festivals including Glastonbury, Montreux Jazz Festival and The Hop Farm Festival to name a few. They also headlined and sold out the first ever swing dance at the Royal Albert Hall. By popular demand the band will be featuring in their own show in London’s West End at the Aldwych Theatre this December.
During the pandemic, the band performed consecutively for over 500 days with free concerts on line to cheer people up and help get through the tough times.The band has a one month US tour scheduled for 2023 and diary full of shows throughout UK and Europe. They are in constant demand.

FIRST VINYL (VOL. 1)
SIDE 1:
1. I’m Gonna Sit Right Down And Write Myself A Letter
2. On A Slow Boat To China
3. Sweet Sue, Just You
4. On The Sunny Side Of The Street
5. Jeepers Creepers
6. It’s Been A Long, Long Time
SIDE 2:
7. I Can’t Give You Anything But Love
8. It Had To Be You
9. Wrap Your Troubles in Dreams
10. Ain’t She Sweet
11. I’m Confessin’ That I Love You/ It’s Only A Paper Moon
12. Ain’t Misbehavin’

SECOND VINYL (VOL. 2)
SIDE 3:
1. Rock ’n’ Roll Movie Star
2. Feeling Happy
3. Mama, He Treats Your Daughter Mean
4. No. 13 (Fruit Boots)
5. Choo Choo Ch’Boogie
6. Giddy Up A Ding Dong
SIDE 4:
7. Bad News
8. Alright, OK, You Win
9. I Want You to Be My Baby
10. Rock ’n’ Roll Boogie
11. Ain’t Nobody Here But Us Chickens
12. Jump, Jive and Wail

Cosimo and The Hot Coals represents the very
roaring sound of 20s, a time machine will drag
you to the New Orleans infamous jazz clubs
where history was made.
This new record is a journey on the early
American railways.
A journey made by an Italian emigrant
discovering the American dream and looking
forward to meet the love of his life. One of the
most liked "new school" band by Michael Bublé
with over 3 milions views on TikTok.

Orange Vinyl

Anlässlich des 25-jährigen Jubiläums des Albums gibt es jetzt eine limitierte Auflage in orangefarbenem Vinyl. Doppelte Gatefold-Hülle, 2-seitiges Booklet, bedruckte Schutzhüllen mit den Songtexten. Das Album enthält einige von Celines ikonischsten Titeln wie "My Heart Will Go On" (Titanic), "Tell Him" mit Barbra Streisand, Let's Talk About Love hat seit seiner Veröffentlichung mehr als 31 Millionen Kopien verkauft

It's been 5 years since Nicolas Cubillos started his musical odyssey with his band Lachinos. In 2020 they released their first EP America Lachina with the label Goutte d'Or Records. Through these four songs full of lysergic magic, they offer an ode to Latin American music that was danced at home.
In the fall of 2022, Lachinos will release his second EP entitled Costa Brava, still on Goutte d'Or Records. This record, which mixes surf rock, merengue, cha cha cha and cumbia with Japanese tints, is a sincere exploration through their colorful and festive universe.
With the added bonus of two brilliant remixes by Voilaaa and Matias Aguayo Currently, the group is composed of important actors of the avant-garde music scene in Peru and Colombia: Ernesto Velarde
(Moldes, Juan Wauters) on drums, Santiago Jimenez (Mamíferos, Las Migrañas) on keyboards and vocals, John Socha (Romperayo, Nkumba System, the Caribbean Makina) on bass.

New Orleans songwriter Steph Green's debut album, 'Thanks For That',
draws from a wide array of influences to create songs that are
unpredictable, harsh, sentimental, vulnerable, and funny
The album is a kaleidoscope of loud, distorted guitars, moody and romantic
country- noir, sunny beach- pop and shuffling folk- rock that will make you both
laugh and feel the good kind of crappy. In Green's strange and illuminated world,
weeping steel guitars meet atmospheric synths, and velvet harmonies croon
beneath the wry humor and heartbreak of a voice positioned as both winking
jester and eternal outsider. Green is equally as versatile a singer as she is a
songwriter; alternately tender, gritty, sweet, stoic, and emotive. The album was
recorded to tape in New Orleans with Green producing in collaboration with
engineer/ co- producer Duff Thompson. It features a rotating cast of fellow
musician/songwriters, including Thompson, Sam Doores (The Deslondes, Hurray
for the Riff Raff), and Nick Shoulders.

Nikki Lane's remarkably dazzling third album Highway Queen, sees the
young Nashville rebel emerge as one of country and rock's most gifted
songwriters.Produced by Lane and fellow singer-songwriter Jonathan
Tyler, and recorded in Denton, Texas and Nashville, Tennessee, Highway
Queen is an emotional tour-de-force
Blending potent lyrics, unbridled blues guitars and vintage Sixties country- pop
swagger, Lane's new music will resonate as easily with Black Keys and Lana Del
Rey fans as those of Neil Young and Tom Petty. Highway Queen starts with the
whiskey-soaked restlessness of € 700,000 Rednecks, a rowdy call to action, and
ends on the profoundly raw Forever Lasts Forever, where Lane belts freely,
mourning a failed marriage, the lighter shade of skin left behind from her wedding
ring. Lane's journey to heartbreak takes exquisite turns. Companion is pure Everly
Brothers' dreaminess ( I would spend a lifetime/ Playing catch you if I can ).
Elsewhere, she goes on a Vegas bender on the rollicking Jackpot, fights last-call
blues ( € Foolish Heart ) and tosses off brazen one- liners at a backroom piano
( Big Mouth ). Lane, a Greenville, South Carolina native, is a unique songwriter
who didn't take the traditional country artist path. Her backwoods roots are
undercut by her chosen career as a fashion entrepreneur (she's the owner of
vintage clothing boutique High Class Hillbilly) who has lived " and been
heartbroken in " Los Angeles, New York and Nashville. So it's no surprise that her
music seamlessly crosses musical genres with lyrics steeped in the doomed
perseverance only a true dark horse romantic knows. Lane's rapid rise in music is
thanks to the fervent critical acclaim of her debut record Walk of Shame and
2014's Dan Auerbach-produced All Or Nothin'. Pressed on Blue Jean Color vinyl.