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**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

Brandneue Interpretationen des Future Sound Of London-Klassikers "Papua New Guinea", der durch seine raffinierten Wendungen immer wieder zu Neuinterpretationen anregt, diesmal von FSOL selbst unter ihrem YAGE-Moniker.

Teaser Sweet aus Schweden haben in ihrer heimischen Szene bereits gehörig Staub aufgewirbelt. Der Startschuss fiel ursprünglich im Jahre 2013, als Marcus Damberg seine Schwester Therese und den damaligen Bassisten Christoffer Cardell fragte: "Wollen wir nicht eine Band gründen?" Die ursprüngliche Besetzung wurde von Kalle Krantz am Schlagzeug komplettiert. Anfänglich spielte man noch Songs von Kiss nach, ehe sukzessive eigenes Material entstand. Nach dem ersten Demo wagte man sich auf die Bühne und spielte in der Folge drei Alben sowie eine EP ein: "Hit And Run" (2015), "In The Night" (EP, 2017), "Hypnotized" (2018) und "Monster" (2020). Für das neue Album "Night Stalker" haben Teaser Sweet nunmehr einen Vertrag bei High Roller Records unterzeichnet. In Therese Damberg besitzen die Schweden eine Sängerin, deren Stimme an eine Kreuzung aus Acids Kate, Leather Leone und Johanna von Lucifer erinnert.

Teaser Sweet setzen die lange Tradition von schwedischen Bands mit weiblicher Beteiligung fort, angefangen mit Crucified Barbara, über Slingblade und Thundermother, bis hin zu The Gems. Therese Damberg gibt allerdings zu bedenken: "Ganz bestimmt haben ABBA mit dazu beigetragen, dass schwedische Frauen das Selbstbewusstsein besitzen, Musik zu machen. Für mich ist es jedoch selbstverständlich, dass es im Hardrock Sängerinnen gibt - es existieren ja auch genügend Bands, die nur aus Männern bestehen. Ich sehe da jedenfalls keinen Unterschied."
Musikalisch zeigen sich Teaser Sweet von Judas Priest, Black Sabbath, Dio und den späten Europe inspiriert. Mit seiner galoppierenden Bassarbeit erinnert ein Song wie "Deep In The Woods" zudem an Iron Maiden.

Teaser Sweet aus Schweden haben in ihrer heimischen Szene bereits gehörig Staub aufgewirbelt. Der Startschuss fiel ursprünglich im Jahre 2013, als Marcus Damberg seine Schwester Therese und den damaligen Bassisten Christoffer Cardell fragte: "Wollen wir nicht eine Band gründen?" Die ursprüngliche Besetzung wurde von Kalle Krantz am Schlagzeug komplettiert. Anfänglich spielte man noch Songs von Kiss nach, ehe sukzessive eigenes Material entstand. Nach dem ersten Demo wagte man sich auf die Bühne und spielte in der Folge drei Alben sowie eine EP ein: "Hit And Run" (2015), "In The Night" (EP, 2017), "Hypnotized" (2018) und "Monster" (2020). Für das neue Album "Night Stalker" haben Teaser Sweet nunmehr einen Vertrag bei High Roller Records unterzeichnet. In Therese Damberg besitzen die Schweden eine Sängerin, deren Stimme an eine Kreuzung aus Acids Kate, Leather Leone und Johanna von Lucifer erinnert.

Teaser Sweet setzen die lange Tradition von schwedischen Bands mit weiblicher Beteiligung fort, angefangen mit Crucified Barbara, über Slingblade und Thundermother, bis hin zu The Gems. Therese Damberg gibt allerdings zu bedenken: "Ganz bestimmt haben ABBA mit dazu beigetragen, dass schwedische Frauen das Selbstbewusstsein besitzen, Musik zu machen. Für mich ist es jedoch selbstverständlich, dass es im Hardrock Sängerinnen gibt - es existieren ja auch genügend Bands, die nur aus Männern bestehen. Ich sehe da jedenfalls keinen Unterschied."
Musikalisch zeigen sich Teaser Sweet von Judas Priest, Black Sabbath, Dio und den späten Europe inspiriert. Mit seiner galoppierenden Bassarbeit erinnert ein Song wie "Deep In The Woods" zudem an Iron Maiden.

To celebrate the 5-year anniversary of 1 AM Study Session, we’re offering a fresh take on the tracks that started it all. This compilation features piano reimaginings of the original songs, preserving their nostalgic late-night essence while transforming them into soothing melodies for daytime reflection. A timeless blend of past and present, perfect for any occasion. ✨

"Tales Of Mystery And Imagination Edgar Allan Poe" is re-issued in a variety of different formats including as a 180g Heavyweight half-speed remastered Clear Vinyl LP. The Alan Parsons Project debut studio album was originally released in June 1976. The lyrical and musical themes of the album are retellings of horror stories and poetry by Edgar Allan Poe. The album was a worldwide hit selling almost a million copies and achieving platinum status in a number of territories including Germany and Canada. Featuring a half speed remaster by Miles Showell at Abbey Road Studio. Printed insert contains a sleevenote featuring quotes from Alan Parsons and Eric Woolfson.

Idas viertes Album wurde finanziert von Capitol, in 14 Studios aufgenommen, vom New Yorker Label Tiger Style veröffentlicht und ging im Jahr-2000-Trubel unter. Die 14 Songs von "Will You Find Me" sind ein unermüdliches Kompendium und Ode an Schlaf, Sex, nächtliche Gespräche und andere bettlägerige Aktivitäten. Diese erweiterte Deluxe Edition zum 25-jährigen Jubiläum kommt in der Vinylausgabe mit 34 Outtakes, alternativen Abmischungen, 4-Spur-Demos und Covers aus dem umfangreichen Fundus der Band, die sich thematisch über vier LPs verteilt. Das begleitende 24-seitige Booklet dokumentiert Ida's Major Label Album, das es nie gab, mit atemberaubenden Fotos und einem ausführlichen Essay von Douglas Wolk.

Transparent Cloudy Clear "This Water" Vinyl. Idas viertes Album wurde finanziert von Capitol, in 14 Studios aufgenommen, vom New Yorker Label Tiger Style veröffentlicht und ging im Jahr-2000-Trubel unter. Die 14 Songs von "Will You Find Me" sind ein unermüdliches Kompendium und Ode an Schlaf, Sex, nächtliche Gespräche und andere bettlägerige Aktivitäten. Diese erweiterte Deluxe Edition zum 25-jährigen Jubiläum kommt in der Vinylausgabe mit 34 Outtakes, alternativen Abmischungen, 4-Spur-Demos und Covers aus dem umfangreichen Fundus der Band, die sich thematisch über vier LPs verteilt. Das begleitende 24-seitige Booklet dokumentiert Ida's Major Label Album, das es nie gab, mit atemberaubenden Fotos und einem ausführlichen Essay von Douglas Wolk.

Taba voices a subtle yet surprising shift for the Japanese musician and producer Satomimagae. Observing and absorbing the fleeting scenes and sounds of life flowing outside of her home studio, Taba unfolds as a series of vignettes that document the personal and the universal. Satomi sings beyond herself in an orbit of souls and systems known and unknown, seen and unseen, in the present and in the strange flux of memory, leaving linear songwriting to rest for circuitous stories expanded and expansive in tone and texture. Following the logic of taba, a Japanese term for a bunch, bundle or grouping together of different things, the album is assembled as a loose collection of short stories. Shapeshifting into something like a poet-narrator, Satomi casts her writer's eye to the often perplexing shapes that form from quotidian events and exchanges defining our increasingly alienated age. Where Satomi's last full-length, 2021's Hanazono, bloomed from the lush soil of a private inner sphere, the bird's eye of Taba searches to place the artist_somewhere, somehow_within a wider, wilder world. Collaborations with other artists and musicians close to Satomi's universe further elevate the album's sweeping sonics. Synthesizer lines from Norio, who also helps define the album's visual identity through photo and video, enliven the tender ballad "Kodama." The bell-like Rhodes piano ringing in and around Satomi's guitar on "Dottsu" is played by Akhira Sano, who created the cover art for her 2021 Colloid EP. Yuya Shito's clarinet was the missing puzzle piece that completed "Spells," and it was also Yuya who mixed Taba with an ear for its organic textures and elegantly frayed edges, giving utterance to a distinctly different energy than Satomi's earlier expressions. The tonal and rhythmic play that lay the foundation of these songs also animates a colorful palette of melodic gestures, noisy resonances and pointed moments captured by Satomi's close-at-hand recorder. While Taba is still carried by the innate intimacy that has defined Satomi's music to date, these songs channel her newly spacious and inquisitive songwriting approach, unlocking unusual layers in the process. Some are subsumed in the speculative poetics of sound design, while others peer through the window of bedroom pop. Gathering imagistic reflections, tracing vast ideations and quietly lingering in humble moments, Taba connects vivid lines between the individual and the collective, the constructed and the cosmic, the articulated and the felt. Satomi's sonic tales gain an eloquent coherence by the simple fact of existing in conversation, humming a harmony of parts that buzzes with the tangled circuitry of a life in motion. Taba is the fifth album from Japanese musician, songwriter and dream traveler Satomimagae, following her 2021 album Hanazono and the 2023 reissue of her debut album Awa, both for RVNG Intl. On Taba, Satomimagae leaves linear songwriting to rest for circuitous stories expanded and expansive in tone and texture, unfolding as a series of vignettes that document both the personal and the universal. Some of the songs on Taba feature intimate moments captured on Satomi's hand recorder, poetic moments of sound design animated by tonal and rhythmic bedroom pop foundations. As with Hanazono, Taba's album artwork features a wooden block print by Satomi's sister, the artist Natsumi Magae.

Legendary New Zealand-born experimental composer and sound art pioneer Annea Lockwood returns to Black Truffle with On Fractured Ground / Skin Resonance, her third release for the label. Having recently celebrated her 85th birthday, Lockwood shows no sign of slowing down in her exploration of new sound sources and collaborations with an ever-growing intergenerational pool of performers – here with Vanessa Tomlinson. Her creative vibrancy is alive as ever on the two recent works presented here, which demonstrate both her engagement with the social dimensions of sound and the deeply reflective, meditative aspect of her art.

On Fractured Ground derives from material recorded with Pedro Rebelo and Georgios Varoutsos for the soundtrack of Maria Fusco and Margaret Salmon’s opera-film, History of the Present (2023). Working together in Belfast, Lockwood, Rebelo and Varoutsos made extensive recordings of the city’s ‘peace lines’, the dozens of walls erected since the beginning of the Troubles in the late 1960s to separate Catholic and Protestant areas of the city. Struck by the immensity of these barriers, ‘the brutal way they sever neighbourhoods’, Lockwood and her collaborators focused not on the sound environment of the city, but on the walls themselves, playing them as gigantic resonant instruments, using their hands and objects such as stones and leaves. Continuing to work in her studio with the material collected for the soundtrack after its completion, Lockwood composed the work presented here, occupying a space somewhere between her own extended-technique percussion music and the Cagean tradition of hyper-amplified small sounds. From deep, gong-like metallic tolling to dry scrapes and uneasy groans, the piece’s sustained attention to single sounds derived from unorthodox sources draws a line all the way back to Lockwood’s classic Glass World (1967-1970). Its spaciousness and delicacy are at odds with the dark historical background of the Troubles, creating a moving listening experience somehow haunted by the shadow of violence and conflict.

Skin Resonance is a collaboration with Australian composer and percussionist Vanessa Tomlinson. Developed through conversations in which the two discussed the idea of ‘sonic attraction’, the piece focuses on Tomlinson’s relationship to the bass drum, reflecting on the complex web of connections embodied in this seemingly simply instrument, which is at once ‘animal, wood, and metal’. Approaching the instrument in a suitably elemental fashion, Tomlinson’s performance strips away conventional technique to explore the resonance and timbral properties of skin, drum, and metal hardware, producing overlapping waves of texture that at times seem closer to wind swishing through leaves or the ocean than anything usually associated with a drum. Emphasising the symbiotic relationship between performer and instrument, Tomlinson’s voice is heard at times, exploring the field of associations and connections the bass drum suggests to her: ‘Maybe the bass drum skin is an ear as well?’

Accompanied by insightful liner notes on both pieces and photographs documenting the recording of On Fractured Ground and a performance of Skin Resonance, this LP is a moving testament to the engagement, generosity, and openness that sustain Annea Lockwood’s work, still finding new directions after more than fifty years of activity.

"Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984. It was the band's first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys, and found the new incarnation of the band moving away from the Hardcore Punk associations of the original lineup in favor of a traditional Rock and Gothic Rock sound. Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer. Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert"

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, releasing 25th April 2025 on the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024. Side A is a sun-drenched journey through their whimsical Norfolk countryside, narrated with a surreal sense of lyricism which focuses on the undulating flow of the human psyche and the shape of relationships that can decide its fate. 'Burning 305' follows the mould of the band’s earlier creations with white-knuckled rhythms layered with dashing production and gritty guitars. 'The Score' summarises their love of Revolver-era Beatles and infuses it with a hint of 90's dance grooves. Side B is where the trip takes a heavier turn, the un-hinged night-time of the record. It is where the band best shows the force with which their live reputation has been built on. 'Tiergarten' - a motorik course through consciousness and 'Howling Dog Song' - all raucous, scuzzy-garage riffing. The album concludes with the 7-minute epic 'Sun For Hire'. Born out of a 30-minute live improvisation, it is the earliest written of all songs on GDM and a strong fan favorite for the audiences of the last 2 years. "A lot of themes are anti-establishment commentaries on the state of the modern world. It can feel isolating being bystanders of global concern in sleepy Norfolk, even though it’s easy to slip into a false comfort when you’re surrounded by vast space, natural beauty and friendly folks down the market. Gone Down Meadowland is that egoless escapist fantasy that still can't escape the world caving in on itself; Norfolk isolationism." Produced by the band themselves, mixed by Hugh Fothergill of Volleyball, and mastered by Joseph Carra at Crystal Mastering of KGLW fame, Gone Down Meadowland is Floral Image’s first full flourish. They take the record on the road across Europe and the UK throughout April & May 2025.

4XLP. Hardcover slipcase box. Liner notes from Soichi Terada, Colour: translucent red, clear, blue, and yellow vinyl

It has been 25 years since the release of Saru Get You (サルゲッチュ), known stateside and in the UK as Ape Escape. Ape Escape marked a significant milestone for the PlayStation, as it was the first game to require use of the PlayStation's DualShock (analog) controller. In Ape Escape, the use of the analogue sticks goes beyond camera rotation and acts as an extension of Kakeru's (Spike's) own character, controlling his many gadgets like the stun club, time net, and sky flyer. It's a unique form of control that, really, didn't become popularized until the release of the Nintendo Wii. It feels like a distinctly Japanese design, the sort of off-the-wall design that is either embraced or rejected on a global scale. In Ape Escape's case, the mechanic caught on.

Ape Escape is fast, frantic, and—at times—downright frustrating. Pipo monkeys dash, taunt, and swim away from your advances. They ride water monsters, fly UFOs, and even shoot uzis! Whether it's Kakeru, his friends, or the monkeys themselves, the characters are always running across the levels. This mad dash is enhanced by the game's soundtrack, composed by legendary composer Soichi Terada. As he recalls, the director of the production said, "Spike and his friends always have the image of running." In response, Terada happily produced fast songs with an average speed of over 170bpm. The resulting gameplay and audio is a match made in heaven.

Ape Escape is the first game soundtrack Mr. Terada ever created. The producers of the game heard one of his singles, "Sumo Jungle," and thought his frenetic drum-and-bass (Jungle) would be perfect for the game. The marriage of Ape Escape's charming overworld and Soichi's upbeat compositions is nothing short
of sublime. Especially now, it is difficult to separate the mischievous Pipos and fast-paced action from Soichi Terada's silky smooth synthesizer and heart-pounding bass. Earlier this year (2024), Soichi Terada's Ape Escape work was celebrated by the six-track EP Apes in the Net, which includes music from Ape Escape 1 and 3 (Terada did not compose the series' second installment). The label, Rush Hour Music, has prestigiously championed almost all of Soichi Terada's music, especially his (specifically non-VGM) house, jungle, and drum and bass releases (Sounds from the Far East, Asakusa Light, and more).
Before Apes in the Net, Terada's Ape Escape music was only available on CD, released in Japan around 2010. This release featured reconstructed tracks created by Mr. Terada himself, identical to the music arrangements featured in the game. The biggest difference, of course, was that they were of higher fidelity than was originally available on the PS1 disk format. Completing all of the aforementioned releases is this box set, released by Far East Recording in partnership with Cartridge Thunder and officially licensed by Sony Computer Entertainment. This box set release includes four LPs, housed individually by a hardcover slipcase. This box set includes every song from Ape Escape 1, except those available on Apes in the Net. This box set release also includes one bonus song, previously unreleased anywhere else (including the game itself!).

The music on this box set was meticulously mastered by Justin Perkins of Mystery Room Mastering. Using Mr. Terada's premastered source files, the music was completely and specifically mastered for vinyl. Rounding out the audio is absolutely stunning artwork created by Gobo3D. CT worked with Gobo to recreate some of Ape Escape's most iconic characters, referencing the original Japanese guidebook and other promotional materials. The result is visually delicious 300dpi artwork that takes you straight back to 1999. As uber-fans of the original PlayStation game, Cartridge Thunder and Far East Recording are proud to celebrate Soichi Terada's music and pay our respects to such a legendary PlayStation franchise—on the original hardware's 30th anniversary no less! It's with a happy heart, then, that Far East Recording and CT present to you Soichi Terada's Ape Escape Originape Soundtracks in a Box.

Please note: due to licensing exclusivity, this release does not include tracks previously released on Apes in the Net

How can the unfamiliar feel so close? Dookuzot, the debut EP of Floid and W92 (aka Woody92), invites listeners to venture into the echochambers of the psyche on their Omen Wapta imprint. Like a salvaged coat of arms, this 8-track release weaves the cryptic motifs of the bloodbrothers into its sonic fabric, blending unease with ease through stealthy rhythms and dissonant harmonies. Neither tempo nor zeitgeist grounds the EP; instead, it conjures a citadel of sound--an intricate fortification of motion and stillness. Cryptic, unnerving, and undeniably strange, Dokuuzot doesn't ask you to move--it compels you. With this debut, Floid and W92 draw you into their world, setting the stage for a vision that is both forward-thinking and enthralling.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

This is the northeast calling, with songs of stillness, reflection, renewal, defiance, hope, classic melodies and, at certain perfectly judged moments, furniture-shifting riffs. With a powerful album shaped by pandemic-era loss (of momentum, and of a band member), and by the wins brought by what singer/songwriter/guitarist Adam Hope describes as a “weight lifted off my shoulders”. With a fresh, front-footed, fired-up approach that owes everything to a band returning to their roots in Wallsend and Newcastle – and, for the first time, making their music entirely on their own independent terms: self-produced and self-confident. “The Big Sad: an album born from the ashes of dark times but representing a beacon of light for the future. An album of honesty and purity, one that our current fanbase sonically may not be expecting. The sound of a band that got tired of slamming on the fuzz pedal to tick the ‘rock’ box and dares to try something new, dares to shock, dares to be great.

LP 1 is Original Reissue, LP 2 is the Instrumentals. This album, originally released in 2019, was highly lauded with esteemed praise, topping many Album Of The Year lists inlcuding NPR, Pitchfork, Rolling Stone, Time Magazine. This vinyl has been out of print and in high demand, repress is restricted to limited quantities and will be out of print again in under a year. Now includes a 2nd LP featuring the never before available Hiding Places instrumentals from Kenny Segal. Fully produced by Kenny Segal, (Project Blowed, Kenstrumentals beat tape Series, Happy Little Trees). LP has unique gatefold artwork by Myra Musgrove and features custom “oakwood” coloured vinyls. Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal. As a label, we at Backwoodz take a lot of pride in our physical products; in creating original artwork that will stand the test of time, and in issuing limited-pressings that stay limited. We had always resisted repressing a piece of vinyl and even when the demand for Hiding Places built to a fever pitch during 2019, we stuck to our guns. Still, by the end of the year, as the AOTY nominations kept rolling in, we knew that we needed to do something. But we also were determined not to sacrifice the uniqueness of that first pressing. So we decided to commission all-new artwork, and press up the instrumentals as well and put it all together as a GATEFOLD 2XLP. So, on top of the best album of 2019, you get Kenny’s incredible instrumentals, available on wax for the first time! On its face, it seemed an unlikely pairing; woods who moonlights as ½ of dissonant rap duo Armand Hammer is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two artists have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features familiar names from both artists’ well of collaborators with ELUCID, Self-Jupiter, Blockhead and MOTHERMARY making contributions.

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

After a two decades long hiatus, One Self have reformed to present a new record – ‘Visions’ - to celebrate 20 years since the release of their acclaimed debut album – ‘Children of Possibility’ which was released on Ninja Tune and featured their indie hit single ‘Bluebird’. The ‘Visions’ EP sees Blu rum 13, Yarah Bravo and Daddy Vad rejoin forces with some special friends - Mr woodnote on the sax (DUB FX), Dj Woody, Reggie Watts and Meryem Saci to bring some organically grown soul to the hip-hop flavours the group are known for.

Change Today? is the third studio album by the American rock band T.S.O.L. (True Sounds Of Liberty), released in 1984.

It was the band’s first album with singer/guitarist Joe Wood and drummer Mitch Dean, replacing founding members Jack Grisham and Todd Barnes who had left the band in late 1983.

The album was recorded using money loaned to T.S.O.L. by the Dead Kennedys and found the new incarnation of the band moving away from the Hardcore Punk

associations of the original lineup in favor of a traditional Rock and Gothic Rock sound.

Over the course of four nights at Mad Dog Studio in Venice, California T.S.O.L. recorded their new songs with recording engineer

Stuart Schanwetter and producer Chris Grayson. The album was mastered by Eddy Schreyer.

Change Today? is available as a limited numbered edition of 1000 copies on white coloured vinyl and it contains an insert

"Otra", das siebte Studioalbum der norwegischen Avantgarde-Metaller IN THE WOODS... mag für all jene Hörer überraschend sein, welche die permanente Evolution der Band aus der südnorwegischen Stadt Kristiansand seit den frühen Neunzigern nicht weiter verfolgt haben. Die Songs auf "Otra" sind bemerkenswert eingängig und melodisch, wobei auch im aktuellen Sound von IN THE WOODS... immer wieder progressive Elemente und gelegentlich auch raue Erinnerungen an die harsche Vergangenheit der Norweger aufblitzen. "Otra" hebt sich von der Masse der Heavy-Veröffentlichungen durch seine herausragenden Kompositionen ab, die von jahrelanger musikalischer Erfahrung zeugen und mit einer täuschenden Leichtigkeit daherkommen. Inhaltlich erzählt "Otra" persönliche Geschichten aller beteiligten Musiker, die durch den namensgebenden Fluß verbunden sind, der sich 245 Kilometer lang durch den Süden Norwegens schlängelt und in der Heimatstadt der Band in den Skagerrak mündet. Den Namen IN THE WOODS... braucht man Freunden von Avantgarde und Black Metal kaum vorstellen. Ihre Eckdaten innerhalb der Szene sind wohlbekannt: Die Norweger zählen zu den Bands, die an der Entwicklung des nordischen Black Metal in den frühen Neunzigern beteiligt waren und den Sound eines starken Subgenres maßgeblich mitgeprägt haben. Ihr Erstlingswerk "Heart of the Ages" (1995) gilt zu Recht als einer der frühen Klassiker des Genres. Doch IN THE WOODS... haben sich nie auf ihren Lorbeeren ausgeruht und stießen bereits mit den Nachfolgewerken "Omnio" (1997) sowie "Strange in Stereo" (1999) in neue Klangdimensionen vor. Nach einer langen Unterbrechung zwischen den Jahren 2000 und 2014 kehrten die Norweger mit dem neuen Sänger James Fogarty zurück, der bis zum Dezember 2021 am Mikrofon stand. Mit einer runderneuten Besetzung, unter anderem nun mit dem Sänger Bernt Fjellestad, nahmen IN THE WOODS... mit dem Album "Diversum" (2021) erneut eine Kursänderung vor. Mit "Otra" demonstrieren die mittlerweile aufeinander eingespielten Norweger die volle Stärke und künstlerische Reife von IN THE WOODS... in der dritten Inkarnation. Dieses spannende und packende Album steckt voller glorreicher Details und überraschender Wendungen, die sich nach und nach in vielen Durchläufen erschließen.

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

One of Mile Davis's fnest recordings, an example of one of the 20th century's great ensembles reaching the pinnacle of their craft, a masterpiece by any measure Like his other titles, Relaxin' features a variety of material the band performed simultaneously in concert: the format is perfect for Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano). The results are consistently superior in both song selection and execution.

Chitown's DJ SLUGO, self proclaimed "king of ghetto house" drops this 7 track album of "some of the best ghetto house music coming out of Chicago!" If hip house and Miami bass had a bastard lovechild it might sound just like this. Released in time for Record Store Day 2025

Kommuna is celebrating its 10th year of activity with a special dancefloor-focused record. The name Dysto Disco reflects the essence of the music presented in this EP and the glimmer of hope that music provides during these dystopian times.

Fabricio’s Collateral Effect is a feel-good dancefloor groover with driving basslines and addictive vocals, guaranteed to get the crowd moving. Charleze offers the elegant Rage Power, a track that explores the deeper shades of house—perfect for setting the tone of a set.

The B-side carries a unique French touch, with talented producers Wooka and Mooglee bringing the goods. Wooka’s Tirty Dalk is packed with raw energy and unexpected twists, while Mooglee closes the EP with Things I Love, an ode to positivity and joy. As the vocals suggest, "We’re just representing peace and love, getting together, and let’s all have fun!"

Limited vinyl label. Based in Barcelona, curated by CMYK & pekkuliar.

Repress!

Echospace Detroit is the label launched by Rod Modell (Deepchord) and Soultek's Steven Hitchell, two leading lights of the minimal dub techno scene. And as with anything Deepchord, the entire release has an air of mystery to it. Previously, as a near-mythical vinyl pressing with minimal packaging and restricted pressings, everything about Vantage Isle was geared toward the underground, or 'those who know.' However, there's nothing but love of craft driving these grooves, and now a lot more people will finally be able to hear this absolutely brilliant collection of spacial dub wonder on CD. Vantage Isle Sessions consists of a whopping 13 takes of the title track, reworked by Modell and Hitchell in various guises (cv313, Deepchord, Echospace, Spacecho), as well as a guest spot (and first ever remix) from Gerard Hanson (Convextion). Across their 13 versions, Modell and Hitchell manage to take the Deepchord template (analog synths, deep bass, gently throbbing beats, bursts of static and noise, and deep, deep chords) into a surprising variety of directions, akin to looking at the same giant glacier from a helicopter from every angle possible: some are beatless and undulating, some are pulsing and dynamic, some are looking up from under the ice and some are towering overhead. The aforementioned Convextion version is revelatory. It's built on cascading and echoing pieces of the original that are layered like shifting sands, for a distinctly dark and shimmering journey to the bottom of the frozen ocean and back. It's remarkable enough to get all these takes on one basic template to sound somewhat different, given that the source material is really just a skeletal array of sound sheets. Vantage Isle Sessions is for anyone looking for the logical successors to the Basic Channel throne, or just looking for something mellow for those steamy late summer nights. A stone-cold classic of the genre. Don't miss it." -Todd Hutlock, Stylus Magazine/Beatz by the Pound

"Steeped in mystery, Detroit musicians Rod Modell and Mike Schommer (aka Deepchord) are legendary for their hard to find twelve-inch dub techno releases. Their sound is heavily influenced by Berlin dub techno producers like Maurizio, Basic Channel, Chain Reaction, Rhythm & Sound, Blue Train and Pole. While the German sound often has a futuristic metallic edge, Deepchord are known more for the rust and grease, which is part and parcel of those metal parts. Static, analog sounds, deep bass thumps and, of course, deep chords blend in a timeless minimal manner. However, the real gems on this disc are the drifty ambient cuts devoid of beats. This is an excellent album that is on par with the classics from a decade ago!" -Exclaim


"In terms of ambient dub, if Basic Channel is the Father (the source, remote and inaccessible and very powerful) and Pole is the Son (dazzling but ultimately stranded halfway between man and the divine), than Rod Modell’s Deepchord and his Echospace label he run with Steve Hitchell is definitely the Holy Spirit." -Popmatters


"Deepchord’s dub-techno stealthily peels away melody, leaving a bare chassis of beats to ghost-ride down Woodward Avenue. Vantage Isle Sessions, which collects remixes of a 2002 Detroit Electronic Music Festival performance, finds the duo swerving through empty, neon-smeared streets, and recalls Berlin’s Chain Reaction label, minus the anemic minimalism." -XLR8R

"The album scales a magnificent peak in “Spacecho Dub II - Extended Mix” when smeary chords ricochet over a massively deep, bass-heavy pulse, and Hanson's light-speed missile of vaporous propulsion (“Convextion Remix”) is beautiful too.
Long may they run." -Textura

‘Vantage Isle’ is a tremendous achievement that will most likely be held up as a high water mark of the genre for years to come." -Resident Advisor

"My favorite mix is by Convextion (his first remix for another artist). Reedy, distant synth tones sound like a science fiction soundtrack overheard rooms away. An undercurrent of echoes, many difficult to describe, drift in a sonic syrup." -Gridface

"Modell’s music always seems to be in this suspended animation, adrift and afloat in a majestic emptiness." -Dusted Mag

CREDITS:
Written & Produced by Deepchord. Redesigned and Reshaped by Convextion (Gerard Hanson) cv313 (Stephen Hitchell) echospace / spacecho (Rod Modell + Stephen Hitchell)
Additional Mastering, Mixing and Engineering by Ron Murphy @ NSC Mastering, Detroit, USA. Side E/F Remastering and Lacquer cutting by Dietrich @ Complete, NYC, USA. (2018)

Guilherme Granado makes his first solo appearance on the Keroxen label under the guise of his Goat Unity project, the result of a plethora of collaborations with musician friends and foes.

A São Paulo native, Guilherme has been quietly building a reputation for being the go-to guy for loop based beats and groovy basslines. He has played and recorded with Mauricio Takara in Hurtmold (4 albums) and he’s also part of São Paulo Underground (also with Takara and Rob Mazurek). He also performs, produces, and records under the name Bodes & Elefantes and has toured extensively through South America, US and Europe with São Paulo Underground, Prefuse 73 et al. With Ghost Parades Guilherme goes deep into his beat based deviations whilst somehow managing to connect the dots between the Wu-Tang Clan and the Sun Ra Arkestra, adding an healthy dose of tropicalismo for good measure.

Guilherme’s Ghost Parades does an impeccable job at showcasing the multi instrumentalist composition skills filled with dubby rhythms, addictive bass lines along with celestial and hazy chants. Its a smooth journey to take here, avoiding all the obvious pit holes of the genre and keeping the listener guessing where we’re going at every turn. A spacious, open ended listening experience where loops effortlessly intertwine with live jam instrumentation.

Organic, natural beats for atypical people.

Mario & Luigi is the collaborative album between rappers Babytron & Certified Trapper. Originally released on July 10. 2024, the 13 track album clocks in at just under 30 minutes of blistering bars and enough brazen schemes to make your head crack. Akin to the greatest brothers in video game history, the link up between Babytron & Certified Trapper is perhaps the greatest link up in scammer history. The album focuses on Babytron & Certified Trapper trading off rounds of elite shit talking, braggadocious rhymes, and witty worldplay. Pressed on Picture Disc vinyl and limited to 1000 copies.

Enigmatic producer ANiML returns to the freeform Los Angeles-based label StrataSonic to release a six-track mini album, Star Walk. The new body of work, which comes alongside a new music video for “Bruv” (directed by Spanish visual artist YZA Voku), is out now.

Picking up where ANiML left off with “Breather” and “Bruv,” Star Walk elaborates further on that woozy-yet-sophisticated psychedelia, materializing as cinematic trip-hop, cavernous dub, and other unique genre concoctions across its six tracks. “Cherry,” with its free-spirited, delay-soaked guitar riffs, depicts a colorful, post-rock-inspired soundscape. “BabyD,” in step with “Bruv,” features a mischievous marimba melody among ghostly vocal samples, a punchy drumkit, and a slackened bassline.

These scenes are brought to life thanks to YZA Voku, a groundbreaking visual artist who is at the forefront of AI-assisted filmmaking in the animation space (see his work for The Weeknd, Swedish House Mafia, Hï Ibiza, and XG). The new music video for “Bruv,” out today, unfolds in stark black, white, and red, evoking a noir-inspired aesthetic steeped in mystery and intrigue. Shadowy figures move rhythmically through dimly lit alleys and smoke-filled ballrooms, blending calculated steps with hypnotic dance sequences.

The production blended real-life recordings with digital effects like blur, negatives, masks, analog textures, and AI-driven transformations using Runway’s video-to-video tools. AI-generated sequences created with Midjourney and Runway were merged to contrast real footage with synthetic imagery. This type of work is a rejection that AI is simply used as a shortcut in art and comes at a time when musicians are beginning to embrace such tools for the visual components of their products.

In the midst of recording his 12th album 'Why The Worry', wavering in his resolve to finish what he'd started, Seth Walker came to the realization: "This does not define me; this is not who I am forever; this is just a moment" . "Distance colors compositions over the years and each album is left as merely a reflection of its own period in time." The new album finds Walker reunited with old friends and familiar names. Once again Jano Rix steps behind the boards, co-producing the album with Seth and engineer Brook Sutton. In the producer's fifth outing he's become an invaluable sounding board, the kind that knows what's missing and, just as importantly, what needs to be taken away. Oliver Wood (The Wood Brothers) lends a pen to the title track and Seth's classically trained father Scott adds strings to "I'm Getting Ready," a song penned by Walker's contemporary Michael Kiwanuka. Mostly, though, the record was shepherded into shape by Walker's trio, rounded out by longtime confidants Rhees Williams (Guitar, Piano) and Mark Raudabaugh (Drums). The three let the studio guide them, entering without agenda, set straight by the title's mantra to stop worrying where they'd end up.

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

Andrew Duhon has a knack for telling the kind of stories that clearly cost the writer something to tell- the kind of honesty that feels noble and never half hearted. When a song written by a stranger heals you, even in the smallest way, that's a connection beyond entertainment, and that is the journey Andrew Duhon sets out on from his home in Louisiana. His songs are about recognizing our story as much as they are about telling his, and his coast to coast pursuits have given him a clearer view of the American Landscape than most are privy to. Still, after years of voyaging off to every corner of the country, a new sensation arises with each return home to New Orleans. From that familiar return comes The Parish Record, a snapshot of life venturing from and returning to one of America's purest cultural vignettes, and the beauty, conflict, and stories that come with it. The Parish Record was recorded at Dockside Studios in Maurice, LA, where deep in Cajun country sits a wood-panel barn engulfed in oak and cypress trees along the slow butterscotch bayou pace of the Vermillion River. In this isolated hub of Acadiana, Andrew Duhon embarked with his trio of most trusted musicians - Myles Weeks (James Hunter Six, Eric Lindell) on Bass, Jim Kolacek (Feufollet) on Drums, and Daniel Walker (Heart, Ann Wilson, Amy Ray) on Keys - to harness of the sound and feeling of their surroundings. "I wanted this record to feel like home. It wasn't time to get out of town or try out something new on this one. It was about believing in the songs from where the songs came from," Duhon says.

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. 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 original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

Neutral is the no wave / anti-rock duo of Dan Johansson (Sewer Election, Ättestupa, Amateur Hour, etc.) and Sofie Herner (Leda, Enhet För Fri Musik), both with deep connections to the Swedish noise scene. As Neutral, the two smear voice, guitar, organ, and smoldering noise into narcoleptic songs that rewire the strategies of Dome by way of Gate and Mars. Lågliv translates to ‘lowlife,’ an apt metaphor for neutral’s subterranean murk and shambolic discontent that they languidly manifest as a punk dourness emptied of all rock ’n’ roll theatrics. Desperate, demolished, and dejected.

Lågliv was originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency.

16 GB Flash Drive, golden key USB.
Includes all the tracks on DUPLOC released since DUPLOC100 up to and including DUPLOC140.
183 unique tracks in WAV.
Individually numbered (edition of 300) with wooden box.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Flutter Ridder is the duo of Norwegian multidisciplinary artists Espen Friberg and Jenny Berger Myhre, both of whom play important roles in Oslo’s contemporary art and music underground. The pair first collaborated during the production of Friberg’s debut solo record, “Sun Soon” (Hubro, 2022), quickly recognizing in one another a creative kinship rooted in a playful, intentionally naive approach towards making art. In November of 2023, the pair decamped to the coastal town of Hvisten in southeastern Norway to record what would become this debut, self-titled album in an ancient wooden church. Drawing from a palette of Friberg’s idiosyncratic Serge modular system and the church’s resident pipe organ and intoxicating acoustic reverb, they began recording and sculpting music informed by the notion that air and electricity share a common flow, a continuous current that can be directed through valves and potentiometers. The pair came to think of the Serge and pipe organ as sibling instruments, the former yielding characteristically unpredictable and complex timbres that complement the wooly, reedy drones and strange, microtonal overtones of the latter. At once sublime, liturgical, and whimsical, Flutter Ridder offers its listener a series of moving, cinematic natural landscapes, affirming the sensibilities of its makers and the indelible influence of the environment in which it was produced.

Another foggy day in Yorkshire. A steel grey sky. Raindrops tracing one another down the windowpane. Kirk Barley sits in his studio and assembles compositions from scraps of found sound and live instrumentation. Melodies swell, withdraw and repeat like waves. Time slows. Accelerates. Slows again. The light bends, tweaked at the edges. Twisted by rhythms that never quite resolve.

Written, recorded and produced by Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes.

And yet, where Marionette relied at times on more recognisable field recordings, Lux leans into Barley’s skill as an instrumentalist and sound designer, working from a palette of short samples and utilising a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks ‘Vita’, ‘Sprite’ and ‘Descendent’, these tunings create an otherworldly harmonic language that is easier to perceive than describe.

Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album’s cover, exists somewhere between reality and artifice.

On album opener ‘Cache’, Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track’s title. Introspection blossoms into new life on ‘Vita’, crumpling again into the percussive ambience of ‘Verre’. A track that takes its harmonic lead from the clinks of glass, it features Barley’s long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives ‘Verre’ a fizzing, ice-like quality.

There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on ‘Descendent’, whose ritualistic air unfurls around a pattern in exponential decline.

Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of ‘Sprite’ and ‘Balanced’ before arriving at the album’s title track.

An expression of his recent experiments in live, prepared guitar, ‘Lux’ brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.

Dua Lipa veröffentlicht zum bevorstehenden 5-jährigen Jubiläum ihres mit einem GRAMMY Award ausgezeichneten und mit Platin zertifizierten zweiten Studioalbum Future Nostalgia eine 3LP Special-Edition.
Gepresst auf einer gelben Splatter-Vinyl und zwei schwarzen Vinyl, enthält das 3-LP-Set die 11 OriginalTracks des Albums sowie die Deluxe Moonlight Edition und das Remix-Album Club Future Nostalgia.

Back in what now feels like a golden period in music and creativity, in the 1970s, many bands were formed by students. It almost seems like so many people could either sing, play, dance or write songs! This was also the case of several Woodland High School students in New York, who created Newban with fellow classmates.
The group started gigging around the tri-state area of New York, Connecticut and New Jersey, and were soon brought to the attention of legendary Bell Recording Studios audio engineer Malcolm Addey, who recorded with the band over a two-month period in 1974. Three years later the tracks made up two superb and sought-after albums released by tax scam label Guinness.
In 1977, Newban headed out to play the Los Angeles nightclub scene, closed a deal with A&M, and changed the band name to Atlantic Starr at the request of Herb Alpert.
For the first time on a 7” format, Soul4Real brings you two of the best songs from Newban. Enjoy the music...

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007. The New York Times called it "irresistible" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms. It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

Raúl Monsalve y Los Forajidos welcome listeners to a new day with SOL, their groundbreaking second album for Olindo Records. Venezuelan rhythms and traditional songs blend with spiritual jazz, psychedelic funk, and Afrobeat, delivering an exhilarating, boundary-pushing experience.
Led by Venezuelan bassist Raúl Monsalve, the group gained international acclaim with Bichos (2020), praised for its Afrobeat influences from legends like Fela Kuti and Orlando Julius, alongside Afro-Venezuelan rhythms. Featuring Luzmira Zerpa (Family Atlantica) and Betsayda Machado, the album earned praise from The Wire, Songlines, Gilles Peterson, and others, with airplay on BBC 6 Music, NTS, and Worldwide FM. This success brought performances at Super Sonic Jazz Festival and Shambala Festival.
SOL marks a leap forward for Los Forajidos, evolving from a studio project into a cohesive ensemble. Monsalve, now contributing bass, vocals, and percussion, is joined by vocalist Lya Bonilla, keyboardist Edgar Bonilla, flautist/guitarist Nando Guerrero, saxophonist Andrés Vela, drummer Mario Orsinet, and percussionist Yves Prud’homme.
The album features contributions from producer Nick Woodmansey (Emanative), singer Carlos Talez, mixing by Malcolm Catto (The Heliocentrics), percussionist Gustavo Ovalles, and Congolese guitarist Kiala Nzavotunga.
Drawing from Venezuelan traditions while embracing modern influences like George Clinton, Herbie Hancock’s Mwandishi, Jeff Parker, and Nyege Nyege Tapes, SOL bridges cultural heritage and forward-thinking artistry.

2025 Repress

Veyl is proud to welcome back to the label one of the most essential and multidimensional producers today, Filmmaker. To date, the Colombian artist has delivered a plethora of revered releases from his breakout, The Love Market (2019), to his previous album on Veyl, Fictional Portrayals (2022). He consistently traverses genres from postpunk, EBM, synth wave and beyond to create a unique identity still firmly rooted in film culture. Now he returns with perhaps his most robust and powerful offering, Hollywood
Cult.

Comprised of 13 tracks, the album sees the producer elevate his sound to new levels, conjuring a world of haunting atmospheres and devious directions that take the listener through a journey of unparalleled proportions. Kicking off the album is the ritual-like
'Secrecy', which builds tension before exploding into a synth-driven race against time and introduces us to the world that lies ahead. 'Holy Wood' injects a heavy dose of body music for an infectious piece that bleeds perfectly in to the slow burning nostalgia of 'Generational Trauma'. Next, 'Western Malice' picks the pace back up with its evil energy that feels fit for the best horror scenes before 'Shocking Therapy' enters the picture with an exhilarating electro feel.


Now in the depths of the journey, 'Vessels Wine' continues the saga with a high intensity work that gives way to the stirring emotions of 'Peacekeeper Ripper' and the raw, blood lust of 'Criminal Rite'. Now entering the final phases, 'Spiritual Harvest' cleanses the palate before 'Elite Dungeons' comes crashing in with a lo-fi feel that puts you deep underground. 'Two Sets of Rules' charges back with twisted lines before 'No Fetish Without Evil' unveils post-punk strings that puts you in a trance before 'Hanging Finale' closes the release u ltimately fading out into the abyss. Repeat listens will be necessary and the whole album feels like a soundtrack to a dark new world that is perfectly fitting for any Hollywood Cult.

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.

This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.

This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.

This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.

A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.

In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.

A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.

Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

Mute US is excited to announce the release of Dance Therapy, the sophomore album from worldwide signing Nora Schjelderup, aka Ora the Molecule. The album will be available on black vinyl and digital formats on March 21st. Dance Therapy follows a transformative period for Schjelderup, whose DJ career took off postpandemic. She has shared the stage with fellow Norwegian legends like Todd Terje and Lindstrøm, and opened for Røyksopp, earning her the title of Norway’s queen of disco. Inspired by her DJ sets, ‘70s sci-fi sounds and Italo-disco, Dance Therapy is a retro-futuristic fever dream which Schjelderup crafted in a remote cabin in the woods while navigating a series of severe losses. “I had a lot of pain,” she reflects. “This was my own way of dealing with it. A way to get energy back in the body.”
For Fans Of: Robyn, Neil Frances, Fever Ray, Todd Terje, Raffaella Carrà, Goldfrapp, Daft Punk

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers. The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024. Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score. “What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said. The package includes an insert.

"If you remember Woody Allen's Sweet and Lowdown masterpiece you will sure be aware of Sean Penn's character stage freight when confronted with the reputation of a certain ""Belgian gypsy guitarist"". Well, that guitarist is Django Reinhardt, probably the first jazz legend to emerge from the European scene, one of the most accomplished guitarists ever, and the undisputed king of manouche guitar.
Born Jean Reinhardt in 1910 and better known by his romani name, Django's legend started as early as 1928 with his first recordings at the age of 17. Right after that a brutal fire burnt his caravan - his wife and him escaped alive but he suffered extensive burns over half of his body, losing two of his right hand fingers. Far from stopping him from playing guitar he developed his own style in order to be capable to keep his passion. And his style became the fundation of manouche guitar sounds to come.
In the carly thirties Reihardt teamed up with French violinist Stéphane Grappelli (1908-1997) and they formed the Quintette du Hot Club de France, in Paris which became the most accomplished and innovative European jazz group of the era, and which you
can enjoy now through the legendary recordings collected in the present Shellac LP."

"Héctor Roberto Chavera (1908-1992) under his stage name Atahualpa Yupanqui is the most important Argentinian folk singer-songwriter. His father was a mestizo of Quechua and Basque ascendant who worked for the railroad company. The family moved to Tucumán, in the Argentinian northwest when he was nine years old. There Héctor adopted the stage name of Atahualpa Yupanqui in tribute to two legendary Incan kings. His quechua nickname can also be read as “he who came from afar to tell stories”.
In his youth, he travelede through the northwest of the country studying the indigenous cultures. He would get into politics joining the Argentinian Comunist Party and in 1931 took part in the failed Kennedy Brothers uprising against José Félix Uriburu coup d’êtat. when the uprising was defeated he had to seek refuge in Uruguay until 1934.
In his poems set to music, Yupanqui depicts scenes of his country¡s live and landscapes and has a very present commitment to the working class in a similar way to that of other famed singer-songrwriters, with the name of Woody Guthrie coming first to mind.
This compilation collects some of the best songs of his extensive discography in their original recordings. Many of them have been covered internationally by artists such as Daniel Viglietti, Mercedes Sosa, Facundo Cabral, Victor Jara, Los Albas, Marie Lafôret or Joan Manuel Serrat, among others."

"The Most Famous Sports Team in History ON RECORD...
Inspired by the smash hit “Sugar Sugar”, by the cartoon pop band The Archies, CBS TV were only too keen to sign-up Don Kirshner’s Globetrotters recordings as the soundtrack to the all-new Saturday morning Harlem Globe Trotters cartoon series that ran from 1971-72.
The TV series – the album and companion singles – were a huge commercial success and 22 episodes were produced by Hanna-Barbera. It was the first Saturday morning show to feature an African-American cast and the soundtrack was suitably soulful, upbeat and funky. One of the main writers, James Ralph Bailey, was a former member of the Cadillacs and famed for penning songs for Main Ingredient and Isaac Hayes. Bailey is also none other than Chuck Wood, writer and singer, of the Northern Soul anthem “Seven Days Too Long”.
With guest vocals by Globetrotter legend Meadowlark Lemon this exclusive vinyl reissue will certainly set the ball rollin’!
* Produced by Brill Building legend 
* JEFF BARRY (writer of ten U.S. #1’s) 
* Written by Barry, Neil Sedaka, Howard Greenfield and James R Bailey 
* Soundtrack to the Hanna-Barbera hit TV series with a global audience 
* The most famous team in sports history
* First Release since 1971"

"This album was Duke Ellington and John Coltrane's only recorded encounter ever. For the occasion,Trane and Duke were accompanied by the bassist and drummer of their respective groups (who alternated from track to track), Aaron Bell and Sam Woodyard (from Duke’s rhythm section), and Jimmy Garrison and Elvin Jones (from Trane’s rhythm section). ""I was really honored to have the opportunity of working with Duke”, explained the saxophonist following their collaboration.
THE COMPLETE ALBUM
+ 1 BONUS TRACK
180-GRAM CRYSTAL CLEAR VINYL LIMITED EDITION"

Aunes is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces_which Hamann thinks of as `songs'_formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing `schloss, night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. `Casa Di Riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening `by the line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece `bruststärke (lung song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through Aunes, even when, like on `seventeen fabrics of measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of `by the line' could almost be a melting fragment of a backing track from Hounds of Love. The expansive closing piece `neither from nor toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

SANHEDRIN hat das letzte Jahrzehnt an der Spitze der amerikanischen Heavy-Metal-Szene verbracht und traditionelle Metal- und Hard-Rock-Sounds mit einer frischen, modernen Energie und Perspektive vermischt. Mit dem von der Kritik gelobten Album Lights On aus dem Jahr 2022 schuf die Band ihr bis dato komplettes Werk. Mit dem Nachfolgealbum Heat Lightning liefert die Band eine abwechslungsreiche Sammlung von Songs, die ihre vielfältigen Einflüsse mit einem hohen Maß an Produktion einfängt. Im Gegensatz zu den drei Vorgängeralben, die alle von Colin Marston aufgenommen und abgemischt wurden, entschied sich SANHEDRIN für Heat Lightning für die Arbeit mit neuen Ohren und in einer neuen Umgebung. So landete die Band im legendären Utopia Bearsville Studio in Woodstock, New York. Matt Brown (Life of Agony, A Pale Horse Named Death) und Jerry Farley (Sick Of It All, Madball) waren für die Aufnahmen und die Co-Produktion verantwortlich.DEAF FOREVER (Germany) #1 in soundcheck * 9/10 review by Martin BrandtROCK HARD (Germany) #4 in soundcheck * 9,5/10 review by Ludwig KrammerHalten wir fest: "Heat Lightning" ist schon jetzt ein verdammt heißer Kandidat für das Metal-Album des Jahres. Und noch schöner: SANHEDRIN werden es uns an Pfingsten im Amphitheater eigenhändig vorspielen. Erste Reihe, wir sehen uns!Ludwig Krammer9,5

A new pressing of last years, end of year poll favourite album THE COURETTES `The Soul Of_' LP on ORANGE VINYL! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // And features SHINDIG MAGAZINES Single of the year 2024 `Keep Dancin'.

Sam Moss is a songwriter and instrumentalist based in Virginia. His next LP, Swimming, will be released on February 7th, 2025. Past albums have been acclaimed by publications like The Boston Globe, NPR, The Wire, and Paste. He has played hundreds of shows around the country and shared bills with Jake Xerxes Fussell, Joan Shelley, Diane Cluck, Doug Paisley, and others. He is also a woodworker.

Willkommen in der Welt von Bruce Haack. Nicht nur für Menschen im ,Schulalter".,Ein elektronisch-musikalisch-poetischer Leckerbissen für Grundschüler und Gymnasiasten das weitere Wunder unseres Erdenschiffs offenbart." Bruce Haack war ein kanadischer Komponist und Pionier der elektronischen Musik, dessen kreatives Schaffen von den 1950er bis in die 1970er Jahre unterschätzt wurde. Heute gilt er als seiner Zeit um Jahrzehnte voraus, Bruce Haack schmiedete seine Musik aus glitzernden ,neuen" Computerlandschaften, die er selbst erfand, lange bevor die Welt wusste, dass so etwas überhaupt möglich war. Willkommen in seinem wunderschönen Schmelztiegel elektronischer Klänge, in dem er seines unzähligen Interessen an der Wissenschaft, den Wundern der Kindheit und der menschlichen Verfassung in einen musikalischen Wandteppich verwebt, der wie eine explodierende Sonne schimmert.

Very little is known about Joe Prichard or his sidekicks, except that the band, which hailed from Missouri, drew its inspiration from influences far and wide, resulting in each of the five tracks being very different in character, ranging from the power chords and staccato guitar breaks of the Jimmy Page variety, to the throaty sax of 12-bar blues specialists Climax as well as the dual guitars of ZZ Top. There’s even a nine-minute jam a la Jethro Tull or Traffic with flute and sax giving a decidedly jazzy feel to proceedings. Originally released in 1974, this is another extremely rare record now reissued by Riding Easy Records. "Pro-sounding 1970s rarity with a ballsy rock sound and songs ranging from ambitious prog over bluesy bar-rock into macho FM rock postures. It’s solid across the board with excellent guitar leads, soulful vocals, and a versatile band. Keyboards, woodwinds and elaborate arrangements provide a prog-AOR vibe that may turn some off, although there’s enough groove to keep one’s attention throughout the four long tracks." – (Acid Archives)

Limited white vinyl ! RIYL: Guided by Voices, Pavement, Terry, The Chills, The Clean, The Verlaines. Whoosh is The Stroppies first proper debut album and breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band. The Melbourne-based band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. After a home recorded cassette release "Whoosh" is their proper studio debut. It's a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It's an album that simultaneously feels young and fresh but wise beyond its years by combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop.

Don Kashew returns to Subject To Restrictions Discs with the album ‘Bellows’. A haunting, melodic, maudlin affair, as one would expect from the Zurich-based producer, with a variety of ‘breathing’ instruments as a fulcrum, that challenges any physicality.

The compositions draw from the pool of New Age music and neo-folk of the 80s and 90s. But ‘Bellows’ stretches and looks at the future, deliberately blurring lines that were supposedly anchored. So, Don Kashew has begun a new phase in his musical expression; quivering, but grounded and interwoven in a rich arras of synth work and overlapping woodwind sounds.

11th press limited to 500 copies on brown vinyl. - The early Lorenzo `Baby' Woodrose/Uffe Lorenzen with mates from ON TRIAL! - When released in 2013 the Spids Nogenhat album Kommer Med Fred (roughly translated to We Come In Peace) no one could know it would turn into the most popular release on Bad Afro Records in many years. But it did. The band became very popular in Denmark winning two Danish Music Awards (Grammies) for Best live band of the year and Best Rock album of the year and playing sold out shows. They also received two Steppeulven (the association of critics at the Danish newspapers) awards for Best band of the year and Best Live band of the year. Spids Nogenhat have their own take on how psychedelic rock should sound and are deeply rooted in Danish acid rock of the early 70's that somehow had a special sound compared to what was happening in the rest of the world at the time. The band is featuring members of Baby Woodrose, On Trial, Dragontears and Vilde Græs. - Oh yes, Spids Nogenhat means liberty cap - the most potent mushroom in this part of the world.

The holy grail of De La Soul albums, it was released in 1994 exclusively as a promotional item to A- list DJs. It features four tracks from the group's Buhloone Mindstate album and two unreleased tracks - "sh.Fe.Mc's" featuring A Tribe Called Quest and "Stix & Stonz" featuring The Fearless Four, Grandmaster Caz, and Prince Whipper Whip.

While only 500 copies were pressed of the original, this legendary collector's item is now available as a limited edition release.

After a five-year absence following 2020’s creative elevator-punk explosion Roundelay, Ashley Eriksson, Eli Moore, and Andrew Dorsett of LAKE return with Bucolic Gone, a mature and polished album that is at once groovy, upbeat, meditative, and slow-rolled. As LAKE’s 10th official full-length release, Bucolic Gone is a cohesive work of sophisti-pop that embodies an adult, contemporary sound—intimate, serene, mournful, and hopeful in equal measure.

The multi-instrumental trio is joined by an impressive lineup of collaborators, including guest vocalists Nicholas Krgovich on “Glad Rags” and Daisy Jaberi of Suver with original lyrics on “Love Is Deeper.” Frequent contributors also make appearances: Karl Blau delivers standout shredding on “Ferrari,” Mark Buzard of The Format provides guitar textures across multiple tracks, and New York jazz musician Eric Vanderbuilt-Matthews contributes intricate woodwind arrangements. Steve Moore (Earth, Sunn O))),

First Aid Kit, Sufjan Stevens) adds trombone to “Love Is Deeper,” while legendary Canadian singer Jenn Grant lends her unique vocals to the outro of “Ferrari.” Recorded at The Anacortes Unknown Recording Studio by longtime collaborator Nicholas Wilbur and in the band’s own home studios, Bucolic Gone marks another step forward for Eli Moore in production and mixing. His meticulous attention to arrangement and balance—alongside an arsenal of distorted “whatchamacallits”—creates a rich, layered sound. Celebrating 20 years of ethereal, yearning pop songs, LAKE’s latest effort is their most produced but also most intimate album. Now signed to Don Giovanni Records, the band is ready to continue delivering jams. While the world has changed since LAKE’s last official release, Bucolic Gone shows that time has been on their side.

Hello Softies,
Too Slow To Disco NEO is back with a (mellow) bang

A colored, strictly limited teaser 12 Inch featuring two exclusive new tracks:
Side A - a warm, lazy dub-disco track by L.A.'s electronic-slow-disco musician TURBOTITO
Side B - a funky Vibes4YourSoul Remix for mysterious New York artist 1-900.

Both tracks will be released on our sister label Too Slow Too Disco NEO, invented by Dj Supermarkt for modern, warm Sunset Disco.

Side A is also the first track from our upcoming summer compilation THE SUNSET MANIFESTO 2.
(featuring exclusive tracks/remixes by Poolside, Young Gun Silver Fox, Prep & Eddie Chacon, Woolfy, Lovetempo, Joel Sarakula a.m.m.
Side B will exclusively be available only on this 12 Inch

The tracks take the listener on a warm trip into a modern, laidback electronic sunset disco land, where groovy Westcoast-vibes meet dreamy Balearic sounds, mixed with a modern Nu-Disco/Daytime Disco style.

Enjoy your bottled sunshine (responsibly)!

Repress!

In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album ‘England Is A Garden’ on March 6th 2020 on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with. Listen to a first taste of the album now, ‘No Rock: Save In Roll’, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life. The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently. So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in.