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Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

Ten song showcase LP - 5 vocals, 5 dubs. 5 tracks previously unreleased.

New showcase LP collecting a couple long requested classics coupled with a trio of rare and previously unreleased heaters from the early '80s Roots Radics era. This new LP now makes a trio of classic albums along with his "What's Wrong With the Youths" and "Chip In" albums for Jah Life and Junjo Lawes. In a beautiful sleeve with the vibes of the time, designed by the great Seen Studio.

Thirty Three & ffist das siebte Solo-Studioalbum von George Harrison, aufgenommen in seinem Haus in Friar Park in Oxfordshire und veröffentlicht n och i m s elben J ahr i m N ovember 1 976. E s w ar Harrisons erste Veröffentlichung b ei s einem P lattenlabel D ark H orse. B illboard s chrieb d amals: „Es ist e in heiteres, optimistisches Album mit Liebesliedern und heiteren Witzen, das vielleicht Georges fröhlichstes und kommerziellstes Gesamtpaket darstellt – mit den wenigsten hochtrabenden Posen – während seiner gesamten Solokarriere.“

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Despite not participating in the legendary Avándaro festival, La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s. Their fantastic 'Nasty Sex', along with other songs like 'If You Want It' or 'Melynda' boosted their first album at the top of the sales charts worldwide. Although their sound changed over time, their debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.

Timbeau bezeichnet seine Musik schlicht als Pop - und meint damit seinen ganz eigenen Mix aus Synthpop, Neuer Deutscher Welle und Indie-Postpunk mit Discoeinflüssen. Als Multiinstrumentalist erschafft er intime und authentische Songs, die sich auf humorvolle und zugängliche Weise mit schweren Themen wie mentaler Gesundheit oder kritischer Männlichkeit auseinandersetzen. Seine Texte sind auf deutsch, wobei er es darauf anlegt, das Cringe-Gefühl der deutschen Sprache zu zelebrieren. Timbeau ist ein Grenzgänger, der großen Wert auf das Visuelle legt. Seinen Musikvideos ist das in der Liebe zum Detail deutlich anzumerken. Nach erster EP `Wundersam' in 2020 mauserte sich das Projekt Timbeau vom DIY-Bedroompop zur versierten Studioarbeit mit Bandintervention. Das Debutalbum `Sensitiv' ist nun da! In Der Stadt Havarie Brut Diorama Urlaub Jammertal Sensitiv Heute Nacht Melatonin Katamaran

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

D R E A M S I C L E marks the highly anticipated 4th studio album from Grammy-winning singer-songwriter Maren Morris, via Columbia Records. Featuring songs written by Morris with Julia Michaels and Tobias Jesso Jr, plus production by Jack Antonoff and Greg Kurstin, this album is a deeply personal exploration of transformation, resilience, and self-discovery. As Morris describes it, “D R E A M S I C L E takes place in the aftermath of loosening my grip on my personal and professional life. Sweeping through the pits of grief, but never staying too long, and finding the joy in knowing that at my core, I’m still who I am – and that’s pretty f-ing great..." TRanslucent Orange LP Vinyl & standard CD. Promo & marketing activity.

From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to oer a rich and authentic listening experience.

Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.

Soul-Skasteady & Rocksteady Soulreggae von zwei neuen Bands: ARTE BELLA & THE FELLAS und TIGHTEN UP! Acht Instrumente, drei Sprachen, eine Liebe zur Musik: das sind ARTE BELLA & THE FELLAS Inspiriert durch ein musikalisches Spektrum von The Skatalites über Etta James bis hin zu Manu Chao ist die Berliner Band angetreten, um mit ihrer besonderen Soulful Ska Fusion eure Herzen zu erfreuen, eure Seelen zu trösten und natürlich eure Beine zum Tanzen zu bewegen. Respect the roots - enjoy the fruits! Wherever you are - let's do the Ska! - Mit dem Jahreswechsel 2021/22 erblickt die Band Tighten Up das Licht der Welt. Die sieben befreundete Musiker:innen aus Dresden und Berlin kennen sich schon seit vielen Jahren, gemeinsam waren und sind sie in den Bands Mola (Soul & Funk) und Yellow Cap (Ska & Rocksteady) aktiv. Der enthusiastische Yellow Cap Sänger überzeugte die sechs anderen Musiker:innen von seiner Vision einer ,Early Reggae & Rocksteady" Band, die sich vorerst ausschließlich mit jamaikanischen und britischen Cover-Songs aus den 60er und 70er Jahren beschäftigt. Und es wird Zeit, dass Tighten Up mit ihrer extrem tanzbaren und energetischen Musik überzeugen darf und mit ihr eine längst vergessene Zeit wieder erwachen lässt. 300 Stück weltwweit, klassisch schwarzes 180gr Vinyl, handnummeriert.

Make Some Noise" ist nicht nur Musik: Es ist eine Grundsatzerklärung. In einer Szene, die sich manchmal repetitiv und inzüchtig anfühlt, beschließt MDB, die Regeln zu brechen und mit Klängen und Genres zu experimentieren, die normalerweise nicht nebeneinander existieren. Von der Kraft des Flamencos und der Intensität des Metals bis hin zur Seele des Blues, der Sinnlichkeit des Souls, der Aufmüpfigkeit des Punks, der Kraft des primitiven Rockabilly und der Frische des Surf ist jeder Song ein Schrei. Dieses Album fängt den Geist und die Energie der Berliner Subkultur ein, Unterschiede werden umarmt und die Kreativität kennt keine Grenzen, die Inspiration, Stile zu mischen und Grenzen zu überschreiten. "Make Some Noise" ist eine Einladung, aus der Komfortzone herauszutreten, zu feiern und zu entdecken, dass in den Unterschieden die wahre Kraft der Musik liegt.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

The band signed to 6131 Records, who gave the group a budget of one thousand dollars to record their first full-length. Johnson, then 24, compiled songs he had composed over various years, including some dating to his teenage years. He viewed the debut as a greatest hits of sorts, a collection of his best work to date. The album was recorded in September 2010 at Earth Capital in Los Angeles with producer Alex Estrada. The group aimed to emulate the sound of Weezer's 1996 album Pinkerton, particularly the spacious way drums were tracked on that LP. Johnson requested Estrada distort his vocal tracks, due to personal pressure: "Maybe I was trying to cover my voice up a little bit because I was insecure," he admitted.

With an eccentric, poetic line in minimal rock, London bass & drums duo Most Things release their debut album Bigtime 23/05/25 on tastemaker label So Young Records. Marrying the compassionate observational wit of Richard Dawson with a sound somewhere between Minutemen and Television Personalities, the album’s ten songs explore family relationships, mental health and life in the city. The project of London-born bassist/vocalist Tom Phillips and New York-born drummer Malachy O’Neill, the pair met as students in London after being introduced by Phillips’ then housemate Sabrina Fuentes – singer in acclaimed punk band Pretty Sick. Bigtime is a London album. Chronicling Phillips’ experiences growing up in the city, as the only child to his single mother, it illustrates its shops, pubs and bustle with humour and warmth, but also considers its troubles: from violence to threadbare public services.

Conflict formed in 1981 in Eltham, Southeast London, when frontman Colin Jerwood, inspired by early encounters with the Pistols 'Spunk' bootleg and following The Clash on tour, struck up a friendship with Crass and set about crafting a whole new kind of punk that totally upped the ante in terms anger and confrontation. Crass, the renowned anarchist punk collective, having got Conflict started by releasing their debut single 'The House That Man Bult' in 1982 on Crass Records, ended in 1984 as they had always intended. Now it was up to Conflict to pick up the baton and run with it. And they did, charging into the battle lines of authority.

The years that followed saw Conflict go from strength to strength, peaking on the 18th of April in 1987 at the London Brixton Academy for the 'Gathering of the 5,000' concert. A climax and explosion of rage and rebellion that inevitably ended up in a police provoked full-scale riot with police injuries, arrests, and with the band hopelessly in debt and banned from the majority of major London and UK venues.

Undeterred, Conflict continued into the 90s with their acclaimed 'Conclusion' album and remained a mainstay of the live punk circuit throughout. However, after more than two decades since the release of their (2003) 'There's No Power Without Control' album, the band are back with 'This Much Remains'. Featuring sixteen brand new Conflict creations, the album sees the band keeping one eye on their eventful past, and the other firmly on moving forward, both musically and politically. Animal Rights are still at the forefront of Conflict’s collective minds, giving a voice to the voiceless on songs such as 'A Mother's Milk' and 'Shut The Fuck Up', whilst their anger at world governments will never dissipate.

Also featuring an appearance by the late Benjamin Zephaniah on the track 'Cut The Crap', 'This Much Remains' is the sound of a band that continues to surprise and progress, decades after it first began. Conflict are Colin Jerwood - vocals; Fiona Friel - vocals; Gav King - guitars, melodica & Hammond; Fran Fearon - bass; Stoo Meadows - drums. With Benjamin Zephaniah - vocals on 'Cut The Crap'; Mitsuko Sonoda - voice on 'The Impossible Soul'.

“The Atacama Experience” wurde von dem Jazzviolinisten Jean-Luc Ponty als eine musikalische Reise konzipiert. Diese Reise beginnt in der Einleitung mit einer Pariser Straßenszene, der dreizehn Songs folgen, die den Hörer durch verschiedene Länder, eine Reihe unterschiedlichster Impressionen und Emotionen sowie in die musikalische Vergangenheit und Gegenwart führen. Die Aufnahmen entstanden zwischen Januar 2006 und Februar 2007. In diesem Zeitraum bereiste Ponty mit seiner Band diverse Kontinente und absolvierte Auftritte in Südamerika, Europa, Russland, den USA und Indien. Zwischendurch kehrte er immer wieder nach Frankreich zurück, um die frischen Eindrücke und neuen Einsichten in Einspielungen für dieses Projekt zu verwandeln.

Jean-Luc Ponty - Geige, Keyboards, Synthesizer, Effekte
William Lecomte - Klavier, Keyboards
Philip Catherine - Gitarre (Titel 2, 5 und 12)
Allan Holdsworth - Gitarre (Titel 4)
Guy N'Sangue - Bassgitarre
Thierry Arpino - Schlagzeug
Taffa Cissé - Schlagzeug

Composed of 10 new tracks and clocking in at 42 minutes, Pink Elephant is produced by Win Butler, Régine Chassagne and Daniel Lanois.

When experienced in its entirety, Pink Elephant invites the listener on a sonic odyssey – a quest for life – that exists within the perception of the individual, a meditation on both darkness and light, the beauty within. The layers of this condensed epic unfold to reveal new dimensions with each successive listen.

Composed of 10 new tracks and clocking in at 42 minutes, Pink Elephant is produced by Win Butler, Régine Chassagne and Daniel Lanois.

When experienced in its entirety, Pink Elephant invites the listener on a sonic odyssey – a quest for life – that exists within the perception of the individual, a meditation on both darkness and light, the beauty within. The layers of this condensed epic unfold to reveal new dimensions with each successive listen.

Composed of 10 new tracks and clocking in at 42 minutes, Pink Elephant is produced by Win Butler, Régine Chassagne and Daniel Lanois.

When experienced in its entirety, Pink Elephant invites the listener on a sonic odyssey – a quest for life – that exists within the perception of the individual, a meditation on both darkness and light, the beauty within. The layers of this condensed epic unfold to reveal new dimensions with each successive listen.

Composed of 10 new tracks and clocking in at 42 minutes, Pink Elephant is produced by Win Butler, Régine Chassagne and Daniel Lanois.

When experienced in its entirety, Pink Elephant invites the listener on a sonic odyssey – a quest for life – that exists within the perception of the individual, a meditation on both darkness and light, the beauty within. The layers of this condensed epic unfold to reveal new dimensions with each successive listen.

Die Progressive-Pioniere von Haken haben das Jahr 2024 damit verbracht, ihr jüngstes, hochgelobtes Studioalbum "Fauna" im Rahmen ihrer "An Evening With"-Tour rund um die Welt ausgiebig zu feiern. Die Band spielte zwei komplette Sets pro Abend und präsentierte "Fauna" in seiner Gesamtheit, bevor sie auf die Bühne zurückkehrte, um eine Auswahl der beliebtesten Songs aus ihrem Katalog zu spielen. Am 21. September 2024 spielte die Band im legendären Londoner O2 Forum, und die Dokumentation dieses besonderen Abends ist auf "Liveforms" zu finden. Die limitierte 3CD+Blu-ray-Edition fängt den Abend in voller Audio- und Videoqualität ein und enthält als Bonus bisher unveröffentlichtes Interviewmaterial mit der Band, die auf ihre glorreiche Karriere zurückblickt. Die 2LP-Edition im Klappcover enthält das komplette "Fauna"-Live-Set. Beide Formate enthalten ein atemberau-bendes Artwork von Dan Goldsworthy, der bereits das Cover von "Fauna" gestaltet hat.)

Remember: you could be dreaming. Sinking or flying, sound-catching or singing. Witnessing a distant storm in silence, how it exposes purple clouds in unpredictable flashes. Hearing a submarine eruption and finding natal comfort in the warm, fragrant smoke that only wants to sheathe all your edges. The circus has left, only placards remain. And the snow. Look how the flakes sway to your feet without effort - any distance is misleading, illusory. There’s only dream and memory – the two wings of a bird that flaps with an ocean wave, blinks with an eye of a lighthouse. Fragile, you could be dreaming not alone, holding hands with the core of things. The molten core, like touching ice. You could be dreaming. Dreaming in perfect memories of shapes imperfect. Dreaming of the earth raining from the sky, of the wind inside the sea, of the lighthouse & the ship kissing, of exotic fishes in the bay of your ear. Everything is real. If you play. If you dare to ignore the margins. Echoes go on forever. They play with themselves in a stream of mirrors. Echoes of a forgotten language, of a language unwritten - a soothing, indifferent creole that reconciles feeling with understanding. Bathe in the fountain at the source of resonance. Bathe in the clouds on the eyes of intimate strangers passing. Disappear. Disappear and be seen, like the moonlit mist behind your eyes. And sway between hope and wisdom.

All songs written, performed and produced by Sasha Vinogradova and Alina Anufrienko
Recorded in Garnet village, Dmitrovsky region, Russian Federation (February 2020)

Alternate versions of classic Dwarves songs played live in studio 2000. Hyped frenetic tempos. Standout tracks include Follow Me, Speed Demon, Dominator & Surfing the Intercourse Barn. Originally first released in 2001 on Reptilian Records, new 2025 artwork! 16 tracks (without intro), Surfing the Intercourse Barn taken from the book "Armed To The Teeth With Lipstick" by Blag Dahlia and Marc Rude. The 2000 live in studio DWARVES were Blag Friday, Gregory Pecker, HEWHOCANNOTBENAMED, Rex Everything & The Fresh Prince Of Darkness. Reissue now with new comic sleeve art.

Die Grammy-Nominierte Singer-Songwriterin Jessie Reyez veröffentlicht ihr drittes Studioalbum „PAID IN
MEMORIES“, welches mit ihrer einzigartigen Mischung aus R&B, Soul & zeitgenössischem Pop überzeugt.
Mit den Vorboten des Albums „RIDIN“ Ft. Lil Wayne, „JUST LIKE THAT“ Ft. Ari Lennox & „GOLIATH“
liefert uns Jessie die für sie typischen furchtlosen Lyrics und fesselt ihre Zuhörenden mit ihrer gefühlvollen
Stimme. Die gebürtige Kanadierin arbeitete in der Vergangenheit bereits mit internationalen Größen, wie
Calvin Harris („Hard To Love“), Dua Lipa („One Kiss“) und Sam Smith („Perfect“) zusammen. Ihr Debü-
talbum „Before Love Came To Kill Us“ erreichte kürzlich sogar den Gold Status bei der Recording Industry
Association of America (RIAA).
„PAID IN MEMORIES“ ist auf CD und Vinyl erhältlich.

LA's Elbow Grease label takes a sharp left turn from dance floor-finessing singles to their first full-length
release via the elusive yet illustrious band KAMM, who return in extra fine form for their third and
presumably final album offering, following the sudden tragic death of core member Alland Byallo last
year. Surviving bandmates Marc Barrite aka Dave Aju, Kenneth Scott, and Marc Smith chose the
inspirational higher ground, finishing off what they had begun with Byallo prior to his passing, resulting in
this sublime musical love letter of an LP.
In keeping with the band’s broad influence canon, we are treated to a blend of sonic flavors from
across the genre spectrum with Barrite and Byallo’s jazz upbringings ringing true at the center, then
branching out through golden era hip-hop feels, phased-out psych funk, warm smokey soul, and of
course generous helpings of intricate electronic layers and innovative treatments, as all band members
have become notorious for in their respective solo bodies of work.
While highly personal by nature, including otherworldly cover art based on Byallo's last paintings, the
musical content contained on the album is also widely universal - from opener “Crystalline Dreams”
serpentine tones turned slo-mo funk bomb, to the triptych Bossa boom-bap of “No Deal”, the timely
political calls of uptempo jazz burner “Your Honor”, the intimate upright-led tribute tales of “Angels
Flight”, to the sleek electro rhythm changes of mid-set breather “How Long?”, a deeply felt take on our
mobile-reliant fate in “S.I.M.”, the expansively expressive depth of “Coordinates”, then closing it out with
the title track featuring a grand finale chorus of Byallo’s best friends and fam from around the world
joining in the “Let The Light In” chant, with as much uplifting intention as possible to capture on record.
A loving collective embrace and very welcome reminder to help lighten these darker days

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

In the depths of the underground, where the beat pulses through the concrete veins of the city and the soundscape echoes the soul of a movement, Infinity Plus One delivers the Reflexion EP – a raw and unapologetic nod to the gritty, underground roots of ‘90s techno and electro. Drawing inspiration from late-night warehouse parties, the machine-driven rhythms, and the futuristic sounds that emerged from the Motor City’s pioneers, Reflexion carries the essence of that golden era while pushing forward into new realms of sonic exploration. These four tracks, composed with deep grooves and dark, hypnotic sequences, offer a hard-hitting blend of electro-funk and house that will resonate with fans of both vintage and contemporary styles.

On Innocent Beginnings we find a bass-heavy, bouncy house rhythm mesh with haunting synth melodies, setting the tone for a journey through forward-looking machine soul. Next we have Dusk And Darkness which layers a breakbeat on an 808 electro groove to form a darker, ravey feel where all the emphasis is placed on the rolling beats and bassline. Flipping over we have Stand For Love which takes us on a deep house journey, showing a more sensitive and heartfelt side of the Infinity Plus One sound. Closing out this heavyweight four tracker you’ll find Ubiquity with its deep, atmospheric mood built around a snaking bassline whilst big synth stabs add an intensity to this club-ready groove.

Each track here is a manifesto, a declaration of sonic freedom, engineered for the DJs who understand the pulse of the underground. This is the music you feel in your chest, not just hear in your ears.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.

Ltd edition Sine TEAL Vinyl, DL card with Bonus Tracks. Vanishing Twin's seminal LP, The Age Of Immunology, receives a LTD edition re-pressing, this version is sine teal vinyl with matching sleeve colour. As essential take on psych-pop futurism and a must for fans of Broadcast, Sun Ra and Ennio Morricone. Establishing the band as innovators in their field, the record was declared "a masterpiece" by The Line Of Best Fit, while The Quietus asserted Vanishing Twin as "one of the most original and exciting acts of the moment". This was the group's first LP for Fire Records, at the time of recording the band's evolving lineup consisted of songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio and was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk. The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Planete Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury.

2025 Repress

As a trained dancer, movement has always guided GiGi FM’s work, whether through developing movement based instruments, or questing to make you move via sound-systems across the world. These ephemeral moments of altered sleep patterns and dance are now present in the music of ‘Sea~rène’, sounds for a trip in the mind held with a desire to dance.

A sense of brightness prevails in ‘Movimiento’, the feeling of white light rising from the dark of your mind as you lay with closed eyes.



Opener ‘Gabriella’ takes you by the hand to spin you across the ballroom floor, dancing in a dusky glow. Piano twinkles along with your step; a gradual ascension as a graceful dance can be. Lost in thoughtful yet thoughtless drift to the rumble of sound, we can confront parts of ourselves and our connection to others, the spirit of B side opener ’Awakening The World’s Heart’.



Place is important to movement also, as heard in the kinetic motion of ‘Tempelhof’, reminiscent of the feld in Berlin (GiGi’s home) itself. Blurred lines of people weaving their way through, either high speed on skates or on a leisurely stroll. It's summer in the city, where the nighttime shortens and daylight extends, yet the simulated night of the club never ends. Eventually reaching slumber, ‘Lucid Dreaming’ is the record's swan-song, a final lift of propulsion to remind that the dream of dance is a physical act, belonging to the imagined and the real. Digi bonus ‘Raspberry Pie’ is a sweet treat at the end of the dance, a familiar taste and a reminder of joy, ready for the next ‘Movimiento’.

Die Verwandlung von Geschichte in einen Mythos macht persönliche Erfahrungen universell - ein Prozess, der in der Musik der russischen Produzentin Yana Kedrina, bekannt als Kedr Livanskiy, eine zentrale Rolle spielt. Auf ihrem fünften Album, "Myrtus Myth", entwirft sie eine experimentelle Pop-Reise, die von persönlichen und öffentlichen Mythologien inspiriert ist und Esoterik mit erzählerischer Tiefe verbindet. Livanskiys Musik war schon immer von Geheimnissen durchdrungen, von den ätherischen Synthesizern ihres Debüts "January Sun" bis zu den spirituellen Harmonien von "Liminal Soul". Mit "Myrtus Myth" wagt sie sich noch weiter vor und zieht Parallelen zu ihrem zweiten Album "Ariadna", während sie ihre Klangpalette mit dem Produzenten Flaty erweitert, der für seine futuristische, genreübergreifende Arbeit bekannt ist. Gemeinsam gehen sie über die Strukturen von Dance Music hinaus, integrieren Live-Instrumente und Einflüsse von Vaporwave bis Kate Bush. Zu den Höhepunkten des Albums gehören "Anna", eine von Fleetwood Mac inspirierte Pop-Elegie für eine verlorene Freundin, und "Purple Sadness", dessen knackige Synthies an den Cloud-Rap der frühen 2010er Jahre erinnern. Tracks wie "Agata Dreams" erinnern an 90s Electro-Pop, während "Spades on Hearts" ein hymnischer Aufruf zu den Waffen mit marschierenden Trommeln und hochfliegenden Vocals ist. Livanskiys Texte, die auf Russisch verfasst sind, bieten eine Heldenreise über 11 Tracks, die sich auf Mythen wie Orpheus stützen, um die dauerhafte Kraft der Kunst zu erkunden. Obwohl das Album stilistisch vielfältig ist, behält es durch seine mythische Erzählung seinen Zusammenhalt bei. Das eindringliche Schlussstück "Kali-Yuga" beklagt in zarten Harmonien eine verlorene Stadt und lässt den Hörer in einem traumhaften Dunst zurück. "Die letzten Jahre waren für viele schwierig", reflektiert Livanskiy. "Dieses Album erforscht den Schmerz durch das Mythische und Jenseitige." "Myrtus Myth" ist keine Tragödie, sondern eine Geschichte der Unverwüstlichkeit, die den Hörer auffordert, die Menschlichkeit im Mythos zu finden. Während die imaginären Welten verblassen, erinnert uns Livanskiy mit ihrem Werk daran, dass die reale Welt und die Zeit, die wir in ihr verbringen, bestehen bleibt.

Sababa 5 collaborate with India born singer Sophia Solomon on their most exciting double A-side to date, merging Bollywood-style songs with their signature blend of Middle Eastern grooves.

Renowned for their instrumental releases that fuse traditional and contemporary Middle Eastern music with psychedelic rock, funk, and disco, Sababa 5 have also pushed boundaries in collaborations with vocalists such as Shiran Tzfira, Yurika Hanashima, and Inbal Nur Dekel. These efforts have won them support from the likes of Gilles Peterson, Cerys Matthews, and Jeremy Sole, on BBC Radio 6 Music and KCRW. Now, the band joins forces with Sophia Solomon for their latest musical exploration.

Born in Bengaluru, South India, and trained in Hindustani classical music in Mumbai, Sophia Solomon is a versatile, multilingual singer, recording artist, and live performer, drawing inspiration from Bollywood legend Asha Bhosle. A standout moment early in her career - a global tribute to Mahatma Gandhi - ignited her passion for bridging musical traditions across cultures.

“Shehzadi” (“Princess”) is an Indo-disco delight. Solomon’s Hindi vocals soar effortlessly across Sababa 5’s finely balanced arrangement of hypnotic drums, pulsing electric bass, fanning electric guitar, and sparkling synths in a beguiling minor key. There’s a strong hint of 80s nostalgia with a contemporary shine, evoking a Stranger Things meets Bollywood charm.

“Ranjha” (“Lover”) takes on a more Middle Eastern feel, with synth notes that undulate with longing and emotion, reminiscent of traditional instruments like the saz or baglama. The upbeat groove pairs seamlessly with Solomon’s dynamic, hope-filled vocals. Well-timed pauses add dramatic flair, while Sophia’s performance allows space for an exuberant synth solo.

This exciting collaboration marks another bold turn for Sababa 5, infused with new life through Sophia Solomon's artistry. “Shehzadi” and “Ranjha” represent a fruitful exchange of cross-cultural musical exploration, destined to be played on repeat far and wide.

Aus Music founder Will Saul collaborates with Fink and James Alexander Bright on the final EP in the AUS200.

After music from the likes of Quantic, Dam Swindle, K-Lone and Cinithe, Will Saul brings celebrations around his label's 200th release to a close with one track alongside long-time friend Fink and one with James Alexander Bright, an artist he discovered and signed to !K7 during a 10-year stint A&Ring with the label.

Saul's music has provided the backbone of the label since day one. His club-ready EPs and more immersive, expansive albums have helped to define its melodically rich fusion of bass and house. Just as importantly, his A&R has helped it evolve over the last two decades so it remains as relevant as ever with the current generation while providing a platform for contemporary talents to shine.

First up here he links up with his old friend, singer, songwriter, guitarist and producer Fink who, as Sideshow, was behind the first-ever release on Aus back in 2006. Since then, he and Saul have continued a fruitful working relationship which now bears juicy musical fruit once more. Their 'Slo-mo Life' is six sublime minutes of deep, dubbed-out downtempo. It's powered by a prowling bassline with tender melodies and introspective chords next to subtle vocal loops that cannot fail to bliss you out. Fink then offers up a remix as Sideshow that rides on airy jungle breaks while evocative synths are smeared in painterly fashion before decaying in endless reverb to an angelic ambient sound.

British multi-hyphenate James Alexander Bright has built up a colourful body of albums and EPs that soundtrack everything from hazy daydreams to lazy afternoons in the park via dance floor trips. The singer has worked with, among others, Groove Armada’s Tom Findlay and Girls Of The Internet and always brings a lovably lo-fi and intoxicating sensibility.

'Blue' is a raw, live sound with crashing hits and broken kick patterns. Bright's nagging vocal speaks of emotional pain while shimmering chords bring the heat. Bright's remix reworks the track into a widescreen hazy breakbeat soul track that gives his vocals extra room to make their mark while the exquisite live drums from Joris Feiertag keep you moving.

The Modbirds kombinieren souligen Ska und mitreißenden Punk. Obwohl sie erst 2023 gegründet wurden, bringen sie mit Mitgliedern von Los Placebos und The Porters einen reichen Schatz an Bühnenerfahrung mit. Ihr Live-Debüt bei "Ska im Westend" in Dortmund hat sofort gezeigt, dass sie gekommen sind, um zu bleiben. Jeden Frühling kehren die Zugvögel aus ihren Winterquartieren zurück! Also aufgepasst, denn auch die Modbirds sind im Anflug mit ihrer ersten Mini-LP "Spin it to win it". (Release Date 25.04.25) Mit ihrem musikalischen Mix aus Ska, Reggae und Punk feiert die Band in fünf Songs verteilt auf zwei Seiten ihre Liebe zum Vinyl, lässt vergangene Jugendlieben aufleben und schwelgt in den Erinnerungen an unbeschwerte Zeiten. Getrieben von druckvollen Bläsern, eingängigen Melodien und dem tanzbaren Offbeat werden aber auch gesellschaftliche Missstände oder das Thema mentale Gesundheit besungen. Also nicht den Arm am einarmigen Banditen ziehen, sondern den Tonarm auf den Plattenteller legen mit 45RPM im 12-Inch Format für den bestmöglichen Vinyl-Sound:, eben "Spin it to win it" - hier sind The Modbirds! Ska, Reaggae, Soulpunk, klassisch schwarzes oder farbige 12"-Vinyl erhältlich.

Since forming as Hammock in 2003, Byrd and Thompson have released 12 critically-acclaimed albums and are renowned for their unique talent for bringing inexpressible emotion to life. From the Void is an extension of the band's genre-defying 2023 album Love in the Void. Hammock's Marc Byrd explains: "There are four songs we were considering for Love in the Void that weren't fully fleshed out. Listening to them again, we decided they deserved to be brought to life because of how they made us feel. In addition, we decided to create four new pieces inspired by LITV. Adding these pieces and pulling them from the void creates what we think is a bridge between LITV and our next LP, as well as a nice stand-alone document of music."

Vaneese & Carolyn are Vaneese Thomas (daughter of Rufus Thomas) and Carolyn Mitchell who recorded two singles together at Polydor in 1977 and 1978. From these, the 1978 collaboration has been reissued here, the sides reversed. Original copies have exchanged hands for over £300. Both singers had recorded with Disco producer John Davis and his Monster Orchestra the same year on his album “Ain’t That Enough For You”, but both these songs are more sophisticated classic soul stylings with incredible vocal performances.