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Stone Music returns with Into the Cosmic Forest, a deep and patient journey into open-air improvisation. The group was founded in 2022 by Tokio Hasegawa, a core member of the legendary Taj Mahal Travellers, and brings together a wide circle of musicians from Japan’s ambient and experimental scenes.

While the name is new, the spirit continues. Stone Music extends the free-form, site-responsive approach that defined Taj Mahal Travellers — music shaped by environment, duration, and collective awareness rather than fixed structure.

Into the Cosmic Forest consists of two long-form pieces, each exceeding 20 minutes, both recorded live outdoors. Side A was captured at Japan’s Off-Tone Festival. It unfolds slowly and organically — layers of voice, strings, electronics, wind instruments, and percussive textures gradually forming a shifting sonic landscape.

Side B was recorded on the grounds of Mithila Museum in the mountains of Niigata, an art space managed by Hasegawa himself. More intimate in atmosphere yet equally immersive, the piece centers on voice and subtle interplay, allowing space and silence to become part of the composition.

What you hear is direct and unpolished: air moving, sound resonating, musicians responding to each other and to their surroundings in real time.

Following tours in India during 2023–24, with performances in national museums and universities, Stone Music continues to explore music as shared space rather than spectacle.

Into the Cosmic Forest invites listeners into that space — unedited, unhurried, and fully alive.

Die Zwanziger - ein Alter voller Möglichkeiten, aber vor allem: verdammt seltsam. LEILAs Debütalbum "20 SOMETHING IS A F*KING STRANGE PLACE" fängt genau dieses Gefühl ein: zwischen Erwachsenwerden, Unsicherheit und dem Drang, sich ständig neu zu erfinden. Mit dabei: die Taube - in jeder Stadt, auf Dächern, im Sound, auf dem Cover. Ein Vogel, der niemandem gehört, aber überall ist. Genau wie LEILA selbst, die zwischen New York, Sarajevo und Bern lebt und dort drei Versionen von sich entdeckt. Die Musik? Ehrlicher Pop, durchzogen von Punk-Energie, UK-Underground und Experimentierfreude. Kein Album, das Antworten gibt, sondern eines, welches die Unordnung der Zwanziger festhält - roh, ehrlich, unaufhaltsam.

Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums, drive the whole thing forward without mercy - topped off with synth arpeggios to make sure you won't stand still.

Yellow Vinyl, limited to 350 copies. Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums, drive the whole thing forward without mercy - topped off with synth arpeggios to make sure you won't stand still.

Die unvergesslichen Klassiker der legendären Marlene Dietrich auf einer hochwertigen Vinyl-LP vereint.

Diese Sammlung präsentiert die größten Erfolge einer der bedeutendsten deutschen Künstlerinnen des 20. Jahrhunderts und lässt ihre unverwechselbare Stimme in bester Klangqualität neu aufleben.

Mit dabei sind zeitlose Klassiker wie:
Lili Marleen
Sag mir, wo die Blumen sind
sowie viele weitere unvergessene Aufnahmen.

Ob als Sammlerstück oder zum Genießen auf dem Plattenspieler – diese Vinyl-Ausgabe ist eine Hommage an eine außergewöhnliche Künstlerin und ein Muss für Liebhaber klassischer Chansons und deutscher Musikgeschichte.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

A major independent figure on the global electronic music scene, Petit Biscuit returns with Movement, a new album featuring a striking rework of “Everything In Its Right Place,” the acclaimed track “Let You Know” with Sonia Ammar, and the new single “Midnight Sky Pt II,” a tribute to his fans that reconnects with Petit Biscuit’s signature sound, both powerful and emotional.


The album will be showcased on the biggest stages of French festivals this summer.

Spiral code is the second album released on An’archives by the Japanese trio archeus, after 2023’s Kusōzu: Nine Death Stages, and their seventh release altogether. It’s also the most staggering evidence yet of the single-minded pursuit of group-sound explored by Keiko Higuchi (voice, drums, percussion, trombone), Shizuo Uchida (4 strings), and TOMO (hurdy gurdy). For two tracks, “awakening, beyond recurrence” and “where points and lines intersect”, they’re joined by Kiyotaka Moriuchi, an improviser who’s played with the likes of Shoko Numao and Ensemble Shippolly, on percussion and darbuka (a goblet-shaped drum played widely across South East Asia).

Always able to scour magic from both their relationships with their instruments, and their non-idiomatic interplay, on spiral code they’ve widened their net further; the results oscillate from humid and claustrophobic blocks of noise to rivulets of tone coursing across post-volcanic landscapes, and on into simple gestures suspended in arctic space. Spiral code was recorded in a single day, on March 20 th 2025, at a studio in Koenji, Tokyo, the morning session with the original trio, and afternoon and evening session with Moriuchi – the first time archeus have played with a guest musician.

When asked about the music archeus makes together, TOMO is quick to isolate the singular characteristics of their collaboration: “we are trying to explore some new, unknown musical vocabulary every time we play. And what we are trying to achieve from every session is something unique, an interesting chemistry or, I should say, alchemical reaction among the three of us.” You can certainly hear that alchemy in the dynamic arc of their performances, the way they seem to be able to switch on a dime and push the music into unexpected terrain, all while sounding intimately archeus. “We have been playing for many years,” TOMO continues, “so I think that among three of us, we can telepathically sense, feel and understand what each of us is trying to express while we are playing.” It’s telling that guest musician Moriuchi fits so effortlessly into the archeus soundworld, able to hitch a ride on the intimate telepathy of Higuchi, Shizuo and TOMO; “I think he gave us some fresh air to our music,” the latter smiles. But that telepathy extends, even, to the name of the album itself, with all members pointing toward spiral imagery when naming the title track, whether TOMO’s evocation of Kundalini serpent imagery and Caduceus, to the spiral shape of DNA, what TOMO calls “the code of life.” It’s certainly deeply entwined music: spiral code is a helix of sound, a cylindrical coiling of possibility.

Futaishitsu Souzou is the first vinyl album released by Japanese duo la scène 裸身, a duo of Saya on vocals and bass, and Eiji on guitar. They’ve been an understated but deeply impressive presence on the Japanese underground for the best part of a decade now, having self-released a debut album, Ten No Sekido, in 2018, which saw them co-producing by Atsuo of Boris, who also worked with them on the following year’s Corridor EP. The mystery and magic of their songs, which vibrate in a curious space between psychedelic rock, acid folk and slowcore, is at its strongest on Futaishitsu Souzou.

la scène 裸身 have long been interested in art that’s stripped back to its simplest, most elemental form, much as their name represents the Japanese word ‘rashin’, which means naked body. There is something unadorned about the three songs on Futaishitsu Souzou; Saya’s becalmed, unhurried vocal delivery reflects the gentle intensity of the simple, gem-like chord changes strewn through songs like “Futaishitsu Souzou” itself, and the bittersweet, folkish lament of “Reiyou”, a song inspired by the loss of the band’s friend, Gazelle.

Futaishitsu Souzou is steeped in melancholy, but it is not resigned to this emotional state; there are threads of rebirth and transcendence woven through the album’s three lovely, slowly enveloping, and deeply moving songs. Often, you can hear that transcendence in the soaring, sky- burning guitar playing that cleaves these songs in twain, from guest guitarist Hiroshi Kurosawa (of Asylum). At times, the music here recalls the drift-like psych-rock of the Paisley Underground; elsewhere, it explodes with vibrant intensity, swarming with noise and feedback, that runs alongside similarly delirious examples from the Japanese underground.

And yet, la scène 裸身 is entirely its own thing, a unique, singular vibration, a oneiric manifestation of hermetic visionary art.

Freddie McGregor's Showcase album, released in 1981 and known in the UK as Lover's Rock Showcase Jamaica Style, marked a pivotal moment in the singer's career. Prior to this, McGregor had enjoyed only modest success, though his work, crafted with various producers, had consistently showcased a talented artist with an authentic voice.

A major turning point came in 1979 when he teamed up with producer Winston "Niney" Holness to create the acclaimed 'Mr. McGregor' album. That record significantly boosted his profile. On this record Roots and Romance are in perfect harmony as Niney's Dub magic meets McGregor's spin on classic soul, just as the title promises.

Lover's Rock Showcase Jamaica Style is available as limited numbered edition of 750 copies on orange vinyl.

Celebrate a decade of Turnover's iconic sophomore album Peripheral Vision with this 10 Year Anniversary Edition. Retaining the album's iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition is pressed on limited edition color vinyl also includes two bonus tracks from the era - "Humblest Pleasures" and "Change Irreversible." Released on May 4th, 2015 via Run For Cover Records, Turnover's second album Peripheral Vision is widely regarded as an essential body of the work in the band's discography, maturing its sound into a shoegaze-inflected post-punk direction following the band's 2013 debut record Magnolia. Described as "a tour de force" by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022's Myself in the Way.

Pressed to "beer" color vinyl, features remastered audio & original packaging. The first band on Fat Wreck Chords, Lagwagon pioneered the modern pop-punk movement. Hoss (1995) is a foundational pillar of 90s skate punk that helped define the signature "Fat Wreck Chords" sound_fast, melodic, and technically proficient. Frontman Joey Cape introduced introspective, melancholic songwriting to the genre on iconic anthems like "Violins," proving aggressive punk could carry emotional weight. Furthermore, Derrick Plourde's innovative, lightning-fast drumming raised the technical bar for the entire scene, heavily influencing generations of punk drummers worldwide.

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

IMPRESS!VE Collective & BBE Music present: Terry Callier – Live Peace. There was no one quite like Terry Callier, and Live Peace captures the rare magic of his live performances in their most intimate and spiritual form. Recorded live in Leeds in the late 1990s and early 2000s at shows run by Lubi Jovanovich & Gip Dammone of The DIG! Family, this release documents an artist whose music transcended genre, era, and expectation, offering truth, compassion, and deep emotional connection rather than spectacle. Recorded live by renowned sound engineer Martin Dixon at The Yardbird Suite / The Underground in Leeds in 1998 and 2001), these performances feature Terry alongside his hand-picked ‘Family Band’; which included legendary guitarist Jim Mullen, Chris Kibble on keys and famed percussionist Bosco D’Oliveira. Painstakingly restored from the only surviving source using modern AI-assisted audio tools, the aim was never to polish away the grain, but to let Terry’s voice, message, and band shine once more. Sparse, soulful, and profoundly human, the recordings preserve the immediacy of nights where packed rooms fell into pin-drop silence, hanging on every word and note. From the aching beauty of “What Colour Is Love” to the cinematic power of “Lazarus Man,” this album reminds us what a master storyteller and spiritual presence Terry Callier was. Live Peace stands as a powerful reminder of why Terry Callier remains one of music’s most revered and influential voices, whose songs of love, justice, and humanity resonate as strongly now as ever. This project is fully endorsed by Terry's daughter Sunny Callier - and the cover photo and sleeve images are all suitably also previously unseen visual treasures.

Sibling duo Wasia Project chart a new sonic hinterland with their debut album Nocturne. Across 12 tracks, Olivia Hardy and Will Gao alchemise their classical training with kinetic club-adjacent dance music, soulful electronica, and cinematic piano-pop. Nocturne arrives as a bold evolution, scaling the success of their early EPs and a string of dewy-eyed singles that has built them a global following of 1.2M+ and 200M+ streams to date. A definitive Gen-Z narrative, it captures the friction and frisson of youth today, turning coming-of-age angst into a cathartic journey represented within the hours of dusk until dawn, from heady twilight introspection to the euphoric commune of the dancefloor.

Whirr and Luster have been orbiting each other for years, bound by a shared language of glide guitar, buried vocals, and volume as emotion. A through line that’s only deepened by Nick Bassett’s hand in producing and mixing the majority of Luster’s previously recorded output. The Whirr & Luster Split pairs one of American shoegaze's most storied bands with one of its most vital new voices across four new songs. Out on 12" EP, CD EP, and digital via Freewhirl Records. Splits are sacred territory for Whirr. More than a decade after the band helped define the modern heavy-shoegaze landscape, the Bay Area five-piece returns with its first new material in years. “Spiral Again” opens the record in classic Whirr fashion: an avalanche of guitar wrapped around a lyric about losing yourself in someone else’s gravity — spiraling, intertwining, coming down together. “Wish I Could Give You The World” follows, one of the most openly romantic songs the band has ever recorded, all wildfire imagery and dizzy devotion, desire rendered at full volume. Produced by Whirr and Zac Montez, both tracks find the band in signature form: enormous yet tender. On the flip side, Los Angeles' Luster continue their run as the standouts of the new shoegaze generation. Formed with the intent of pushing the genre forward rather than reenacting it, Luster fold electronic pulse and '90s texture into walls of glider guitar, and the two contributions here find the band in peak form. "Against the World" is a love song as a locked door — it's you and me, us against the world — claustrophobic and comforting in the same breath. "Forever" closes the record in a haze of doomed-romance repetition, a mantra of do you feel it now dissolving into the knowledge that nothing lasts. Also produced with Zac Montez, the songs make the case plainly: Luster aren't students of the form. They're peers. Taken together, the four songs read like a conversation. About distance, obsession, and the ache of never being able to give someone enough — carried across two coasts and two generations of a genre that refuses to fade. Loud, longing, and gone too soon: the Whirr & Luster Split, out September 18th. Whirr and Luster celebrate the release and cement the collaboration with two shows — the only U.S. Whirr performances of 2026, with no shows planned beyond them. Each night features a unique set built from rarities and live debuts, alongside exclusive vinyl variants and merchandise available only in that room, on that night: 9/18 — Los Angeles, CA @ The Wiltern 9/20 — New York, NY @ Brooklyn Paramount Two nights, two coasts, and no telling if there’s a next time — for the songs, the pairing, or the band itself.

IRON REAGAN's Relapse debut The Tyranny Of Will is a 24 song wrecking ball of hardcore-punk/thrash fury. Fronted by the venomously lyical Tony Foresta (Municipal Waste), on paper IRON REAGAN is a Richmond, VA supergroup (the band also features Phil Hall of Municipal Waste, Cannabis Corpse, etc as well as Ryan Parrish of Darkest Hour together with members of Mammoth Grinder). In practice IRON REAGAN are WAY more than just a supergroup project---they have toured the world several times over levelling audiences with their furious live show. This is a fully formed raging band that have delivered one of the heaviest hardcore records of the year that is guaranteed to be on the top of both metalheads' and punk rockers' year end lists.

PICNIC AT THE CEMETERY is Bella Poarch’s debut album and most personal work to date; a cinematic coming-of-age album about reclaiming memory, rewriting pain, and finding solace in yourself after trauma. Told through surreal fairytale symbolism and Bella's hand-drawn characters ("The Bigheads"), the album transforms her difficult childhood into a vivid inner landscape — where the Bigheads guide her through heartbreak, girlhood, and self-repair. More than a collection of songs, Bella has crafted a dream world that sustained her through her difficult past and turned it into music that helps others heal.

Two years after his breakthrough debut Drifter established him as one of the most authentic new voices in modern blues, Jovin Webb returns with Son of a Sinner, a raw and powerful follow-up on Blind Pig Records. Produced once again by multi-Grammy winner Tom Hambridge and recorded in Nashville, the 11-track collection finds the Baton Rouge native digging deeper into his Southern roots, where swampy blues, gospel fire, and gritty Southern rock collide. Across songs of temptation, consequence, and hard-won redemption, Webb confronts his past, owns his vices, and reaches for salvation even when he knows he might fall short—capturing the tension between Saturday night and Sunday morning. Son of a Sinner is Jovin Webb at his most revealing: blues music that doesn’t just tell the stories, but lives them.

"Business Spice" the debut LP by Big Benny Bailey isn't your grandpa's bluegrass album. It's unapologetically playful, and grunge- and pop-tinged, unafraid to break tradition and reimagine what a modern take on the genre can look like, complete with Charli XCX references and anxiety attacks during Uber rides.

„My Kinda Party“ ist das vierte Studioalbum von Jason Aldean; es erschien 2010 und gilt weithin als
sein kommerzieller Durchbruch. Das Album verbindet Country-Musik mit stadiontauglichem Rock und
einem Hauch von Hip-Hop-Einflüssen und enthält große Hits wie „Dirt Road Anthem“, „Don’t You Wanna
Stay“ sowie den Titelsong. Es markierte einen Wendepunkt in Aldeans Karriere, vergrößerte seine Fangemeinde und trug maßgeblich dazu bei, den modernen Country-Sound der 2010er Jahre zu prägen. Erstmals
auf Vinyl erhältlich!

„Dragonflies“, das gleichnamige Debütalbum von Dhani Harrison und Nigel Godrich.
Dhani Harrison ist ein zweifacher Grammy-Preisträger, Musiker, Komponist und Produzent. Nachdem er
mit seiner Band „thenewno2“ erstmals auf der internationalen Bühne in Erscheinung getreten war, hat sich
Harrison inzwischen als eigenständiger Solokünstler etabliert. Sein Solo-Debütalbum „IN///PARALLEL“
(2017) markierte eine mutige kreative Weiterentwicklung, gefolgt von dem von der Kritik gefeierten Werk
„INNERSTANDING“. Neben seiner Solokarriere hat Harrison mit einer vielfältigen Auswahl an Künstlern
zusammengearbeitet, darunter Wu-Tang Clan, UNKLE, John McLaughlin, Annie Lennox, Pearl Jam, Nitin
Sawhney, Perry Farrell, Prince, Regina Spektor und Fistful of Mercy (gemeinsam mit Ben Harper und
Joseph Arthur).
Nigel Godrich ist einer der renommiertesten Produzenten und Toningenieure, der vor allem für seine
jahrzehntelange kreative Zusammenarbeit mit Radiohead bekannt ist. Er begann seine Arbeit mit der
Band im Jahr 1994 und hat seit „OK Computer“ (1997) jedes Radiohead-Studioalbum produziert; damit
war er maßgeblich an der Gestaltung eines der einflussreichsten Musikkataloge der Moderne beteiligt. Godrich, der ebenfalls zweifacher Grammy-Preisträger ist, gehört zudem zu den Gründungsmitgliedern der
gefeierten Band Atoms for Peace – gemeinsam mit Thom Yorke, Flea, Joey Waronker und Mauro Refosco.
Im Laufe seiner Karriere hat Godrich mit einer außergewöhnlichen Bandbreite an Künstlern zusammengearbeitet, darunter Paul McCartney, Beck, Red Hot Chili Peppers, U2, IDLES, Roger Waters, Air, Pavement,
Travis und R.E.M.
Mit *Dragonflies* führen Harrison und Godrich ihre jahrzehntelange Erfahrung in Songwriting, Produktion
und Filmkomposition in einem einzigartigen neuen Gemeinschaftsprojekt zusammen.

Mit „That’s Just Me“ veröffentlicht Riley Green sein viertes Studioalbum. Entstanden während einer prä-
genden Zeit und seiner bislang größten Tour, zeigt sich Green darauf so persönlich und vielseitig wie nie
zuvor.
Der Song „Think As You Drunk“ würdigt die Country-Legende Toby Keith, unterstreicht Greens unverwechselbaren Sound sowie seinen bodenständigen Charme und erweitert das Album um ein weiteres Beispiel
für sein meisterhaftes, generationenübergreifendes Erzähl- und Songwriting-Talent. Geschrieben wurde der
Titel von Green, Jessi Alexander, Erik Dylan, Wyatt McCubbin sowie – posthum – von Scotty Emerick
und dem unvergessenen Toby Keith, den Schöpfern des Hits „Ain’t As Good As I Once Was“. Ein Teil der
Einnahmen aus dem Song kommt der Toby Keith Foundation zugute.
Produziert wurde das Album von Dann Huff und Riley Green selbst und bleibt dabei seinem authentischen
Storytelling und Country-Sound treu. Nach sechs Nummer-1-Hits, fünf ACM Awards und vier CMA Awards
unterstreicht „That’s Just Me“ einmal mehr seinen Status als eine der prägendsten Stimmen des modernen
Country.

Marc-André Hamelins erstes reines Chopin-Album wurde mit begeisterten Kritiken bedacht und vereinte
und überraschte Kritiker auf der ganzen Welt, da sich Poesie mit Hamelins übermenschlicher Virtuosität
verband. Die „Sunday Times“ schrieb: „Hamelin, ein Poet unter den Virtuosen, bringt gleichermaßen
Sensibilität und brillante Technik in diese oft eingespielte Musik ein. Faszinierend.“ Die „New York Times“
wies auf „eine erstaunliche lyrische Begabung, die immer deutlicher zum Vorschein kommt“, wenn Hamelin
Chopin spielt.
Enthalten sind zwei Eckpfeiler des romantischen Repertoires: Chopins Klaviersonaten Nr. 2 und 3, ergänzt
durch einen musikalischen Appetitanreger in Form der „Berceuse“, Op. 57.
Diese 180-Gramm-LP, gemastert von Sidney Claire Meyer in den Emil-Berliner-Studios, ist Teil der HyperionVinyl-Edition 2026.

Vom Internetphänomen zum außergewöhnlichen Singer-Songwriter: Der 23-jährige Amerikaner aron! präsentiert mit seinem Verve-Album eines der bemerkenswertesten Popdebüts der letzten Jahre. Bekannt wurde er
zunächst über Social Media, wo seine Performance-Videos auf TikTok und Instagram ein Millionenpublikum
erreichten. Mit Singles wie ”Cozy You“ und ”Wonderful Thing“ deutete er bereits sein außergewöhnliches
Gespür für große Melodien, raffnierte Harmonien und zeitloses Songwriting an. Auf ”Too Close For Running“ verbindet aron! jetzt klassischen Feelgood-Pop mit Einflüssen aus Jazz und dem Great American
Songbook mit der Leichtigkeit einer neuen Generation. Musikalisch steht er Künstlerinnen wie Laufey,
dodie und Mei Semones nahe – die beiden Letzteren sind auf seinem Debütalbum sogar als Gäste dabei.

Der aus Brooklyn, New York, stammende Trompeter Eddie Gale (1941-2020) machte sich Mitte der 1960er
Jahre zunächst durch Aufnahmen mit dem Sun Ra Arkestra, Cecil Taylor und Larry Young einen Namen. Auf seinem beeindruckenden Blue-Note-Debütalbum “Ghetto Music” verband er 1968 seinen eigenen
avantgardistischen Ansatz nahtlos mit Gospel, Soul, Blues und Einflüssen afrikanischer Musik. Diese Linie
verfolgte er ein Jahr später auch auf seinem zweiten Blue-Note-Album “Black Rhythm Happening” weiter,
das er wie den Vorgänger mit seiner neunköpfigen Band und dem achtköpfigen Gesangsensemble The Noble Gale Singers aufnahm. In einer Rezension des Albums schrieb das US-Jazzmagazin DownBeat damals:
“Die Zukunft des Jazz hängt von Musikern wie Gale ab, die das Vokabular des Genres erweitern.”

Das 1989 erschienene Album „Slip of the Tongue“ zeigt Whitesnake in voller Arena-Rock-Power. Mit „Fool
for Your Loving“ und „The Deeper the Love“ sowie angetrieben von David Coverdales kraftvollem Gesang
und Steve Vais virtuoser Gitarrenarbeit ist diese Ausgabe auf 180-g-Vinyl gepresst – und liefert ausgefeilte
Hooks, eine beeindruckende Produktion und Hardrock der späten 80er Jahre auf dem Höhepunkt.

Kaoru Watanabe veröffentlicht mit The Arch ein Soloalbum, das in Zusammenarbeit mit dem Produzenten William Brittelle und Executive Producer Shahzad Ismaily im Rahmen des Open-Residency-Programms von Figure 8 entstanden ist. Auf zehn Stücken verbindet Watanabe traditionelle japanische Instrumente wie Shinobue- und Ryuteki-Flöten, Taiko-Trommeln, Narimono-Percussion und Koto mit Jazzimprovisationen sowie akustischen und elektronischen Klangquellen. Neben den traditionellen Instrumenten kommen unter anderem Klavier, Synthesizer, Tenorsaxophon, Sopran- und Altflöten sowie Harfe zum Einsatz, die Watanabe selbst spielt. Das Album bewegt sich zwischen unterschiedlichen klanglichen und stilistischen Ansätzen und verbindet traditionelle Elemente mit zeitgenössischer Komposition und Improvisation.

The Fall-Off is J Cole's 7th studio album, presented as a 24-track 4LP Set & CD. The album debuted at #1 on the Billboard 200, his 7th chart topping release. Featuring appearances from Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems

"New six-song collection to feature “Who Told You That,” “Sunburn,” “Proving Me Right” and three unreleased tracks NASHVILLE, Tenn. – Award-winning country hitmaker Tucker Wetmore announces his six-
song Sunburn Mixtape.Tailor-made for the season's hottest stretch, the collection pairs three previously released fan favorites with three brand new tracks."

"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow.

Nach den vielgelobten Moonlight Concessions mit ihrer Band Throwing Muses kehrt Kristin Hersh im Jahr 2026 mit einem düstereren, zugleich jedoch zart ausgearbeiteten Soloalbum zurück. Sugar On Blackstone erkundet die Themen Leben und Tod, Reichtum und Armut sowie jene kleinen, aber prägenden Momente der Kindheit, die bis ins Erwachsenenalter nachhallen. Als zutiefst persönliches und emotional weitreichendes Werk reflektiert das Album über die beständigen Bande zwischen Musikern, Familie und Freunden - und darüber, wie bestimmte Klänge, Orte und Erinnerungen einen Menschen plötzlich wieder lebhaft ins Bewusstsein rufen können. Aufgenommen Anfang dieses Jahres in den Stable Sound Studios in den Niederlanden, wird Hersh auf dem Album von ihren langjährigen musikalischen Weggefährten Rob Ahlers (50FOOTWAVE) am Schlagzeug und dem Cellisten Pete Harvey (Throwing Muses) begleitet. Das Ergebnis ist eine karge, und doch warme Liedersammlung, die ein Gleichgewicht zwischen Zerbrechlichkeit und Kraft, zwischen Intimität und Spannung hält. Entstanden im Nachgang einer persönlichen Tragödie und vor dem Hintergrund ständiger Reisen, von Waldbränden und rastloser Bewegung quer durch Amerika, durchzieht das gesamte Album eine Atmosphäre der Unruhe. Doch inmitten dieser Dunkelheit findet Hersh Momente der Zärtlichkeit und Verbundenheit. Als ergreifendes und vielschichtiges Werk, das gerade in seiner Verletzlichkeit Stärke ausstrahlt, erweist sich Sugar On Blackstone als ein weiteres unverzichtbares Kapitel im gefeierten und sich stetig weiterentwickelnden Gesamtwerk von Kristin Hersh. Für Fans von PJ Harvey, Emma Ruth Rundle, Beth Gibbons, Low, Yo La Tengo, Throwing Muses, Alternative (Rock), Dark Folk, Post-Americana, Independent, Grunge Singer/Songwriter

L.O.T.I.O.N. Multinational Corporation have been percolating in the NYC underground for the past 10+ years - gaining notoriety for their unique brand of industrial cyberpunk with intense live shows, fiercely political lyricism and striking visual aesthetics (masterminded by the band’s vocalist, noted visual artist Alexander Heir.) Blending noisy electronics and pumping beats with live instrumentation, the band draws inspiration from the militant minimal techno of Detroit, 90s Gabber, and the thrashing riffs of Hardcore Punk. The upcoming release "Machine Hallucinations" is their most fully realized to date. Exploring topical themes of artificial intelligence, the horrors of ICE raids and the corrupt modern military industrial complex, "Machine Hallucinations" is a violent and sobering critique of the current fractured state of The USA. Recorded and Produced by Ben Greenberg (Uniform) and featuring guest appearances from Iggor Cavalera (Sepultura, Cavalera Conspiracy), LA electro-punks La Pregunta? and vocalist Lulu (Fairytale, Twisted Thing) - as well as an expanded dual-guitar line-up, "Machine Hallucinations" broadens the sonic spectrum only hinted at on previous releases.

Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.
Across two landmark albums — Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997) — The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.
After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.
In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the band's sonic vocabulary while preserving the qualities that made them unique: curiosity, intelligence, vulnerability and an unwavering commitment to following their own instincts.
Now, more than three decades after their formation, The Van Pelt are set to return in 2026 with Remain Obscure, their fifth studio album. Continuing their tradition of defying expectations, the record pushes beyond the familiar boundaries of the band's sound while embracing the same spirit that has defined them from the beginning. A band whose influence has consistently exceeded its visibility, The Van Pelt remain one of independent music's most enduring and rewarding secrets.

When Pouya dropped The South Got Something To Say in the summer of 2019, it wasn’t just a title—it was a definitive statement of growth. Nodding to André 3000’s iconic 1995 Source Awards declaration, the Miami pioneer used his third studio album to prove that his raw, independent formula had mutated into something deeper, more mature, and entirely unmatched in the underground rap landscape. Now, for the first time since its digital release, this pivotal moment in Florida hip-hop history is finally available on wax, offering listeners something tangible they have been anticipating for years.

The South Got Something To Say captures Pouya at a lyrical and sonic turning point. While maintaining the blistering flows, heavy bass, and visceral Florida energy that initially put him on the map, the album opens the door to intense themes of mortality, legacy, and the heavy toll of independent success. It bridges the gap between the frantic energy of the SoundCloud era and a mastery of songwriting, offering fans a remarkably transparent look into the mind of an artist surviving the very chaos that birthed him. Standouts like "Cruisin' in the MIA" and "Florida Thang" showcase his signature rapid-fire delivery, perfectly balancing the record's darker, more introspective moments.

The sonic diversity of the project is anchored by a stellar lineup of collaborators who push Pouya into new creative territory. He enlists Three 6 Mafia royalty Juicy J alongside heavy-hitting underground peers like Ghostemane and City Morgue, while seamlessly pivoting into the melodic, hazy soundscapes of indie-pop artist Cuco and longtime producer Rocci on tracks like "Talk to Me Before I Die" and "Mood Swing Misery." This striking balance of aggressive phonk and melodic vulnerability solidifies the album as a cohesive, genre-bending journey rather than a mere collection of singles.

For years, vinyl collectors and die-hard fans have begged for this underground masterpiece to be immortalized on wax. This first-ever vinyl pressing delivers the booming low-ends and intricate, therapeutic bars exactly how they were meant to be experienced. From the opening nostalgic chords to the final fading beats, this release stands as an essential artifact of the modern underground rap movement, finally giving a landmark Southern album the premium physical presentation it deserves.