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'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Morpheus, the god of sleep is here to give you a quick chance of getting dream records that are nearly impossible to find.

Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.

One of the best boogie disco records from Nigeria repressed for the first time. Produced in 1981 by Jake Sollo and performed by himself flanked by the outstanding funky bass by Randy Taylor and the great vocal performances from the Galaxy girls. Recorded and produced in England but originally released only in Nigeria.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

With Lost Lost Lost, Pratt & Moody gather the defining moments of their journey and package it with fresh soul gold into one cohesive, slow- burning statement. What began as a series of cult 7” vinyl releases – often mistaken online for forgotten soul classics from another era – now finds its natural home in album form. Written and recorded with Timmion’s trusted house band Cold Diamond & Mink, the record captures the duo’s unmistakable chemistry: emotionally rich songwriting wrapped in warm, analog textures that blur past and present.
From the velvet sway of “Addictive Touch” to the cinematic tension of “You Bring Me Joy” and the beat ballad ache of “Hard Way To Live,” the album moves effortlessly between bedroom-soul intimacy and widescreen drama. “Hang Tight” opens with a blissful piano figure that nods to gospel-tinged 1970s soul before unfolding into a full-bodied groove, while “Hooked On Your Love” glows with golden-age group soul harmony sweetness. Across both sides, Pratt’s finely tuned vocals and Moody’s expressive guitar work anchor songs that feel timeless rather than nostalgic.

At its core, Lost Lost Lost is an album steeped in atmosphere – lush downtempo moments sit alongside sweet harmony-driven soul, cinematic builds dissolve into dark restrained grooves. Analog string synthesizers, vibraphone accents, tremolo guitar, and deep-pocket rhythms create emotional tension without excess. Pratt & Moody’s strength lies in their melodic instinct: songs that feel big without being pompous or losing their human quality. The result is a record that feels cohesive, immersive, and that real thing – reaffirming the duo as key architects of the contemporary lowrider soul revival.

With Lost Lost Lost, Pratt & Moody gather the defining moments of their journey and package it with fresh soul gold into one cohesive, slow- burning statement. What began as a series of cult 7” vinyl releases – often mistaken online for forgotten soul classics from another era – now finds its natural home in album form. Written and recorded with Timmion’s trusted house band Cold Diamond & Mink, the record captures the duo’s unmistakable chemistry: emotionally rich songwriting wrapped in warm, analog textures that blur past and present.
From the velvet sway of “Addictive Touch” to the cinematic tension of “You Bring Me Joy” and the beat ballad ache of “Hard Way To Live,” the album moves effortlessly between bedroom-soul intimacy and widescreen drama. “Hang Tight” opens with a blissful piano figure that nods to gospel-tinged 1970s soul before unfolding into a full-bodied groove, while “Hooked On Your Love” glows with golden-age group soul harmony sweetness. Across both sides, Pratt’s finely tuned vocals and Moody’s expressive guitar work anchor songs that feel timeless rather than nostalgic.

At its core, Lost Lost Lost is an album steeped in atmosphere – lush downtempo moments sit alongside sweet harmony-driven soul, cinematic builds dissolve into dark restrained grooves. Analog string synthesizers, vibraphone accents, tremolo guitar, and deep-pocket rhythms create emotional tension without excess. Pratt & Moody’s strength lies in their melodic instinct: songs that feel big without being pompous or losing their human quality. The result is a record that feels cohesive, immersive, and that real thing – reaffirming the duo as key architects of the contemporary lowrider soul revival.

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label. They have also announced a UK and Ireland tour supporting A Place to Bury Strangers, alongside a hometown headline show at Berlin's legendary SO36 in November 2026.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

Die Anstalt, 2023 in Berlin gegründet, bewegen sich zwischen Post-Punk, Minimal Synth und frühem EBM. Innerhalb kürzester Zeit hat sich das Trio mit einer kompromisslosen Mischung aus Synth-Punk, klassischem Post-Punk und der rauen Energie der industriellen Subkulturen der Achtziger einen Namen gemacht – und klingt dabei nie nostalgisch, sondern entschieden gegenwärtig. Kürzlich unterschrieb die Band weltweit bei City Slang, wo nun auch ihr zunächst in Eigenregie veröffentlichtes Debütalbum neu erscheint. Im Herbst 2026 begleiten sie A Place to Bury Strangers auf deren UK- und Irland-Tour, bevor sie im November mit einer Headline-Show im legendären SO36 nach Berlin zurückkehren.Die Anstalt klingen vor allem nach sich selbst – auch wenn jede*r etwas anderes hört. Die einen denken an Malaria!, andere an Boy Harsher, DAF, frühen EBM, Synth-Punk oder X-Mal Deutschland. Und dann ist da diese Surf-Gitarre, die eigentlich nicht funktionieren dürfte und doch alles zusammenhält. Die Anstalt sind theatralisch, konfrontativ und hypnotisch. Sie schreiben Parolen, die hängen bleiben. Ihre Wut ist berechtigt. Live gleichen sie einem kontrollierten Ausbruch.Ihre Songs finden Worte für die Erschöpfung einer Generation, für die dystopischen Exzesse der Gegenwart, für Kriegstreiber, die Manosphere und die Absurditäten unserer Zeit. Irgendwie klingen sie dabei unverkennbar nach Berlin. Das passiert nicht oft – vielleicht einmal pro Jahrzehnt, wenn wir Glück haben.Vor allem aber beweisen Die Anstalt, dass unter dem Lärm, jenseits von Algorithmen, Trends und dem endlosen Gerede der Musikindustrie noch immer etwas brennt: Wut, Haltung und Hoffnung zugleich. Im Kern sind Die Anstalt eine Punkband. Kein Posieren. Keine Kompromisse. Kein Bullshit. Sie bitten nicht um Erlaubnis. Sie reißen alles nieder.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

2026 Repress

Celebrating 50 years since the release of the iconic Cathedrals album, U.S. disco legend D.C. LaRue returns with never-before-released remixes of all four original classics—pressed on strictly limited vinyl.
Top contemporary disco producers The Reflex, Dr. Packer, and Mannix breathe new life into LaRue’s 1976 masterpiece:
The Reflex (Stevie Wonder, Cerrone) delivers dancefloor-driven edits using digitized analog multitracks.
Dr. Packer (First Choice, Loleatta Holloway) reinvents one of LaRue’s biggest hits with fresh, soulful energy.
Mannix, head of Dafia Records, adds deep, dubby textures to complete this dynamic remix package.
Each track is respectfully reimagined—maintaining the emotional depth of the originals while enhancing clarity, rhythm, and relevance with modern production.
Bonus: Includes two standout remixes from LaRue’s second LP The Tea Dance—"Overture" (The Reflex) and "O Ba Ba" (Mannix).
These remixes aren’t just nostalgic—they’re timeless. Essential for collectors, DJs, and anyone who lives for disco.
Grab your copy before it’s gone.

Experience the music of Hans Zimmer like never before with this limited collector’s edition 2× color laser-etched vinyl. Featuring highlights from the acclaimed “The World of Hans Zimmer” albums, this premium release combines Hans Zimmer’s iconic music with cutting-edge vinyl design—an essential for collectors and fans alike. The set includes 10 electrifying tracks across the A-sides of two vinyl records, housed in a high-quality gatefold sleeve. The B-sides feature stunning laser-etched artwork instead of audio: a detailed clockwork design on one disc and a cosmic landscape on the other. These unique engravings reflect light across the full spectrum of colors, creating a stunning rainbow-like effect that changes with every movement of the vinyl.

This exclusive edition presents concert suites for orchestra, choir, and the legendary soloists of Hans Zimmer’s band, specially arranged by Hans Zimmer. Each suite reimagines the original film scores in a powerful new symphonic form. The album features excerpts from concert suites based on: Man of Steel, Wonder Woman, The Dark Knight, The Rock, Pirates of the Caribbean, No Time To Die, The Lion King, Gladiator, Interstellar, and Inception.

Performed by world-class musicians, including long-time collaborators such as Lebo M, Lisa Gerrard, and Pedro Eustache, alongside the Odessa Orchestra & Friends (conducted by Gavin Greenaway), the Vienna Radio Symphony Orchestra (conducted by Martin Gellner), and the Nairobi Chamber Chorus. A visually stunning and sonically powerful collector’s vinyl release—perfect for fans of film music, audiophiles, and Hans Zimmer enthusiasts.

Riding high off their Movement Detroit b2b set at the Pyramid stage, Rocksteady Disco right-hand man Eddie Logix and head-honcho Peter Croce finally share a split 12" of some of their choicest edits. Eddie takes the A-side, starting the release with the blistering and tropical "Fire Dance". "Good Time" is up next, a midtempo groover full of talking drum and juju guitar dubness. Mr. PC takes the flip, with the disco-meets-folk-meets-almost-gospel "Brothers & Sisters", which he originally made for his first Movement Detroit set. The slomo sleazy groove of "I Wouldn't Want To Be Like You" rounds out the release. Instant cop!

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

To call this album important would be an understatement - Space Time Continuum is the culmination of everything ASC has been building with the Spatial family of record labels, comprising the very best of what atmospheric music can be, and showcasing what is to come. Label stalwarts and debutants combine to bring you the ultimate compilation of this music. ASC is proud to present to you Spatial’s magnum opus: Space Time Continuum - Chris Hayes" Featuring new original music from: ASC, Aural Imbalance, Chronicle, Eusebeia, Ghosts of MIDI, JLM Productions, KMC, Law, Probe-One, Reviver, Senses, and tdel. ● Deluxe Foldout Box Set with Full Artwork Print Inside and Out ● Marbled Vinyl 3x12" ● Each 12" has it’s own individual Full Artwork Sleeve

John Prine's Found Dogs is a newly curated archival release celebrating the 30th anniversary of Lost Dogs & Mixed Blessings. Drawn from the original recording sessions and demos from the era, Found Dogs collects alternate versions, acoustic performances, and five previously unreleased tracks, offering a rare look into Prine's songwriting and studio process during a pivotal period of his career.Highlights include alternate takes of "Ain't Hurtin' Nobody" and "Quit Hollerin' At Me," a solo acoustic version of "Humidity Built the Snowman," demos such as "Lake Marie," and unreleased recordings including "Hey Ah Nothin'," "World Without Love," and "Dogs in Burlington." All tracks have been newly remastered for vinyl.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.

Straight from the island of X-Coast, Riviera Records is back -
this time introducing Villa, an emerging duo from Frankfurt.
A side features their fast tribal infused techno killa beats
with ltered disco vocals. To spice things up even more, its
the Get On Up remixes by electro powerhouse DJ Mell G and
XL Traxx (Lag & X-Coast) on the ipside. This music is
meant to be played off of a record!

A new pandemic is making its way to you—from New York to Berlin. A bond destined to last for centuries, this release carries that same timeless energy.

Deep bass, hypnotic rhythms, and subtle percussion come together, pulling you deeper and deeper into the progression. A journey built on tension, movement, and atmosphere.

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

Individually, Justo the MC & maticulous have impressive resumes in the underground hip hop circuit. Justo, who came up under the Gang Starr Foundation, has worked with Lord Finesse, Rockwilder, Marco Polo and DJ Skizz, releasing numerous projects, most recently “Black Ops,” produced entirely by Showbiz of DITC.

maticulous, who came up under Fat Beats NY, has delivered several producer albums and instrumental projects having produced for the likes of MF Doom, Masta Ace, Your Old Droog, Fame Of MOP, Blu, RA the Rugged Man and many more.

After a chance meeting at SiriusXM studios, the duo started to craft what would become “Mind Of A Man.” This album showcases the feeling of Brooklyn hip hop that stands firm on tradition, giving you true school flavor you’ve been missing. Featuring guest appearances by Kev Brown, Rasheed Chappell, DJ Eclipse and Davenport Grimes.
Limited edition of 300 hand-numbered copies, with the first 100 pressed on black / grey A-side B-side vinyl, the remaining 200 pressed on black vinyl.

It’s safe to say that Rochester, NY rapper of Italian descent Pounds’ work ethic is unmatched: he’s constantly on the grind, loud in the lab but quiet on the outside, he wastes no time unlike many other big mouthed rappers these days and then, all of a sudden, he drops a bomb on you. To kick off 2018 in the best of ways, he released a 4-tracks collaboration EP with West Coast producer , 1/2 of Gangrene, Oh No entitled “Borgata”. The record opens up with “Last Supper” and with a clear statement of intent: “Run for your life, my cousin brought a drum and a knife, break my hand on your face I need a bucket of ice” just so you understand where this project is headed since the first song. His style is always direct, without any frills, with his trademark voice spitting gritty crime-themed bars that revolve around drug and the street life that raised him. A “borgata” in Italy is a “hood”, and Pounds, being the definition of an artist that talks the talk and walks the walk, couldn’t pick a better title for this project.

Limited edition vinyl release of 500 hand-numbered copies with etched B-side, black vinyl.

Between the late 1960s and the mid-1980s, musicians across the Dutch Caribbean islands of Aruba, Curaçao, and Sint Maarten created music that crossed stylistic boundaries, forming a close-knit network shaped by common histories and identities, while rarely receiving wider recognition.

From the psychedelic funk of local stars Sugar Ice Tea and Cryptus Confession to the Latin influences of visiting musicians like Puerto Rican star Mon Rivera via Surinamese-influenced soul and the garage rock of Los Honda, the islands nourished a huge array of styles and talent.

Antiyano Progresivo unfolds against the backdrop of a rapidly transforming Caribbean. During the twentieth century, oil industries, migration and tourism reshaped the islands, creating unparalleled cultural exchange while deepening social divisions. African, Latin American, North American and European musical traditions intertwined with local forms, producing a rich and distinctive musical landscape. Tambú, tumba, calypso and Caribbean dance music coexisted alongside soul, funk, psychedelic rock, reggae, Latin music and American and British pop. Musicians moved fluidly between these styles, developing sounds that were unmistakably local while remaining connected to wider currents across the Caribbean and beyond.

The period also coincided with growing movements for cultural and political self-determination. Events such as Curaçao's Trinta di Mei uprising in 1969, the emergence of Black Power movements and increasing calls for greater autonomy fostered renewed pride in African heritage, local languages and cultural expression. These ideas resonated through music, inspiring artists to challenge conventions and create work that reflected changing identities.

BerettaMusic's compilation series is mouthwatering just from reading the names of the artists involved. First up is Detroit mainstay Dez Andres, who opens with 'Ready Disco,' a warm and typically hip-hop-inflected tone that Curiel's 'Keep You That Way' and Evan Rhodes' 'We Go Low' both build on comfortably, with the latter a particularly contagious minimal house shuffler with a bassline that really pops. DJ Cent's 'Malfunction' gets more heavy and threatening with steely drums marching into darkness, before Ryan Sadorus closes with 'Cultivate,' a storming disco-house workout. It's less a scattered various-artists grab bag and more a real document of Detroit's current house scene. Unsurprisingly, then, it is superb.

On Finding Home he's joined by three musicians with a similarly eclectically unfettered approach to music making, that embraces high-level complexity while maintaining a direct connection to the listener. Kaidi Akinnibi on tenor sax brings his distinctive, light-as-air tone and compatible range of experience across musical genres, while the rhythm team of Joe McLaren on bass and drummer Blake Cascoe provide a revelation in shifting texture and intensity, always driving the music to greater heights. Trumpeter Christos Stylianides brings his uniquely individual voice as a guest to enrich the ensemble. Finding Home is a powerfully characterful statement from a standout artist who's crafted his own voice, surrounded by a like-minded family of players. Each of the eight tunes has its own distinct personality, yet they all hang together as a continuous piece, establishing their own musical identity through Finn's tumbling, lyrical piano, Kaidi's nimble, breathy saxophone, and the endlessly flexible interactive grooves from bass and drums.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Jude Brothers sails toward a new shore with Dogwood Maiden Voyage. Created in living rooms, recording studios, and train tunnels between Tennessee and Arkansas, it's an adventurous album that's every bit as eclectic as its world-traveling creator. Here, Jude's vision of freethinking folk music — a multicultural sound that truly knows no borders, inspired by a vast array of global folk, sacred music, and pop songs— is given a lush update with string arrangements and vocal harmonies, shining new light on an artist who's always evolving.

Jude's songs are rarely linear. Instead, they explode outward in unexpected directions, exploring left-hand turns and detours before returning to their original paths. Caught halfway between the free-form, the freak-folk, and the finely-crafted, they tell stories about the complicated paths we take toward self-discovery, the push-and-pull between the desire to belong and the perpetual feeling of otherness, and the growth that emerges during times of barrenness. "You can sit with an old southerner on the porch and they’ll be telling you a story, and there are 17 different tangents," Jude says. "That's how I make music. I take all different plot lines and weave them together."

Throughout Dogwood Maiden Voyage, Jude indulges in childlike fantasy as an adult, encouraging fractured pieces of identity to communicate with one another. Much of that fantasy takes place in the woods, surrounded by trees, protected by the natural world that Jude's music so wistfully evokes. There's grief and darkness here, but there's light, too, like a forested landscape that's beginning to embrace spring after a long winter. Dogwood Maiden Voyage makes room for both sides of that divide. It's an album of multitudes — a record for all seasons.

2026 Repress

Get your Vibez

"Guitarize the World" lässt die außergewöhnliche Erfolgsgeschichte des genreübergreifenden Gitarrenduos Café del Mundo erstmals auf einem Album erklingen und versammelt einen Querschnitt der mitreißenden Arrangements aus Klassik, Filmmusik und Pop, mit denen Jan Pascal und Alexander Kilian ihr Publikum weltweit bei ihren spektakulären Live-Auftritten begeistern. Aufgenommen in legendären Studios wie Abbey Road und in Zusammenarbeit mit renommierten Ensembles wie dem Royal Philharmonic Orchestra oder dem Deutschen Filmorchester Babelsberg, präsentiert "Guitarize the World" den unverwechselbaren Sound des Duos in mehr als 20 Tracks. Von reduzierten Gitarren-Miniaturen bis hin zu opulenten Orchesterarrangements umfasst das Album eigene Kompositionen wie "Dance of Joy", "Space Gitanos" und "Smile", Adaptionen klassischer Titel wie "Clair de Lune" und "Air on a G-String", Arrangements von Filmmusiktiteln aus "Interstellar", "Cinema Paradiso" oder "Forrest Gump" sowie bombastische Cover von Pop-Hymnen wie "Viva la Vida", "With or Without You" und "Smooth Criminal". Darüber hinaus enthält das Album exklusiv ein Arrangement von Beethovens Klavierkonzert Nr. 5 für zwei Gitarren. Die 180-g-Color-Vinyl-Edition beinhaltet 23 Titel auf 2 Schallplatten in Grün und Pink im hochwertigen Gatefold. Exklusiv in diesem Format enthalten sind die Aufnahmen von "Blessing", "Easy" und "Smooth Criminal". Die limitierte 2-CD-Edition enthält die 20 Titel des Albums sowie als Bonus-CD "80s Unplugged" mit 13 Gitarrenarrangements legendärer Klassiker der 1980er-Jahre, darunter "Everybody Wants to Rule the World", "Time After Time" und "I Still Haven't Found What I'm Looking For".

EM Records is proud to release Three Movements from “Some Kind of Seasoning” by the eminent Warren Burt: composer (and performer, writer, instrument builder, educator) of genius. Burt was born in 1949 in the USA, and moved to Australia in 1975. Throughout his long and inspired career, his expansive aesthetic has eagerly embraced microtonality, improvisation and technology, fusing these elements in often humorous and/or irreverent compositions based on live interaction with intelligent or semi-intelligent machine processes. He sets up machine-generated musical environments and then “wanders through” their rules and behaviors, exploring the resulting possibilities in a manner which never results in tech-driven alienation or alienating randomness; Burt’s keen and personable musical intelligence is always evident. This release features music from the final sections of a near-six-hour epic cycle of interactive computer and synthesizer pieces from 1990-91, investigating the magical intermediate space between the human and the mechanical. Dedicated to Kenneth Gaburo, the music draws on wide-ranging inspirations including Sun Ra and Elliott Carter, Quincy Jones’ “Setembro” and Charles Ives, Portsmouth Sinfonia and ancient Greek modes. With good-natured humor, an openness to the excellence of “mistakes” and a wide range of timbres, the music includes progressions of "traditionally musical" pitches, delicate textures of sustained electronic tones, raucous and noisy combinations of sound. Available on 12” LP, CD and DL, with liner notes by the composer.



c 03: A Post-Modern Object-Oriented Chaotic Cellular Microtonal Teledildonic Virtual Simulacra! (Buzzwords (that might have gotten you tenure) for sampled orchestra) [1991] for computer-controlled synthesizer



[c] 03: A Post-Modern Object-Oriented Chaotic Cellular Microtonal Teledildonic Virtual Simulacra! (Buzzwords (that might have gotten you tenure) for sampled orchestra) [1991] for computer-controlled synthesizer