quête:you

The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

The new darlings of the American post-rock underground present a collection of well-wrought bangers on their debut full-length album. Powerfully melodic and heavy at the same time, Wield shows the Philadelphia-based quintet mastering their game of creating compelling melodies that sound larger than life. 2022 saw HIROE burst onto the scene with an explosive debut minialbum "Wrought" full of soaring anthems and sublime soundscapes. Combining the sonic expansiveness of Deftones with the dynamic heaviness of bands like ISIS and Caspian, HIROE already figured out how to make the most majestic sounding post-rock early in their career. "Our first, Wrought was a statement of creation," explains principal songwriter EricKusanagi about the intent behind their debut. "This second record is about what to do with that creation. The thought was, we've created this, now how do we wield it?" "We wanted to show a larger range of musical themes on this record," continues Eric. "You'll hear us dive into some synth work, some piano work, some really interesting effects that Mario helped us dial up." Wield packs a lot of details, which are fun to uncover over repeated plays. «Collider» is almost completely driven by high precision tapping leads, which are ingeniously mirrored by the chords on the final climax. «The Crush» sees the band's three guitarists chugging away happily over a clever 7/8 rhythm subtly exchanging thrashy, sludgy and prog-inspired stylings. Nevertheless, Wield is still an affair of instant gratification for fans of guitar driven post-rock. From the soaring leads of «Tides» to the epic finale of «I've Been Waiting For You All My Life», HIROE show they've upped their game in every department, but especially the one that tugs at your heartstrings. Wield presents the brave new future we all need in these confusing times. A new American frontier on which we can build our wildest dreams and our most daring ambitions! FOR FANS OF Caspian, Isis, pg.lost, Red Sparowes, If These Trees Could Talk, Shy Low, Ranges, Pray For Sound

Recorded in 1990 for the noted New York audiophile label Chesky Records, My Blue Heaven was John Pizzarelli's frst signifcant album release, heralding the arrival of a major talent and future Grammy- winning star

Supported by a dream team line- up of veteran jazz stars - including Pizzarelli's guitarplaying father, Bucky, together with trumpeter Clark Terry , bass supremo Milt Hinton, and drummer extraordinaire Connie Kay - the New Jersey- born singer and virtuoso of the seven- string guitar serves up a swinging cache of evergreen jazz standards. With the album's highlights ranging from spirited revamps of the Nat King Cole Trio's 'Candy,' and Dave Frishberg's 'Can't Take You Nowhere,' the impeccably recorded My Blue Heaven represented a signifcant step in Pizzarelli's early musical journey, helping to introduce him to a wider audience. The album is reissued on 180g One Step Pressing Vinyl LP.

"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.

The Dells waren eine Soul/Doo-Wop-Band mit Male-Vocals, deren Sound von Falsettsänger Johnny Carter und dem Bariton Marvin Junior geprägt wurde. Sie gründeten sich 1952 und veröffentlichten von Mitte der 1960er bis Mitte der 1970er auf Cadet in Chicago. Das 1966 erschienene "Run For Cover" wurde schnell von der Northern-Soul-Szene adaptiert. Es ist bis heute ein gefragter Klassiker, der selbst auf dem Second-Hand-Markt kaum zu bekommen ist und dann über 100 Pfund kostet. Auch der Upbeat-Dancer "Wear It On Our Face" (1968) mit seinem dynamischen Arrangement von Charles Stepney und den klassischen Vocals von The Dells ist bei Northern-Soul-Fans bis heute beliebt.

When the trio of Sontag Shogun gathered at Laura Naukkarinen's home on the Finnish island of Kimitoön in the summer of 2019, they had not the slightest inkling that the world was about to change irretrievably with the onset of a long-predicted pandemic the following year. By the time their collaborative album, Valo Siroutuu ("The Light Scatters"), was released nearly two years later, the intimate and reflective nature of the work they had created together had taken on new meaning, resonating powerfully (and quietly) with a world in which the proverbial cracks in the wall only seem to be widening. 



Päiväkahvit completes the story that began with Valo Siroutuu, featuring 9 songs from the original sessions as well as 4 interpretive reworks courtesy of Amulets, Fadi Tabbal, Post-Dukes, and Jeremy Young. Available digitally and in a one-time vinyl pressing of 300 copies, the album flows seamlessly from beginning to end, incorporating field recordings, tape, sublime vocal melodies, and a host of acoustic and electronic instruments. Richly textured and immersive, Päiväkahvit positively crackles with warmth and a sense of creative embrace.



"We invite the listener into the sauna, out to the garden and onto the trampoline, to sit by the water’s edge and to take a coffee in the waning afternoon light, and to stay as long as they like." – Jesse Perlstein

Lau Nau, aka Laura Naukkarinen, is a Finnish composer whose music is imbued with an idiosyncratic, finely honed sound world. Her palette consists of acoustic instruments, singing voice, modular synthesisers, reel-to-reel tape recorders and field recordings. To date Lau Nau has released ten albums on record labels in Europe, the USA and Japan and a large number of collaborative releases. Lau Nau is known for her music to films and multi channel sound installations. She was awarded the Finnish State Prize for the Performing Arts 2021 as a sound designer. She has toured abroad for over 20 years, playing in venues such as Super Deluxe in Tokyo, the Lab & Castro Theatre in San Francisco and Blank Forms & Issue Project Room in New York.

Sontag Shogun is a collaborative trio that makes use of analog sound treatments and nostalgic solo piano compositions in harmony to depict abstract places in our memory. Textures built from organic materials such as sand, slate, boiling water, brush and dried leaves, both produced live in performance and recorded to weathered 1/4" tape warm up the space between lush piano themes. All of which is abstracted coolly in the reflective digital space of treated vocals and a live-processed feed from the piano. Bringing us back, like a faded passing scent or any natural emotive trigger, but to where? The wordless journey there will inevitably be more revealing than the destination itself.


A journey back in time to the Halcyon days of 1991/92. K69 & Dream Frequency build 4 dancefloor bombs from scratch with the sounds we know and love. Layered breakbeats, underground rave stabs, uplifting pianos, layered pads and strings leaving you with the hairs on the back of your neck standing on end. . Limited stock as only 300 pressed, get it in your basket, you know it makes sense. 12" Blue Marbled vinyl full colour picture sleeve with spine

The Badman presents N.D.X :
To celebrate the 34th anniversary of 2 of the most iconic rave tracks from 1991 we have pushed the boat out.
Old skool dream team K69 and Dream Frequency give both tracks a DJ friendly kick whilst keeping that rolling euphoria that both tracks eminate. Now with intros and outros you can drop them anytime in your sets.
This limited company is edition is a limited 250 press. Keeping with the original colour them of 1991 you have heavyweight yellow vinyl with the original mixes given the remaster treatment from Cleveland City 's very own Mr Jay

Far above the skylark sings And beats the air with joyful wings Till all the sky with music rings At high noon of the day With 2022's critically acclaimed album Ghosts, enigmatic Shropshire group HARESS markedout their own place in a growing landscape of artists navigating the world of the traditional and the rural in new ways. Ghosts led to the normally reclusive Haress venturing out from their base in the Shropshire Hills for live performances with the likes of Godspeed You! Black Emperor, Shovel Dance Collective, Big Brave, Steve Von Till and appearances at Supersonic and Krankenhaus Festivals - not to mention making fans of everyone from Kevin Martin to James Holden in the process. Skylarks is perhaps the natural conclusion of these past few years for the group. Whereas previous Haress recordings have embraced something of the unknown in the process of their making, Skylarks sees a well-travelled group of musicians carefully craft long and expressive pieces of music in a powerful and instinctual way. The music here might be long, but it never sprawls out of control. The telepathy present in live performance has been harnessed and used to carefully compose and arrange these four pieces, narrating a journey through landscape and time that is as powerful as it is beautiful. Inspired by found folk songs, the power of nature and the power of community and Ben Myers' brutal tale of resistance The Gallows Pole, Haress have created a genuinely epic soundtrack to a world both past and future, real and imagined. The ambience and atmosphere of the recording (expertly captured by Phil Booth of JT Soar Studio on location in the group's hometown of Bishop's Castle) is entirely natural, the sound of an ensemble playing live in the room around you. The only vocal interjection this time comes from a choir of voices, replicating the communal singing that has been the centrepiece of Haress live performances. When the voices emerge, it feels truly euphoric and heavy. Not heavy as in metal, but heavy as in the Earth itself - a primal, joyful gut punch to the system. "This blissed-out psychedelia is not quite pastoral – there’s nothing twee about these unwinding grooves – yet evokes water and wood, light and shadow, a place of forgotten labour and the absent human form with a beguiling grace" - Luke Turner on Ghosts, The Quietus Albums Of The Year 2022 "That timelessness of the old sounds but with an added tripped out modernity and dissonance hooked into the past by the power of drone is magical and exhilarating stuff – they are truly spellbinding – ancient and modern like British ragas or a damp searching for the soul of England take on the desert blues of a Tinariwen" - Jon Robb reviews Krankenhaus Festival 2023, Louder Than War

Formed on a rooftop in the East Village of New York City over a decade ago,
SKYFACTOR was born when the musical paths of longtime friends Bob
Ziegler and Jason Taylor (formerly of Michigan's Brother Rabbit) and brothers
Jon Rubin and Cliff Rubin (formerly of NYC's Sky Blues) finally crossed. Almost instantly the songs started flowing, and they knew they were on to something.
Their debut album Daydreams received much critical acclaim and notice, including that of MTV's hit show Teen Mom, who chose the track "OK" as their
season 2 finale theme, resulting in thousands of downloads and streams from around the world. The band then honed its musical chemistry and style for
Signal Strength, which further spotlighted personal, insightful lyrics backed by a big acoustic guitar and one very powerful rhythm section. The guys even
had a song from the album prominently (and humorously) featured on
Adult Swim's Eric Andre Show, resulting in even more buzz for the band.
Cut to 20 25 and just one listen to Master Plan proves these guys know how to craft memorable and powerful songs that grab you from the get-go-and
won't let go.

[l] Vocals [Additional] – Esme Patterson

[d] A4 Becky Doll; Recorded By [Vocals] – Wesley Graham (2); Vocals – Coco Hames

[a] A1 | Your Ghost; Vocals [Additional Vocal] – Michael Stipe

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

Recorded on October 17th, 1970, just months after his previous group Brian Auger, Julie Driscoll and The Trinity had split up, this the first ever live Oblivion Express recording, captured on tape a year before this influential group released their first album. The set list includes early versions of their debut album’s tracks and amazing covers, including Herbie Hancock’s ‘Maiden Voyage,' Gabriel Fauré’s ‘Pavane,’ and Brian’s take on Sly and The Family Stone’s ‘I Wanna Take You Higher,’. The 12-page booklet features the band’s history from its formation, with Brian Auger recalling how festival organiser Claude Nobs gave the group this early opportunity.

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

The classic debut album, originally released in 1968. Features Rod Stewart on vocals and Ronnie Wood on guitar.

p C6 Best Batch Yet (Track) [Version 1]
















[p] C6 Best Batch Yet (Track) [Version 1]

From the moment she began writing her new album, Japanese
Breakfast’s Michelle Zauner knew that she wanted to call it
‘Jubilee’. After all, a jubilee is a celebration of the passage of time
- a festival to usher in the hope of a new era in brilliant technicolor.
Zauner’s first two albums garnered acclaim for the way they
grappled with anguish; ‘Psychopomp’ was written as her mother
underwent cancer treatment, while ‘Soft Sounds From Another
Planet’ took the grief she held from her mother’s death and used it
as a conduit to explore the cosmos.
Now, at the start of a new decade, Japanese Breakfast is ready to
fight for happiness, an all-too-scarce resource in our seemingly
crumbling world.
‘Jubilee’ finds Michelle Zauner embracing ambition and, with it, her
boldest ideas and songs yet. Inspired by records like Bjork’s
‘Homogenic’, Zauner delivers bigness throughout - big ideas, big
textures, colours, sounds and feelings. At a time when virtually
everything feels extreme, ‘Jubilee’ sets its sights on maximal joy,
imagination and exhilaration. It is, in Michelle Zauner’s words, “a
record about fighting to feel. I wanted to re-experience the pure,
unadulterated joy of creation… The songs are about recalling the
optimism of youth and applying it to adulthood. They’re about
making difficult choices, fighting ignominious impulses and
honoring commitments, confronting the constant struggle we have
with ourselves to be better people.”
Throughout ‘Jubilee’, Zauner pours her own life into the universe
of each song to tell real stories and allowing those universes, in
turn, to fill in the details. Joy, change, evolution - these things take
real time and real effort. And Japanese Breakfast is here for it.
Available on clear with yellow swirl coloured vinyl.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.

Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.

The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

Benét betrachtet sein neues Indie-Rock-Album „Make `Em Laugh“ als eine Art Clue-Spiel. Er versucht herauszufinden, wann und wie genau eine Beziehung gescheitert ist. „Make`Em Laugh“ ist ein Dokument der Entdeckung und Selbstverwirklichung, das eher Fragen als Antworten enthält und Benéts Fähigkeit, viele komplexe und widersprüchliche emotionale Zustände zu durchlaufen, prägt auch den Klang der Musik: Das Album ist dynamisch, lebendig und genreübergreifend. Seine warme Stimme glänzt in nachdenklichen Indie-Rock-Stücken wie „Pieces Of Me“ und „Demon“. In „Too Scared to Say“ setzt er Autotune ein, um ein Gefühl der Verwirrung zu vermitteln, ein Gefühl, das in dem experimentellen elektronischen Stück „Slimmer“ noch verstärkt wird. Benét und die Sängerin AnnonXL tauschen ihre Strophen aus, während sich die Produktion von kristallin und sanft zu aufregend laut und energiegeladen wandelt. Benét genoss auch die Zusammenarbeit mit den Künstlern, die auf dem Album vertreten sind. Er entdeckte die Musik von Margaux, als sie in dem Brooklyner Lokal Baby's All Right auftrat, in dem er arbeitet, und war begeistert, als er feststellte, dass die Fans in den YouTube-Kommentaren zu seinen Videos bereits eine Verbindung zu ihrer Arbeit hergestellt hatten. Faye Webster ist seine beste Freundin und jemand, von dem er glaubt, dass sie zu seiner Begabung passt, scharfsinnige Fragen über Beziehungen zu stellen. Und der wirbelnde, vibrierende Vers von AnnonXL auf „Slimmer“ war so gut, dass er Benét kreativ anspornte. „Make `Em Laugh“ mag damit begonnen haben, eine Trennung zu verarbeiten, aber als Gesamtwerk blickt es weit über die Besonderheiten einer einzelnen Beziehung hinaus. Es ist Musik, die sich über die großen Fragen des Lebens Gedanken macht, die uns alle verbinden, und die Trost in der Gemeinschaft findet. Wenn das Album ein Clue-Spiel ist, dann eines, das alle Einsichten und Geschichten der unzähligen Spieler im Raum ebenso einfängt, wie es sich auf das Ergebnis des Spiels selbst konzentriert.

Benét betrachtet sein neues Indie-Rock-Album „Make `Em Laugh“ als eine Art Clue-Spiel. Er versucht herauszufinden, wann und wie genau eine Beziehung gescheitert ist. „Make`Em Laugh“ ist ein Dokument der Entdeckung und Selbstverwirklichung, das eher Fragen als Antworten enthält und Benéts Fähigkeit, viele komplexe und widersprüchliche emotionale Zustände zu durchlaufen, prägt auch den Klang der Musik: Das Album ist dynamisch, lebendig und genreübergreifend. Seine warme Stimme glänzt in nachdenklichen Indie-Rock-Stücken wie „Pieces Of Me“ und „Demon“. In „Too Scared to Say“ setzt er Autotune ein, um ein Gefühl der Verwirrung zu vermitteln, ein Gefühl, das in dem experimentellen elektronischen Stück „Slimmer“ noch verstärkt wird. Benét und die Sängerin AnnonXL tauschen ihre Strophen aus, während sich die Produktion von kristallin und sanft zu aufregend laut und energiegeladen wandelt. Benét genoss auch die Zusammenarbeit mit den Künstlern, die auf dem Album vertreten sind. Er entdeckte die Musik von Margaux, als sie in dem Brooklyner Lokal Baby's All Right auftrat, in dem er arbeitet, und war begeistert, als er feststellte, dass die Fans in den YouTube-Kommentaren zu seinen Videos bereits eine Verbindung zu ihrer Arbeit hergestellt hatten. Faye Webster ist seine beste Freundin und jemand, von dem er glaubt, dass sie zu seiner Begabung passt, scharfsinnige Fragen über Beziehungen zu stellen. Und der wirbelnde, vibrierende Vers von AnnonXL auf „Slimmer“ war so gut, dass er Benét kreativ anspornte. „Make `Em Laugh“ mag damit begonnen haben, eine Trennung zu verarbeiten, aber als Gesamtwerk blickt es weit über die Besonderheiten einer einzelnen Beziehung hinaus. Es ist Musik, die sich über die großen Fragen des Lebens Gedanken macht, die uns alle verbinden, und die Trost in der Gemeinschaft findet. Wenn das Album ein Clue-Spiel ist, dann eines, das alle Einsichten und Geschichten der unzähligen Spieler im Raum ebenso einfängt, wie es sich auf das Ergebnis des Spiels selbst konzentriert.

The Wandering Hearts are a British Americana-Folk band known for their enchanting harmonies and heartfelt songwriting influenced by the likes of Simon & Garfunkel, Fleetwood Mac, Crosby, Stills, Nash & Young and have a similar sound to The Lumineers and First Aid Kit. Their new album, Déjà Vu (We've All Been Here Before), is a beautiful re-work of Crosby, Stills, Nash and Young's 1970 hit album of the same name. Recorded in one week in Joshua Tree, Taurus Rising Studios. This isn't an album out to besmirch the original, but to become a loving companion without being an overly reverential copy. With a band as distinctive and exciting as The Wandering Hearts, a note-for-note facsimile was never an option. One listen to how The Wandering Hearts have taken Déjà Vu's ten songs to new places and reimagined it over 50 years later, and it's clear this is a very bold, very new work by one of Britain's most accomplished Americana artists.

High Roller Records, 180g schwarzes Vinyl, limitiert auf 500 Stück, Textblatt, 4-seitige Beilage, Poster, A5 Fotokarte, 425gsm schweres Kartoncover, gemastert für Vinyl von Patrick W. Engel bei Temple of Disharmony im März 2021. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative Wiederveröffentlichung dieses ewigen Thrash Metal Klassikers!

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

"Happy Girl" aus dem Jahr ȒȚȗȖ ist eines der frühesten Alben im MPS Katalog und ein echtes Sammlerɏinnenstückɍ Es zeigt eindrucksvollɎ warum Nathan Davis zu den großen Jazzmusikern seiner Zeit zählt – auch wenn er nie breite Anerkennung fandɎ da er sich auf seine Lehrtätigkeit an der University of Pittsburgh konzentrierteɎ wo er ein bedeutendes Jazzstudienprogramm gründeteɍ Während seiner Zeit in Europa in Villingen aufgenommenɎ wird Davis von einer TopɞBesetɞ zung begleitetɏ Woody Shaw (Trompete)Ɏ Larry Young (Klavier)Ɏ Jimmy Woode (Bass) und Billy Brooks (Schlagzeug)ɍ Davis glänzt an Tenorɞ und Sopransaxophon sowie Flöteɍ Zu hören sind fünf DavisɞKomposiɞ tionenɎ Shaws "Theme From Zoltan" und ein Standard – bei den ersten beiden Stücken spielt Shaw nicht mitɍ Remastert vom Grammyɞnominiertem Toningenieur Christoph StickelɎ erscheint das Album nun uɍaɍ in hochwertigem AAAɞMPSɞVinyl – eine intensive Klangreise durch Davis’ vielseitiges Spielɍ

Die vierköpfige Instrumentalband Yuuf signed bei Ninja Tune-Sublabel, Technicolour, und veröffentlicht ihre neue EP, „Alma's Cove“ am 20. Juni 2025!

„Alma's Cove“ umfasst fünf Tracks und ist eine meditative Klanglandschaft, die die Hörer:innen auf eine klangliche Reise durch die Natur mitnimmt, abseits des Alltagsstresses. „‚Alma's Cove‘ ist ein verträumter, tropischer Raum ohne Stress, in dem man sich zufrieden und präsent fühlen kann. Ein geschütztes Paradies, das man in aller Ruhe genießen kann.“, so die Band. „Als wir die EP schrieben, war das Hauptziel, einen Ort zu schaffen, der das komplette Gegenteil unseres Londoner Lebens ist und z.T. aus Stress, Angst und Überforderung besteht. Sich wieder mit der Natur verbinden und die Gegenwart genießen. Ein Traumland.“
Zusammen mit der Ankündigung veröffentlichen Yuuf den Titeltrack der EP, „Alma’s Cove“, der heute auf Technicolour erschienen ist. Reich an organischen Texturen, schimmernden Details und psychedelischen Rhythmen, lädt die Single Zuhörer:innen in die heitere Welt von „Alma's Cove“ ein. „Die Hörer:innen spazieren umher und nehmen die Natur, die Geräusche und die Aussicht in sich auf und schwelgen in ihrer natürlichen Schönheit.“. Zur Single gibt es auch ein offizielles Musikvideo, das eine komplette Live-Session zeigt, die während der jüngsten Reise der Band nach Kreta gefilmt wurde. Die Vermischung internationaler Klänge und globaler Einflüsse steht im Mittelpunkt des Ethos von Yuuf. Selbst die Mitglieder der Band kommen aus verschiedenen europäischen Ländern - aus der Schweiz, Dänemark, Frankreich und England. „Wir vermischen auf natürliche Weise unsere verschiedenen musikalischen Vorlieben aus der ganzen Welt, um den Sound unserer Musik zu formen.“, erklärt die Band. „Alma's Cove“ ist ein Paradebeispiel dafür, inspiriert von klassischer spanischer Gitarre, Americana-Soundscapes und der Musik der Filme von Studio Ghibli. Yuuf starten im Mai eine Europa-Tournee mit mehreren Stopps bei verschiedenen Sommerfestivals, darunter Wilde Weide Festival, Green Man, Chez Hubert und Psych Festival. Die Band hat im Sommer 2024 ihre Debüt-EP, „In The Sun“, veröffentlicht, die bereits über 1,5 Millionen Streams allein auf Spotify erreicht hat und von BBC 6Music, KEXP, KRCW und der Instagram-Plattform, Somewhere Soul (919K Follower:innen), unterstützt wurde. Das gleichzeitig mit der EP veröffentlichte virale Live-Session-Video von „The Sun“ hat mittlerweile beeindruckende 1,8 Millionen Views, 84.000 Likes und 4.000 Kommentare auf Youtube.

Jess Kerber aus Nashville nahm im Alter von 12 Jahren erstmals eine Gitarre in die Hand, um mit ihren frühreifen Stimmungen und Zupfstilen zu experimentieren - beeinflusst von Gleichgesinnten wie Joni Mitchell und Susan Tedeschi. Dies führte zur Entwicklung einer einzigartigen Klangpalette und zu einem authentischen, persönlichen Zugang zum Songwriting. Inspiriert wurde sie gleichermaßen von ihrer Erziehung in Louisiana und dem Studium am Bostoner Berklee College of Music. Ihr Debütalbum "From Way Down Here" zeigt die Dynamik und Tiefe ihrer großartigen Stimme und ihrer nachdenklichen, humanistischen Texte, sowie die raffinierte Komplexität ihres Gitarrenspiels. Während der Entwicklung vieler dieser Kompositionen, bei frühen Live Auftritten in und um Boston und Cambridge, lernte Kerber den Songwriter Will Orchard kennen, der schnell zu einem Partner und Kollaborateur in der Entstehungsphase ihrer Aufnahmen wurde. Orchards Fähigkeiten als Produzent und Multiinstrumentalist heben Kerbers Arrangements auf eine neue Ebene, mit einer entwaffnenden Reinheit und Emotion in einer Dynamik, die derjenigen von Gillian Welch und David Rawlings angelehnt ist. Mit den Traditionen der Americana erschaffen Kerber und Orchard zusammen mit Mischtechniker Charlie Dahlke von The Brazen Youth ihr eigenes Subgenre, das gleichzeitig intim und und universell, tröstlich und rau ist. Über das gesamte Album hinweg erhält Kerbers reicher, samtener Tenor eine tiefe Zärtlichkeit und Wärme, während unterschiedliche Elemente wie Pedal Steel, Wurlitzer, Schlagzeug und Ambient-Gitarre für den schimmernden Background sorgen. Der Einfluss ihrer Erziehung - und und das, was sie liebevoll als ,Abgehobenheit vom Rest der Welt Gefühl" des tiefen Südens nennt - zeigt sich in den ehrlichen, geradlinigen und zeitlosen Qualität ihrer Kompositionen. "From Way Down Here" ist das seltene Debüt, das alle Merkmale einer erfahrenen Songwriterin aufweist. Sie konstruiert eine fesselnde Welt von rauer Schönheit und Wahrheit, deren Bann lange nach dem Verklingen der letzten Töne anhält.

Terry Callier war ein angesehener Singer/Songwriter/Gitarrist und Soulsänger aus Chicago, der mit Curtis Mayfield, Major Lance, Jerry Butler und den Doo-Wop-Bands der frühen 1960er aufwuchs. "Look At Me Now" war ursprünglich die B-Seite seiner 1968er Debütsingle auf Chess Records, "You Goin' Miss Your Candy Man". Doch gerade diese Northern Soul-Hymne wurde zu einem wesentlichen Teil seines Vermächtnisses und seines bis heute anhaltenden Platzes in der Northern-Soul-Szene. Damals wurde auch der "Alternative Take" aufgenommen, der erst jetzt exklusiv auf dieser Outta-Sight-Reissue erhältlich ist. Originalexemplare von 1968 werden derzeit für bis zu 650 Pfund gehandelt.

Stirring, snaking riffs, set closer to Josh Homme’s sun-bleached Joshua Tree compound, than the English Channel-lashed grin-and-bear-it character of Cleethorpes, sound the return of Lincolnshire teen-trio, Revivalry as they get set for 2025. Rushing and rattling into 2025, targeting fresh terrain as last year’s land grab of main stage festival and support slots becomes yesterday’s news, most recent single "Lost"'s three-and-a-half minutes of abandon pushes at the door of another sunny season of big shows and wild memories. School was out in 2024 as the teenagers took off from their hometown to first tackle the festival fields of Kendal Calling last summer, becoming the youngest ever band to play the Main Stage, having been hand-picked by bookers who spotted them mid-flow at one of their earliest shows. With trailblazing single, The Town, accompanying them on their way as thousands of new music-hungry gig goers caught the band on stages of increasing scale, their online listeners kept pace. Touring from sweaty venues to major outdoor support slots, their impressive run included a first, major Manchester headline, playing at Deaf Institute as the year met it’s festive close. Delving into record collections and distinct individual tastes, the three members of Revivalry refer with comfort to Rage Against The Machine and Bring Me The Horizon, as easily as fellow documentarians of youth, Arctic Monkeys or Supergrass, when discussing their beyond-years writing.

'This exclusive re-issue of “Brighter Side of Blue” is limited to only 300 copies on baby blue heavyweight vinyl, with an individually-numbered obi strip, and bespoke essay from Amy Campbell.

This was one of our albums of 2023 (Double J agreed, too making #16 in their Album Of The Year Countdown). Released in mid-January, it soundtracked our late Australian summer. It’s not a record that’s easily pigeon-holed. Is it alt-country, with a nod to Gillian Welch? Is it classic rock, mined from a similar vein that Chrissie Hynde has drawn from? Is it indie-folk, a lighter, brighter Jen Choler? You tell us.

‘Brighter Side of Blue’ was recorded in Bellambi in the Illawara throughout 2022. Featuring Cecil Coleman from Body Type on drums, and Russell Fitzgibbon (who also released Skeleten’s ‘Under Utopia’) on bass and co-production, it’s a beautiful shiny record that glistens like the sea in that part of Australia, a place where the waves meet ancient escarpment.

Impressed is proud to present Brenton Thwaites—renowned actor, writer, and now accomplished songwriter—with his debut Album Searching For The Man. The announcement follows his recent iconic role in the Paul Kelly-inspired film How to Make Gravy. While filming Titans in Toronto, Brenton dove into music, recording Searching For The Man with producer Justin Abedin. The album weaves together styles from blues and folk to singer-songwriter and country. Brenton’s songs offer an intimate glimpse into his journey to and from Hollywood, life on the road with his family, and the rollercoaster of highs and lows that define it.

Salt N Pepper Vinyl. New pressing of Mom Jeans. 2018 album, Puppy Love. The Berkeley, CA quartet is lauded for stream-of-consciousness lyrics and energetic performances that prompt audiences to shred their worries and simply bounce along. By trading the sappy for heartfelt and the melodramic for truthful, Mom Jeans have created a brand of emo that's self-aware but not self-indulgent. 2018's Puppy Love follows up 2016's Best Buds and oers up more of that sweet noise that fans of bands like Modern Baseball and The Front Bottoms, will love. Recorded by Ryan Ellery. Mastered by James Trevascus.

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

Fun Fun was an Italian Euro disco band produced by Dario Raimondi Cominesi and Alvaro Ugolini. The group was fronted by models, while the vocals were recorded by

original singers Antonella Pepe, Angela Parisi, and Ivana Spagna. Spagna left after the release of their first album in 1983.

Their breakthrough came with the hit “Happy Station (Scratch Remix),” by Ben Liebrand which climbed the charts in several European countries, including the Netherlands, Germany, and Belgium.

The track became a staple in the hottest discos of the era. The Greatest Fun compilation album brings together their biggest hits, including “Happy Station (Scratch Remix),”

“Give Me Your Love,” “Baila Bolero,” and “Living in Japan.” Additionally, the album features the Fun Fun “Mega Hit Mix,” a special mix by

Dutch producer and DJ Martin Boer of 2 Brothers on the 4th Floor fame, along with many more Euro disco tracks.

Re-Release auf transparent gelbem Vinyl

Amazing Space is a new indie all-star band from the west coast music capital of Norway. With a solid foundation rooted in Americana songwriting, the band also draws inspiration from shoegaze, synthwave and krautrock to make music that feels remarkably fresh, energetic and uplifting. Their debut album "Parallel Dreams" consists of eight brilliant tracks featuring rich vocal harmonies, airy guitar solos, dreamy analogue synths, and a touch of lush 80s/90s shoegaze. The lyrics are written by vocalist Emil Nordtveit, and the album has been mixed by Fredrik Vogsborg and mastered by Anders Bjelland. Charlie Hall (drums) from The War on Drugs and Thomas Nokling (saxophone) also contribute to the album.

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

Cinematic funk visionaries The Diasonics drop a new disco-funk 45 vinyl with two killer tracks tailor made for DJs and cinematic funk fans. Only 500 copies pressed wordwide, instant collector's item. From the snowy streets of Moscow to the crates of vinyl diggers worldwide, cinematic instrumental combo The Diasonics unleash a new limited edition clear vinyl 45 with two killer tracks taken from the upcoming new album "Ornithology", set to drop worldwide on October 3 via Record Kicks. On the A side "Oriole" is a vintage disco-funk stormer taking inspiration both from the Soviet-era disco and jazz fusion records, as well as from 70s European library music and synth-funk movement. A minimalist synthesizer melody echoing the song of the oriole, paired with a steady disco-funk groove reminiscent of a train in motion ("Oriole" is also the name of a popular Russian electric train) lay the foundation of their most danceable track to date. The b-side holds the equally strong "Chickadee" a funk stomper with bold bassline and heavy b-boy breaks and percussions and a NY early 80 vibe able to set every dancefloor on fire. A peerless party-starter that you just don't want to miss it. Formed in 2019, this four-piece instrumental unit _ Daniil Lutsenko (electric guitar), Kamil Gazizov (keyboards), Maksim Brusov (bass), and Anton Moskvin (drums & percussion) _ quickly gained cult status through a series of sought-after 45s on Mocambo and Funk Night Records. Their critically acclaimed debut album "Origin of Forms" mixed by Henry Jenkins, producer of the Australian cult band Surprise Chef, came out on Record Kicks in 2022. The vinyl went sold out in few weeks and is now in-demand on the international cinematic funk scene.

hopefully ! - a life-affirming exploration of fatherhood, childhood and alternative music, marking Loyle Carner as you’ve never heard seen or heard him before.

After limping back from retirement with a remix or two and a single on Neroli, Domu makes it back to his birthplace, 2000black.

After 25 years of ups and downs, highs and lows and down and ups, it's now time to rest for good. As the spirit of his jungle past still haunts the hallways of what is left of record and clubland, Domu instead lays down to accept, for him at least, enough has been said.

A Madness is the result of layers and layers of random obscure rhythmic samples with some textbook Domu keys. Urgency pours out of it. Quick let me finish this before I die.

Not him again is a result of a jam with long time collaborator Robert Marin with Domu leading the creative direction. Do we like house records that could be on the wrong speed? Yes. Do we like Hip Hop that doesn't accept any of the standard conventions of Hip Hop? Yes. And this is the result.
And finally Them Things. Domu has been trying this whole time to convey a feeling, that weird feeling that those special 'odd numbers' create. Not a specific genre or tempo or movement with a catchy name, just a thing you can't quite explain. Maybe he got close now and again, maybe he didn't but this feels like it could be the closest we'll ever hear.

Miss this end of an era at your peril.

Initially influenced by the skinhead scenes of France and Italy, their new LP “Renaissance” borrows from sounds outside the subculture, orchestrating harmonies to unite the punks, skins and moshers. The comparison to L’INFANTERIE SAUVAGE is undeniable with odd song structures switching from slow melodies to fast punchy pogo beats. However on this LP, there is a subtle influence of early American hardcore bands, adding more stomping rhythms and upping the pace of the songs. Renaissance is an excellent example of how a band can evolve their sound without losing the aspects that define them: razor sharps riffs, unexpected disco drum syncopations and, of course, orchestral “Ohhs”. Every song verges on an anthem that will get stuck in your head for days.

In echter Badflower-Manier kehren die Rocker aus Nashville zurück, um schwierige Themen mit ihrem neuen Album „No Place Like Home“ – dem Nachfolger ihres 2021er-Albums – erträglich zu machen. Frontmann Josh Katz nimmt sich die Zeit, alles richtig zu machen und führt uns durch persönliche Geschichten von Paranoia, Reue und sogar dem Verlust eines Haustiers, die dennoch universell nachvollziehbar und angenehm sind. Die charakteristische Fähigkeit der Band, schwierige Themen mit selbstironischer Entwaffnung zu überziehen, findet sich auch auf diesem Album wunderbar umgesetzt.

Die Deluxe-Version von Pierce The Veils The Jaws of Life enthält zwei zusätzliche Tracks, darunter ihre Coverversion von Radioheads „Karma Police“ und einen brandneuen Track, „Kiss Me Now“, der ursprünglich als B-Seite aufgenommen wurde. Das 36-seitige Booklet enthält nie zuvor gesehene Fotos der Band, auf und abseits der Bühne während der letzten zwei Jahre, die einige ihrer schönsten Momente zeigen.

Jetzt auch auf Vinyl: Nach Mette Henriettes vielbeachtetem selbstbetitelten Debüt folgt nun Drifting – ein Album, das von Trio-Gesprächen mit eigenwillig-originellem Ausdruck durchdrungen ist. Mit Rückkehrer Johan Lindvall am Klavier und dem Neuzugang Judith Hamann am Cello präsentiert Mette kammermusikalische Ausarbeitungen von höchst konzentrierter und forschender Natur, zum Ausdruck gebracht durch subtile und zugleich intensive Interaktion. Motive und wiederkehrende Muster entstehen fast unscheinbar und offenbaren ein prägnantes Narrativ. Die Saxophonistin erklärt, dass ”dieses Album in Bewegung ist. Es bahnt sich seinen Weg und hat sein eigenes Tempo – der kreative Gestus unterscheidet sich grundlegend von dem, was ich bisher gemacht habe.” Aufgenommen in Oslo, fertiggestellt in den Studios La Buissonne und produziert von Manfred Eicher, präsentiert Drifting Trioerkundungen gedämpfter Texturen und vielfältiger Timbres mit besonderer Klarheit und Präzision.

3 Doors Down haben sich einen Weg als die Rockband schlechthin gebahnt und feiern mittlerweile einen ungebrochenen Mainstream-Erfolg. Dabei haben sie aber nie ihre Kleinstadt-Identität verloren hat, was sie zu den wahren Underdogs des Rock gemacht hat. Das Album ”The Better Life” enthält ihre bahnbrechende Hymne „Kryptonite“ und kommt nun nochmals auf einer 1LP Black Vinyl heraus.

An’archives present the debut album by Tokyo avant-pop duo Jyuriaano, Dreaming Glass. Consisting of Morimoto Ariomi and Cobalt, the two members of Jyuriaano have long histories in Japanese underground music. Morimoto’s history traces back to the late nineties; his nascent interests in noise collage and solo acoustic performance slowly transmuted to group endeavours, and more recently he’s performed with the likes of Akiko Toshimitsu (Usurabi), Maki Miura (Shizuka) and Doronco (Los Doroncos).

Cobalt has released a string of excellent singer-songwriter albums, many on his Poet Portraits label, which has also released material by the likes of Kazumi Nikaido, Place Called Space, Cuthberts, and moools, the latter of which he also performs with on occasion. While Morimoto and Cobalt have known each other for decades, they decided to form Jyuriaano in 2016, and since then have performed at live houses and small bars in Japan, all while slowly working together on their gentle, spirited songs.

The group’s formation story is typically playful – “It all started when we brought an acoustic guitar into the car on a rainy afternoon and started writing songs while eating Japanese sweets,” Cobalt recalls. That sense of play is important to the songs on Dreaming Glass, which vary wildly, from bright, infectious pop songs with a sixties lilt (“Dreaming Baby”, “How Close”), through slinky jazz-pop numbers (“Drawing A Nude”) to melancholy folk laments (“Erica”, “Night Window”). There’s something in Jyuriaano’s collaborative dynamic that gifts Morimoto and Cobalt a particularly open field, when it comes to their creative endeavours.

Some of this might also be down to their listening habits. When asked about their interest in Japanese folk precursors, legendary groups like Folk Crusaders and Itsutsu-no-Akai-Fusen, Cobalt agrees that they have a place in the duo’s listening pantheon, but that’s not where the story ends. “We’ve also listened to commercial folk music outside of those core genres,” he reflects, “We don’t just listen to one genre, but also rock and roll, noise industrial, punk, new wave, jazz, chanson, and more.”

You might also hear touches of groups like the forementioned Usurabi, or Maher Shalal Hash Baz, or songwriters like Kazumi Nikaido and Shintaro Sakamoto. But Jyuriaano’s songs, somehow, feel quite sui generis in the way they magic up alternative visions for pop’s possibilities. Dreaming Glass is, quite simply, a lovely, unpretentious joy of an album.

A masterful blend of neo-soul warmth & vintage JAY DEE-inspired vibes. Channeling the raw, soulful essence of SLUM VILLAGE, AKIM ONE crafts a rich tapestry of smooth rhythms and evocative melodies that resonate deep within the listener. Perfect for fans of timeless beats and modern soul.

In 1966, Oscar Agudelo recorded this elusive and lesser-known collector's gem called "Pa' mi muñeca" for Discos Fuentes. It is a rarity where the artist took an unexpected musical turn and performed several porros, paseaitos, gaitas, and cumbias, evoking the swaying motion and rolling waves of Colombia's Caribbean sound. It resonates with the echoes of a romantic minstrel laced with an unexpected richness of nuance, a hallmark of the cumbia sound. It's exactly the kind of music that lights up a tambó or a fandango circle on carnival night. A dozen tracks, none of them new, but suffused with a consciousness that can be understood within the context of their time and with the personality of the artist bold enough to bring them to life. 'Madre cumbia' opens the album with a festive, nostalgic mood, infused with the simple beauty and the electrifying beat of the tropics that immediately makes you want to get up and dance. It's a fantastic example of how to perform a song with passion and make the listener fall instantly in love with an album. 'Pa' mi muñeca', the title track, is a fast-paced paseaito that explores new paths that took a shortcut to the dance halls. A showstopper on the dance floor. 'Está como mango' is a porro-cumbia that charms with a rich tapestry of compliments, the calling card of many old-school tropical songs. 'Cumbia de recuerdo', 'Cumbia suave', 'Cumbia de Santa Marta', are back-to-back cumbias. This is an album devoted to recreating the strength of a musical genre that's been the soundtrack of Colombian life for decades. It's a record dedicated to capturing good times, filled with simple dreams, steeped in joyful energy, and shining with the uninhibited flair, or better said, the quality of the sixties. This album represents a milestone on the route cumbia had taken, both for Discos Fuentes and maestro Agudelo. First time reissue. Includes liner notes by genre expert Don Alirio.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie