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Dexys live album celebrating the band's triumphant 2023 tour in support of The Feminine Divine, plus a selection of Dexys classics. Recorded across the course of the tour.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

Written, recorded, produced and mixed by OMD – Andy McCluskey and Paul Humphreys – ‘English Electric’ is a 12-track letter to technology, space, love and a grand return to form for a band whose 1980 hit ‘Enola Gay’ occupied the world’s stage at last year’s Olympics Opening Ceremony.

As percolating synth-pop is pulled along at different speeds and executed with needle-sharp finesse, late night electro ballads collide with big sounding club cuts on a record which also features three interlude tracks, including dystopian missive ‘Please Remain Seated’ and ‘Decimal’, which is accompanied by this suitably mechanical video, directed by German motion and graphic designer Henning M. Lederer.

As Andy McCluskey says of the album; “the overarching feel tends to be a sense of loss, of melancholia, that things haven’t turned

out the way you wanted them to, whether it be with technology or personal relationships.” The title itself – taken from a British industrial manufacturing company

History Of Modern is the band's first record since 1996's Universal. Andy McCluskey has described it as their "best album since Architecture and Morality - high praise indeed.

All artwork for the release has been designed by OMD's longtime cohort Peter Saville.


This autumn also sees OMD embark on the 'History of Modern' tour, with the classic line up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes. The dates will see a mix of new songs with classic hits.

100% Bangbass, 0% prisonners.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Sweet stepper with a non banger kick, and fat lyrics !

All time massive !

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

100's of 1000's, Millions of Billions by Blitzen Trapper, released 17 May 2024, includes the following tracks: "Cosmic Backseat Education", "Cheap Fantastical Takedown", "Planetarium", "Long Game" and more.

It's dark and acid, raving and tekno, that's serious beat !

There are plenty of performers who rock critics describe by using the label "primitive," but few if any can hold a candle to the greatest American rock primitive Jad Fair. With his wildly influential band Half Japanese or as a solo performer, Fair has constructed a prolific and extremely interesting career. He writes and records songs that display an uncomplicated emotional directness, unselfconscious charm and warmth, and a genial simplicity that is beyond words. From Jad: "I set a goal for myself to release 100 albums in a year's time. I was able to pass that mark. I released over 150 albums. This album is a "best of" compilation of the songs recorded that year. It's 100 songs chosen from 160 albums."

"Days Gone By," the latest creation from Manuel Gonzales (MGUN), showcases his remarkable versatility inside of the contemporary musical landscape. This 9-track EP, released for 100 LIMOUSINES, is a vibrant mosaic of raw, gritty sounds that capture the quintessence of Detroit's musical heritage.

Each track on the album is an immersive experience that echoes the feel of street techno, rhythmic and driving. MGUN's ingenious use of the studio as an instrument is striking, as he shapes tracks that embody the essence of bedroom production. The album vibrates with deep sub-bass frequencies, eerie highs, and peculiar artifacts of found sound.

Gonzales, a name synonymous with raw and unadulterated music, brings his signature touch to the 100 LIMOUSINES catalog, a label rapidly gaining recognition for its bold defiance of genre constraints. "Days Gone By" is more than a mere collection of tracks; it's a deep dive into Gonzales' daily sonic experiments, a testament to his relentless pursuit of pushing the boundaries of techno music.

This album is an essential listen for those who value the fusion of Detroit's robust underground legacy with innovative, avant-garde electronic music. It's a journey designed for those who revel in the unrefined authenticity of analog production and the boundless potential of cross-genre exploration. "Days Gone By”, an absolute experimental body of music, a unique auditory adventure that defies convention.

For Listeners Who Enjoy: Rob Hood, A Guy Called Gerald, RZA, Autechre, UR

Warehouse find!

With '100% Dope' we find Central Processing Unit bringing up their hundredth catalogue number, and you'd struggle to find a more fitting artist to ring in a century of releases for the label than Cygnus. The one born Phillip Washington has been with CPU since the very beginning, his 2012 LP 'Newmark Phase' representing the first record ever released on the imprint. That album's combination of textured techno and grizzly Drexciyan electro set the tone for CPU perfectly, and it's no surprise that Cygnus has returned to the Sheffield imprint several times down the years.

While '100% Dope' is an expert demonstration of what Cygnus and CPU do, this EP also shows just how much both artist and label have grown over the past nine years. At its heart '100% Dope' is a set of prime machine-funk from a master of the form, but these are also some of the most daring and innovative tracks that Cygnus has ever produced.

Take opening cut 'Bad RGB Controller'. In the undulating synth lines we have a ghost of grime as well as Drexciyan drive, and as such the track reminds one as much of Mr. Mitch or Last Japan as it does, say, Dopplereffekt. Furthermore, 'Bad RGB Controller' shifts gear around the halfway mark into a highwire electronica mode which has the wit and spark of prime Bogdan Raczynski. Entries like 'Float Back To The Surface' are similarly unpredictable. There's some lovely industrial techno bite to this one - the snare drum will echo in your head long after the party's died down - but Cygnus periodically pulls out the rug from underneath us with passages of impressionistic texture that almost border on sound art.

'Float Back To The Surface' is one of a trio of vocoder-led jams here. On 'Throwing Shade' we hear I-F and Egyptian Lover, with Cygnus' vocals clattering around like pronouncements from some funked-out robot overlord atop hissing-piston drums. Then there's the enticingly-titled 'CPU Records'. 'CPU Records' delivers all the crisp electro snap we've come to expect from a record emblazoned with that signature black-and-white artwork, yet this thing is also widescreen and cinematic in ways that demonstrate the maturation of the Cygnus sound. With a wicked vocoder vocal that celebrates the label's many achievements, 'CPU Records' is a victory lap tune if ever we've heard one.

Central Processing Unit keep it 100 on for this new EP. '100% Dope' by Cygnus is CPU's 100th catalogue number, and the Texan producer delivers on the promise of the record's title with a collection of brilliantly unique electro joints.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

1995's 100% Fun is the third leg of Matthew Sweet's Holy Trinity of Power Pop! Produced by Brendan O'Brien, it's a densely-layered production full of grinding guitars, heavy bass lines and BIG drum sounds.

Intervention's 19-track Expanded Edition 2x LP set is the defining presentation of this great album! While the original repertoire's 12 tracks are bigger and better than ever, the 7 Bonus Tracks are on their own 12" 45 RPM 180-gram LP!

100% Fun's album art was lovingly restored by Intervention's Art Director Tom Vadakan, and printed as a gorgeous "Old Style" gatefold by Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior coluor depth, beauty and durability. The center labels are printed by Dorado.



Mastering Notes
100% Fun is 100% Analog Mastered from the Original Master Tapes by Ryan K. Smith at Sterling Sound. The Master Tapes are 30ips 1/2" analogue reels, and the seven bonus tracks are on their own reel. Intervention's cut is big, punchy and dynamic with plenty of producer Brendan O'Brien signature crunch completely intact. Matthew's amazing vocals really shine here amid the layered densities of O'Brien's mix. A big, bold improvement over the 1990s original LP, and so much better than the CD as to make that comparison a total farce.

100% Columbian was released in 1998 The album features their single tracks and live favourites Korean Bodega, Love Unlimited and Big Night Out.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Kombinat 100, the suspiciously band-like live act from northern shores, are set to unleash their eagerly awaited debut album ‚Wege Übers Land’ (ways across the land). Here, everything we know and love about these notorious dancefloor smashers reemerges from the studio, squeaky clean and freshly rinsed, polished and arranged. An irresistible retrospective of Kombinat 100’s countless live gigs, there is no other way this album could have come about: All of the four Mecklenburgers’ tracks have their origins on stage.

So don’t be surprised if you find yourself moshing along from beginning to end! Kombinat100’s eclectic mix and match of influences touches on more genres than you could possibly think of, from techno, house, dub and pop to jazz and beyond, interspersed with plenty of lovingly crafted moments of homemade bliss. And it is precisely those moments, when the boys reach for their acoustic sidekicks, from accordion and melodica to congas and hammond organ, that our hearts miss a beat. Unafraid to flaunt grand emotions, melancholic opener ‚Flieg kleine Taube’ (fly away, dove’) and the sun-drenched sounds of ‘Hanne Nüte’ meet their match in the rocking grooves of ‘Out Of My Space’. In-between, the boys invariably return to their gig-inspired dancefloor roots – ‘Woterfitz’, ‘Del Maritim’ and ‘Der Pomel’ are set to move your heart, feet and mind. So, finally: a breath of fresh, Open Air for your living room!


Kombinat 100, der bandverdächtige Liveact aus dem Norden, veröffentlicht nun mit "Wege übers Land" sein lang erwartetes Debüt- Album. Das, was bisher den Dancefloor zum Einstürzen brachte, bekommen wir nun sauber im Studio aufpoliert und arrangiert. Dabei handelt es sich um eine Retrospektive der unzähligen Live-Gigs der vier Jungs aus Mecklenburg. Ihre Tracks entstehen auf der Bühne, sind für die Bühne konzipiert. Deshalb muss es auch niemenaden verwundern, wenn man von Anfang bis Ende mitgeht. Kaum ein Genre wird ausgelassen, wenn Kombinat 100 seine Einflüsse aus Techno, House, Dub, Pop und Jazz reflektiert. Aber auch die heißgeliebten handgemachten musikalischen Augenblicke dürfen natürlich nicht fehlen. Denn genau dann, wenn sie ihre akustischen Instrumente, wie Akkordeon, Melodika, Conga`s und Hamond Orgel zum Einsatz bringen, schlägt unser Herz am höchsten. Diese Tracks stehen zu ihren großen Gefühlen, wie der melancholische Opener-Track "Flieg kleine weiße Taube" oder das sonnenverwöhnte Stück "Hanne Nüte". In der Mitte wirds dann mit "Out Of My Space" shufflig und rockig. Dominiert wird das Album jedoch durch die Tracks "Woterfitz", "Del Maritim" oder "Der Pomel", welche ganz klar für den großen Floor zugeschnittenen sind. Endlich: Kombinat 100 gibt uns ein Stück Open Air-Feeling für's Wohnzimmer!

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

UK soul stalwarts Stone Foundation celebrate 25 years and 10 studio albums together with a career retrospective. The tracklist includes their biggest collaborations (Paul Weller, Durand Jones, Graham Parker, Melba Moore, William Bell, Bettye LaVette, Nolan Porter, Mick Talbot and many more) alongside their best known tracks plus 2 brand new songs.

UK soul stalwarts Stone Foundation celebrate 25 years and 10 studio albums together with a career retrospective. The tracklist includes their biggest collaborations (Paul Weller, Durand Jones, Graham Parker, Melba Moore, William Bell, Bettye LaVette, Nolan Porter, Mick Talbot and many more) alongside their best known tracks plus 2 brand new songs.

Detroit's Filthiest last record on Casa Voyager!!! You are in for soulful, partly vocal-heavy jungle; bouncy electro, fast-paced gold and that certain funk you can't find anywhere else. 100% Authenticity Guaranteed

Silberfarbenes 2LP-Vinyl zur Feier des 100-jährigen Jubiläums von Disney mit Favoriten von Three Little Pigs, Snow White and the Seven Dwarfs bis Coco, Encanto und mehr!

Nachdem Thees Uhlmann im Rahmen seiner "Junkies & Scientologen" Tour in den vergangenen drei Jahren 170 Konzerte gespielt hat erscheint am 02.12.2022 das Thees Uhlmann & Band Live Album "100.000 Songs Live in Hamburg". 3LP Edition (Grünes Vinyl, Gatefold), inklusive Din A2 Poster.

Das Duo Dylan Brady und Laura Les , bekannt als 100 gecs , gibt bekannt, dass das mit Spannung erwartete zweite Album der Band, 10,000 gecs , am 17. März 2023 erscheinen wird.

Zusammen mit dieser Ankündigung veröffentlichten 100 gecs auch eine Überraschungs-EP mit dem Namen Snake Eyes . Die EP enthält drei unveröffentlichte Tracks darunter "Torture Me" mit Skrillex und "Hey Big Man" , das als Opener auf ihrer letzten Tournee ein
Publikumsliebling war.

10.000 Gecs kann auf Vinyl, CD, iTunes und als digitaler Pre-Save vorbestellt werden.
Nach ihrem bahnbrechenden Debütalbum 1.000 gecs war die Vorfreude auf das nächste Werk der Band groß. In einer aufschlussreichen Pitchfork Cover Story aus dem Jahr 2021 zeigten sie den frühen Entstehungsprozess von 10,000 gecs, in dem das Duo
ihre Fans zum ersten Mal mit sich ins Studio nahm.
Das kommende Album wird die bereits veröffentlichten Singles
"mememe" sowie das von den 90er Jahren inspirierte "Doritos & Fritos" enthalten.

Hot on the heels of 2021’s Huffy (which reached #1 on the UK indie chart), New York indie rock legends We Are Scientists return with their 8th studio album, Lobes. Largely written at the same time as Huffy and once again self-produced, Lobes stays glued to the indie dance floor but showcases a darker, more electronic pop sound than its rock indebted predecessor. Always present though are the catchy melodies and soaring choruses which have become the band’s calling card over their near 2-decade career.