Cerca:girl ray

Girl Ray, the three-piece comprising Poppy Hankin, Iris McConnell and Sophie Moss, release their much anticipated third album, Prestige, on 4th August 2023 via MoshiMoshi. Co-produced by Grammy Award-winning producer, Ben H.Allen (M.I.A, Gnarls Barkley, Christina Aguilera, Deerhunter) along with the band's singer and songwriter Poppy Hankin, Prestige takes the shambolic charm of their debut, EarlGrey (2017), and the indiefied R&B of 2019's Girl, and injects it with a booster shot of Hi-NRG eighties disco pop.

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

As a young kid I always wanted to be a musician especially with my brothers.
My Dad, Major Williams Sr started it all with my Brother Lil Major Williams and Garland Williams.
They would travel and play music at venues all over Texas and surroundings States.

I myself stared playing the snare drum in Junior High school and eventually started playing with the Majortones Band which was my dad and brothers group.

I remember the first time I ever sat behind a set of drums it was like a dream come true.
We were playing at this club in Houston, called the Green Parrot.
Garland which was the drummer at the time, I think he got sick or something happened, that's when my dad came to me and said this your time Ray.

I was so scared , keep in my I was only 11years old, anyway I played that night if it had not been for the Bass player (Fox was his name) telling me how to work the foot pedal and high hats snare we wouldn't have made he just kept telling me to stay on the one, at that time I was wondering what was the one Lol.

As time went by I started really getting the hang the thing call music.

Little Major was a big James Brown fan, so we played a lot of Brown's music and if I tell you we were tight and right.

Major wrote Girl Don't Leave in 1978 and I can't remember the real reason for the title of song but it did really good lot's of air play.

As time went on Lil Major, Garland and my Dad passed away.

That's when I started managing The Majortones Band and to this Day it's still going strong.

I re-wrote Girl Don't Leave Me and released it a few years ago which was the best thing I could have ever done.

I feel like it's my time in the music industry, I've been playing for over forty years and I'm still in love with it and still having lots of fun.

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

A Collection with An Exceptional Sound and Visual Aesthetic, In Collaboration With The British Photographer Chris Steel-Perkins, The Counter-Cultures Photograph.

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.

Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.

Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.

Zwei neue Songs von Thee Headcoats in einem passend an die Smiths angelehnten Cover! Die A-Seite ist aus ihrer kommenden LP "Children Of The Sect" und die B-Seite exklusiv auf dieser Veröffentlichung. Wir haben mit Billy Childish über die Single gesprochen_ Frage: "Hat dir irgendetwas an den Smiths gefallen?" Antwort: "Ja. Les Dawsons Version von ,Girlfriend in a Coma" (ich glaube, das ist der richtige Titel). Eigentlich habe ich sie gehasst, aber sie hatten ein paar ganz ordentliche Songtitel. Ihr Gitarrist kam mal auf mich zu und sprach mich an, als wir mit Modest Mouse in der Albert Hall mit unserer 100-Watt-PA spielten - er war sehr nett." Frage: "Auf dem Cover ist ein Bild von Dave Davies zu sehen. Was gefällt dir an den Kinks am besten? Hast du Ray oder Dave jemals getroffen?" Antwort: "Ich bin in den 1960er Jahren mit den Kinks aufgewachsen, zusammen mit den Stones, den Beatles, Bob Dylan und Jimi Hendrix. Als ich 1977 gefragt wurde, ob ich bei den Pop Rivets singen wolle, schlug ich vor, dass wir ,Hippy Hippy Shake", ,Wild Thing" und ,You Really Got Me" spielen sollten - Was mir an den Kinks am besten gefällt? Ich mag die R&B-Kinks? Daves Gitarrenspiel, und wir alle stehen total auf den tollen Schlagzeuger und Bassisten, und natürlich schreibt Ray gute Songs - also: Was gibt's da nicht zu lieben? Abgesehen von einer ganzen Menge. Ich habe noch nie einen echten Kink persönlich getroffen, aber wir kannten ein Mädchen, das sie im Rochester Odeon spielen sah. Sie und ihre Freunde baten Dave um ein Autogramm, und er jagte sie schreiend den Star Hill hinauf, wobei sein kleiner Stolz und seine Freude heraushingen."

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Four-time GRAMMY Award-nominated global superstar RAYE, is releasing her highly anticipated sophomore album THIS MUSIC MAY CONTAIN HOPE. The album, set in 4 “seasons” with each side of the vinyl being a different season, takes listeners on a sonic journey that begins with darkness and ends with light.

“Music is medicine. I’ve always said that, and I guess I’m in the process of making medicine for myself that I can share with the world. I want us all to say to ourselves that it’s going to be all right, and I’m going to have faith in the seeds that I’ve planted beneath the snow. I wanted to create something that is a hug or bed or soft place for that person who needs it.”

RAYE recently kicked off her massive 51-date sold-out arena tour THIS TOUR MAY CONTAIN NEW MUSIC includes arena dates across Europe and the UK — including six sold-out nights at The O2 — before heading to North America with stops at iconic venues such as Radio City Music Hall (April 15 and 16th) and the Greek Theatre (May 12 and 13th). Additionally, RAYE will be a special guest on Bruno Mars’ The Romantic Tour for 27 stadium shows across the US this summer.

Born Bad Records knew exactly what it was doing when it signed this Nantes-based trio, whose sharply defined sound and raw authenticity stand out. With Rage Blossom, Île de Garde unveils an EP charged with palpable tension, somewhere between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like backdrop where Sylvia Plath’s poetry might cross paths with the controlled excesses of Fever Ray.



The EP opens with “Fear The Sun,” its Mike Oldfield-esque soundscapes plunging us into an apocalyptic and unsettling world. “Homicide Volontaire” follows with meticulous narration, a technical exercise evoking the anger and defiant lucidity of a Virginie Despentes. The hallucinatory hit “To Death” snaps like an anthem to collective dancing in the face of the inevitable. Since we’re going to die, let’s dance! On the B-side, “Ageless Woman” weaves together a half-mythological, half-mysterious text, carried by haunting backing vocals. “Birthday Girl,” featuring Kuntessa, radiates an ironic and joyful riot-grrrl energy, an uninhibited celebration of women’s liberation. Finally, “Boy,” a small post-punk jewel, closes the EP with an ending as surprising as it is delicate.

The group’s genius also lies in the complementarity of its musicians. Morgane Poulain anchors the drums with a dynamic that is both subtle and narrative, airy yet jagged. Cécile Aurégan, the architect behind a multitude of synths, builds powerful sonic landscapes, layer upon layer. Klara Coudrais, the band’s poetic figurehead, elevates her texts with a rich and plural vocal palette, giving life to several characters who vibrate with intensity. The band’s writing, hovering between darkness and light, echoes a kind of visceral poetry, exploring the seasons of the soul with authenticity and force.



With this EP, Île de Garde establishes itself as a band to watch closely, capable of translating on stage both the raw energy and the fine craftsmanship that define their music. An immersive journey, full of tension, urgency, beauty, and electric flashes.



Île de Garde, a Nantes-based trio with sharply drawn sonic contours and raw authenticity, unleashes its full arsenal on Rage Blossom, an EP radiating palpable tension between dark pop and psycho-wave. A catalogue of modern misdeeds, a David Lynch-like setting where Sylvia Plath’s poetry would meet the controlled excesses of Fever Ray. An immersive journey of tension, urgency, beauty, and electric sparks.

Opening track “Fear The Sun” plunges us into an apocalyptic and unsettling landscape. “Homicide Volontaire” continues with meticulous storytelling, a crime vignette evoking anger and the fierce lucidity summoned by a situation with no way out. The hallucinatory trance of “To Death” snaps like an anthem to collective dance in the face of the inevitable. Since we are going to die, let’s dance! “Ageless Woman” blends a half-mythological, half-mysterious text, carried by hypnotic backing vocals. “Birthday Girl,” featuring Kuntessa, releases an ironic and joyful riot-grrrl spirit, an uninhibited celebration of feminine liberation. Finally, “Boy,” a small post-punk case study, closes the EP with a simple, sensitive truth.



The three musicians propel and relay one another in this breathless race. Morgane Poulain drives the drums with a dynamic that is both subtle and narrative, airy yet staccato. Cécile Aurégan, architect of multiple synths, builds powerful sonic landscapes, layer after layer. Klara Coudrais, the storyteller, elevates her texts with a rich and multifaceted vocal palette, giving life to all their characters, both mythical and ordinary. The band’s writing, between darkness and light, proclaims a visceral poetry, exploring the seasons of the soul with authenticity and strength.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
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Rhino rediscovers the magic of Madonna's "Celebration" album with an upcoming 4LP repress, releasing on 1 March 2024. This album highlights the chart-topping success of Madonna in the UK, offering a carefully curated collection of her greatest hits across four discs. It's a nod to the enduring influence of the Queen of Pop, who recently performed six dates at the O2 for her Celebration world tour.

The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials.

Die Compilation vereint ikonische Tracks aus Tarantinos gesamtem filmischen Werk: von Pulp Fiction über Kill Bill bis Once Upon a Time in Hollywood. Mit dabei sind musikalische Größen wie Dick Dale, Johnny Cash, Joe Tex, The Coasters, The 5.6.7.8"s, Dee Clark, Keith Mansfield und viele mehr. Tarantino Sounds entführt in eine Welt aus Surf-Rock, Soul, Rockabilly und Retro-Vibes - genau wie Tarantino sie liebt und inszeniert.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Wet is the fifth full length album by Black Meteoric Star and the 10th release. Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture Black Meteoric Star has always had an avenger quality in Rayna's life and creative work, and this iteration plays that role in response to the current political landscape. Wet celebrates the long standing shared history of electronic music and queer leather/SM culture and imagines a future where these two cultural expressions are re-connected.

Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe. The current administration demonizes and villainizes queer people on the basis of a false moral framework of respectability, and its a trick. No amount of acting "respectable" will humanize queer people in the eyes of this administration and get us the rights we deserve. Revitalizing the connection between electronic music and queer leather/SM is a way to affirm the cultural power of both during a time when it has never been clearer that we keep each other safe. Rayna, a transgender woman with a deep commitment to all of these cultural forms, has a strong message to deliver with this album. She has been a DJ and producer of electronic music for over thirty years and has been producing community cultural events for as long. She has also been involved in kink and bdsm for decades and is a well-known and respected DJ in the New York leatherdyke scene. Rayna made international headlines in 2017 when she came out as transgender while touring with LCD Soundsystem. In 2018 she left the Grammy winning band to pursue projects that were more connected with her queer experience, including founding Voluminous Arts a cultural organization that supports trans artists. Black Meteoric Star is a continuation of a thread in Rayna's work that runs through her Paper Eyes project and her role in Black Leotard Front. This thread has a comic book or x rated graphic novel component based around her experiences of being a sad lonely lesbian trans girl who got bullied a lot and found escape and the possibility of being avenged through X men comics and Dungeons and Dragons books.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.

In 2026, the sample alchemist returns to his first love with his 11th album, Endless Smile 2. A 16-track project conceived as a tribute to his landmark 2015 album Endless Smile, which featured his iconic tracks “Betty” and “Qu’attendez-vous de moi”.

Born from a desire to return to the essentials, Endless Smile 2 focuses on instrumental compositions enriched with samples and organic textures inspired by the 70s. The album develops a warm and sun-soaked atmosphere, crossed by the melancholic touch that defines Degiheugi’s musical universe.

Recorded between 2023 and 2025 in his studio Endless Smile Records and mixed by his longtime collaborator Mr. Gib, the album opens with the trip-hop anthem “The Last Opening”. Far from being a simple introduction, it acts as a true gateway into Degiheugi’s new sonic journey. Keyboards set the tone, the horn section led by N’Zeng invites listeners into the groove, while guitars and organic keyboards immerse us fully into his musical world. The scene is set: he’s back.

Among the standout tracks, “Ain’t Goin Down” delivers a reggae-influenced groove driven by a message of hope, while “Vem O Mar” (feat. Hugo Kant) explores funk and tropical soundscapes. “Ipanemax”, a nod to the classic “The Girl From Ipanema”, and “Ouh Baby” extend this Brazilian atmosphere, while “Savoir Danser” leans toward oriental textures and “Juanita Bonita” ventures into a bold fusion of cumbia and dub.

The album also reveals Degiheugi’s signature melancholic side. An addictive loop settles deep into the listener’s mind as “Sympathique et sympa” balances nostalgia with urban groove. The haunting strings of “Naked” and the soul ballad “She Worries” respectively reflect on mortality and the fragility of romantic relationships. Guest artist Miscellaneous addresses gender-based violence on “Love Is Blind”, telling the story of a woman trapped in a toxic relationship.

Endless Smile 2 closes with “Enivrez-vous”, an outro inspired by Charles Baudelaire’s poem, bringing the album to a contemplative conclusion. With this release, Degiheugi masterfully completes a musical journey that began ten years ago.

Scorsese Sounds - A Tribute To Martin Scorsese - The Finest Selection of Martin Scorsese"s Soundtracks Martin Scorsese ist nicht nur ein Meister des Films, sondern auch ein Virtuose der Musikauswahl. Mit "Scorsese Sounds" erleben Sie die unverwechselbare Klangwelt seiner größten Werke - von epischen Gangster-Sagas bis hin zu psychologischen Dramen und zeitlosen Klassikern. Diese exklusive Doppel-Vinyl vereint die Essenz der Soundtracks, die Scorseses Filme zu Kult gemacht haben. Jeder Track ist sorgfältig ausgewählt, um die Atmosphäre und Emotionen der legendären Szenen einzufangen - von der rauen Energie des New Yorker Untergrunds bis zur eleganten Nostalgie vergangener Zeiten. Ein Muss für Cineasten, Vinyl-Liebhaber und alle, die die Magie von Bild und Ton schätzen. Tauchen Sie ein in die musikalische DNA eines der größten Regisseure unserer Zeit.

Hagridden' is the second full-length from Scottish sisters Bratakus. Fiercely political and unapologetic, the duo made up of siblings Brèagha Cuinn (guitar and vocals) and Onnagh Cuinn (bass and vocals) deliver ten songs that combine garage rock and feminist punk with the same deft poise as forerunners The Distillers, The Donnas, Bikini Kill and X-Ray Spex.
In 2019, a BBC news report called Bratakus "the UK's most remote punk band". Formed in 2015 outside a small whiskey village called Tomintoul in the Scottish Highlands, the sisters (then 14 and 8 years old) have maintained a DIY ethos in everything they've done. Recording at home, self-releasing music, booking their own tours and with no drummer available locally, the duo turned their limitation into a statement, performing live with a drum machine and cementing their reputation as an uncompromising force within the punk scene.
'Hagridden' marks a new beginning for the two sisters, introducing real drums to the recording process (including a guest appearance from Chris Dangerous of Swedish rock band The Hives) plus a more focused approach to songwriting. The message and music are just as loud, but the execution is now deadlier than ever.

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

Entdecken Sie eine Auswahl der kultigsten Songs aus Quentin Tarantinos Kultfilmen auf einer atemberaubenden Picture Disc Vinyl. Diese exklusive Zusammenstellung umfasst legendäre Künstler wie Dick Dale, Johnny Cash, The Coasters, The 5.6.7.8"s und viele mehr - und deckt Tarantinos gesamtes filmisches Universum von Pulp Fiction bis Once Upon a Time in Hollywood ab. Ein Sammlerstück voller Surf-Rock, Soul, Rockabilly und Retro-Vibes - genau so, wie Tarantino es liebt.

On “Reflection”, Hooverphonic’s second album with vocalist Noémie Wolfs, they return to a natural analogue sound. Alex Callier and Raymond Geerts didn’t just want to record in a studio, but at fans’ homes to get the specific reverb “Reflection”. Therefore, in early 2013, Hooverphonic launched an appeal to their fans to enrol potentially unique homes in the ambitious concept of “Hooverdomestic”. Ultimately, five locations were selected, four in Belgium and one in France. The result is the most infectious and cheerful album Hooverphonic has ever made. In addition, Noémie Wolfs is assisted on the album by three new vocalists/instrumentalists, who give an extra sense of space to the songs on Reflection.

Available as a limited edition of 1000 individually numbered copies on smoke coloured vinyl.

"The Virgin Suicides", AIR's zweites Album und der unvergessliche Soundtrack zu Sofia Coppolas Regiedebüt wird zum 25. Jubiläum als "The Virgin Suicides Redux" neu aufgelegt. Ein brandneuer analoger Mix des Original-Albums verleiht den eindringlichen Klanglandschaften, die wie der dazugehörige Kultfilm über die Jahre an Bedeutung gewonnen haben, neue Tiefe. "The Virgin Suicide Redux" ist als analoges Vinyl-Album sowie in einem 2-CD/Blu-Ray Digipack erhältlich. Dieses Set enthält den neuen Analog-Mix von 2025, eine Blu-Ray mit dem Album in Dolby Atmos und eine Auswahl bisher unveröffentlichter Demos und Raritäten.

Die Musik aus Quentin Tarantinos Filmen ist längst Kult - und mit der neuen farbigen Vinyl-Edition von Tarantino Sounds wird diese legendäre Soundwelt jetzt noch einmal besonders zelebriert. Die Compilation vereint ikonische Tracks aus Tarantinos gesamtem filmischen Werk: von Pulp Fiction über Kill Bill bis Once Upon a Time in Hollywood. Mit dabei sind musikalische Größen wie Dick Dale, Johnny Cash, Joe Tex, The Coasters, The 5.6.7.8"s, Dee Clark, Keith Mansfield und viele mehr. Tarantino Sounds entführt in eine Welt aus Surf-Rock, Soul, Rockabilly und Retro-Vibes - genau wie Tarantino sie liebt und inszeniert. Nach der erfolgreichen Veröffentlichung der Standard-CD und der schwarzen Vinyl-Ausgabe folgt nun die farbige Sammleredition - exklusiv für den deutschen Markt und streng limitiert. Ein besonderes Highlight: Die Farbe des Vinyls ist eine Überraschung! Erst beim Auflegen auf den Plattenspieler zeigt sich, welche Farbe du erwischt hast - jede Edition ist ein Unikat und macht das Sammlerlebnis noch spannender.

Wenn Sie das ungute Gefühl hatten, dass 2025 irgendwie das Jahr von Thee Headcoatees werden würde, dann klatschen Sie sich selbst herzlich ab - denn überraschenderweise ist es tatsächlich so! Wir können indirekt den Tod unseres lieben verstorbenen Great Ribbon, Mr. Don Craine, dafür verantwortlich machen, dass Thee Headcoats 2022 ein Comeback feierten. Ursprünglich hatten sie geplant nur eine Tribute-EP als Thee Headcoats Sect aufzunehmen - zusammen mit Dons Downliner Sect-Kollegen Keith Grant Evans - aber dann stellten sie fest, dass sie noch ein paar Stunden Zeit im Studio hatten, und dachten sich, dass sie genauso gut auch ein neues Headcoats-Album aufnehmen könnten. Und warum auch nicht? Das Ergebnis war, ohne viel Aufhebens, das Album "Irregularis (The Great Hiatus)", das 2023 bei Damaged Goods erschien. Ende 2024, noch bevor man ein Deerstalker-Band entwirren konnte, waren die Jungs schon wieder am Werk, und eine weitere neue Headcoats-LP war ,im Kasten", deren Veröffentlichung ursprünglich für Anfang dieses Jahres geplant war. ABER dann kam irgendwo jemand auf die Idee: ,Warum sollten nur die Jungs den ganzen Spaß haben? Wie wäre es, wenn wir auch den Sisters of Suave, Thee Headcoatees, eine Chance geben?" Mit allen ihnen zur Verfügung stehender männlichen List und Tücke schalteten Thee Headcoats und Damaged Goods ihre Charmeoffensive ein. Mit purer Entschlossenheit und Hartnäckigkeit wurden Ludella Black, Kyra LaRubia, Bongo Debbie und Holly Golightly nacheinander aus ihren Verstecken gezerrt, wo sie sich lautstark wehrten (was sie am besten können), um die 14 Killer-Songs aufzunehmen, die auf ihrem neuesten Album mit dem raffinierten Titel ,Man-Trap" zu finden sind. Das war keine Kleinigkeit! Anfang 2025 wurde also eine Aufnahmesession in den renommierten Ranscombe Studios in Rochester gebucht, Gin und Snacks wurden vorbereitet, und im Handumdrehen waren die Backing Tracks im Kasten - Thee Headcoats wieder zurück als die beste Backing-Band und Thee Headcoatees zurück am Gesang. Billy Childish übernahm die Produktion. Unbeeindruckt von einigen geografischen Hindernissen auf dem Weg dorthin war Ende Mai das Ergebnis ein glänzendes neues Headcoatees-Album! UND WAS FÜR EIN ALBUM! Es ist mindestens genauso gut wie alle ihre Alben aus den Neunzigern und vielleicht sogar noch besser... (,Ja-a-a-a!", flüstert der Geist von Don Craine.) Diese Mischung aus großartigen Coverversionen und einigen fantastischen neuen Songs ergeben eine verdammt gute LP. Betreten Sie "Man-Trap" auf eigene Gefahr - Sie wissen, dass Sie es wollen! Und falls Sie sich fragen, wie die Mädchen ihre Zeit seit der Veröffentlichung von ,Here Comes Cessation" im Jahr 1999, also vor nur 26 Jahren (!), verbracht haben, lesen Sie weiter... LUDELLA BLACK hat drei Soloalben sowie Veröffentlichungen mit The Masonics vorzuweisen und gerade erst mit The 5,6,7,8's aufgenommen. Nebenbei sang sie auch mit The Shall-I-Say Quois, zusammen mit ihrer Freundin Kyra. KYRA LaRUBIA war Anfang der 2000er Jahre kurzzeitig bei The A-Lines neben Bongo Debbie & Nurse Julie (von Stuck-Ups / Buffets / CTMF) und arbeitete an einer Neuauflage ihres Albums ,Here I Am, I Always Am". Die Musik trat dann in den Hintergrund, während Kyra sich auf ihre Promotion in Sport- und Bewegungswissenschaften konzentrierte. Seit 2005 ist sie Dozentin an der University of Kent. BONGO DEBBIE hat weiterhin in einigen Bands getrommelt. Sie ist Mitglied von Ye Nuns (The Monks Tribute Band), The A-Lines, Dutronc und hat kürzlich unter anderem für die Sting-Rays ausgeholfen. HOLLY GOLIGHTLY hat seit 1999 neun Soloalben veröffentlicht, sechs davon mit Lawyer Dave in The Brokeoffs, sang ein Duett mit Jack White auf dem Album ,Elephant" von The White Stripes und tourte um die Welt.

Mit der Wahl des ehemaligen Roxy-Music-Mitglieds und David-Bowie-Kollegen Brian Eno als Produzenten erweiterten Talking Heads ihren Sound für ihr 1978 veröffentlichtes zweites Album erheblich. More Songs About Buildings And Food zählt zu den besten Werken der Talking Heads. Der Einfluss des Produzenten Brian Eno ist deutlich zu spüren, da er die Band in immer innovativere Gefilde vorantrieb. Das gesamte Album, sogar der kleinere Hit, eine von Eno bearbeitete Coverversion von Al Greens „Take Me To The River“, klingt auch 36 Jahre später noch erstaunlich frisch. Diese Super Deluxe Edition erweitert das Originalalbum um ein Bonusalbum mit seltenen und bisher unveröffentlichten Studio-Outtakes sowie einer bisher unveröffentlichten kompletten Show aus der More Songs…-Tour, die im Oktober 1978 im Entermedia Theatre in New York City aufgenommen wurde. Das CD-Format enthält eine Blu-ray-Disc mit Dolby Atmos, 5.1 und Hi-Res-Stereo-Mixes sowie zwei bisher unveröffentlichte Live-Auftritte in voller Länge, die 1978 auf Video aufgezeichnet wurden.

Past Due Records is thrilled to announce the reissue of 'You Make It Harder,' a long-lost gem from the 1980s NYC dance music scene, originally released as a 7 inch single for the WBLS Budweiser Showdown under the name Contreras / Sokolov / Milgrom. This rare boogie funk record, known only to a select few aficionados, is now available for the first time as a 12 Inch single, featuring four additional unreleased tracks that perfectly capture the Ray Contreras Band’s multicultural, synth-driven funk. The release includes a full sleeve and the story of the band’s journey, from winning the legendary WBLS Budweiser Showdown to their near-miss at the national finals.