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Erstmals steht Yannick Nézet-Séguin beim Neujahrskonzert am Pult der Wiener Philharmoniker. Der Kanadier, schon seit Langem dem Orchester verbunden, ist Chef der Metropolitan Opera in New York und des Philadelphia Orchestra. Er bringt im Goldenen Saal des Wiener Musikvereins neben populären Titeln wie "Rosen aus dem Süden" oder der "Fledermaus-Quadrille" fünf Novitäten, die dort erstmals erklingen - darunter auch Kompositionen der US-Amerikanerin Florence Price (1887-1953) und von Josephine Weinlich (1848-1887), die das erste europäische Damenorchester gegründet hatte. Das Neujahrskonzert ist eines der größten Events der klassischen Musik; es wird in über 150 Länder übertragen und hat über 150 Millionen Zuschauerinnen und Zuschauer.

Das jährliche Neujahrskonzert in Wien ist seit mehr als acht Jahrzehnten, seit 1939, ein großes Ereignis, das im Fernsehen und im Radio übertragen wird und Millionen von Zuschauern in über 90 Ländern der Welt erreicht. Das Konzert wurde bisher von weltberühmten Dirigenten wie Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, Franz Welser-Möst, Gustavo Dudamel und anderen geleitet. Als musikalische Botschafter Österreichs senden die Wiener Philharmoniker den Menschen in aller Welt einen Neujahrsgruß im Geiste der Hoffnung, der Freundschaft und des Friedens mit beschwingter und unbeschwerter und zugleich nostalgischer und tiefgründiger Musik aus dem großen Repertoire der Familie von Johann Strauß und seiner Zeitgenossen.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

RUHR is a project born between Verona and Berlin, mixing rough analog synth sounds inspired by the beginning of the minimal noise experimental wave in the 70's and the need of violent dance moves coming from the repetitive structures of early EBM. Minimal aestethic, High Contrasts and screamed dadaistic/political lyrics portrait a vision of sensual industrial soundscape and the need of social riot.

Berlin-based composer and vocalist FRANKIE, also known as Franziska Aigner, and Dominican-American producer Kelman Duran meet at the Twelve Apostles Church, in the Berlin district of Schöneberg, sometime in 2022, at the beginning of the spring season. They were each asked to engage the space’s solemnity, and its reverence, through distinct performances. Their chance encounter, abounding with mutual curiosity towards each other’s practices, smoothened the path for a years-long collaboration, culminating in McArthur, their first joint album. Following a period of exchanging musical fragments and prompts at a distance, Aigner and Duran come together in Athens, and later in Los Angeles, to prepare the stuff and material for the album, slowly developing a body of work informed by shared hauntings, and a commitment towards the disjointed and the residual. Aigner describes her process as writing “into the negative space” of Duran’s beats—filling in, if not invigorating, their thudding and inflections, but without rearranging the integrity of the whole. The result is an album where time and geography are made elastic, and where sonic improvisations become a site for quiet, and cryptic, articulations of intimacy.

Having taken their name from a line in Hooray For Hollywood – inspired by the song’s jarring use in Robert Altman’s Philip Marlowe detective movie The Long Goodbye – there is an aptly cinematic quality to Any Young Mechanic’s music.
With intricate scenes, enthralling narratives and unique characters cropping up across the lyrics, and a kaleidoscopic yet coherently interwoven spectrum of moods and emotions stretching through the music, the Adelaide five-piece bring a fresh language to folk music’s natural propensity to spin a good yarn.
So rather than offering borrowed references illuminated by the cosy flickers of campfire flames, on their debut album The Modern Shoe Is Ruining The Foot, the Australian band’s urgent songs conjure up vivid, widescreen vistas that blend the genre’s enduring charms with a musical dexterity and sharp vision reaching beyond folk’s usual corners.
“We are trying to make folk music for now,” suggests frontman Sam Wilson. “Turning it on its head in a new, sometimes uncanny way, because we don't want to just do the old thing again. I don't think it’s interesting to make things again, so we’re searching for a contemporary edge.”
The roots of this original yet inclusive approach, in part, go back to the Adelaide music scene that helped to forge Any Young Mechanic.

HITNRUN Phase Two is the final studio album that Prince released in his lifetime, arriving just a few months after the release of HITNRUN Phase One. It is now available on vinyl for the first time. Originally released in 2015, HITNRUN Phase Two features a mix of funk, soul, and rock, showcasing standout tracks like “Baltimore,” “Stare,” and “Rocknroll Loveaffair.”

Since 2018, BBE Music’s J Jazz Series of compilations and album reissues has been at the forefront in focussing attention on the hitherto cloistered and rarified world of Japanese jazz. True to the ethos of the series, curators Tony Higgins and Mike Peden have once again dug up a truly rare gem in the form of a 45 from the mysterious Christal Zone, originally released in 1971 only as a promo and reissued here for the very first time. Several years before pianist Tohru Aizawa and brothers Tetsuya and Kyoichiro Morimura formed the now-celebrated Tohru Aizawa Quartet — whose 1975 private- press spiritual jazz LP Tachibana Vol 1 has become a cornerstone of the J Jazz canon and previously reissued by BBE — they were already venturing into bold, experimental territory. Their 1971 single Rai Rai, released as a promotional 7-inch on Liberty Records under the short-lived moniker Christal Zone was written and arranged by koto player and composer Hideakira Sakurai. An almost unclassifiable hybrid of jazz, Japanese folk, Algerian raï, and free improvisation. Sakurai’s visionary approach dominates the track, blending traditional Japanese instrumentation with a dense polyrhythmic groove that evokes not only avant-garde jazz but also the raw street energy of Algerian raï — celebratory, unfiltered, and joyfully unrestrained. The story behind the recording of Rai Rai is as spontaneous as the music itself. While casually rehearsing at Sakurai’s villa, the group was overheard by producer Kunihiko Murai, who was so stunned by what he heard that he arranged a studio session for them the very next day. The resulting 7-inch — Rai Rai / Kanashiyana, released under the one-off Christal Zone name — is now one of the rarest artefacts in Japanese jazz, with original copies fetching astronomical prices among collectors. BBE Music has faithfully reproduced the original artwork and packaging to celebrate this extraordinary and super rare piece of J Jazz history. A piece that bridges the ancient and the future, Japan and North Africa, in under four minutes of controlled chaos. A truly one-of-a-kind artefact, Rai Rai is a manifesto from a generation unafraid to rip up the rulebook and follow their own path.

Part two of the FOX FIRE series is here, with more killer 1970's roots from Clive Matthews and Trevor Byfield. 'My Girl Has Gone' is Clive Matthews' first recording, originally released in the mid '70s on the Percival label, and recorded at Dynamic Sound with the Now Generation Band.

Detroit producer-MC Black Milk’s breakthrough album Popular Demand makes its long-awaited return to vinyl. Originally released in 2007, this project introduced Black Milk’s signature balance of warm soul chops, crisp drum programming, and sharp lyricism — earning praise from XXL, Pitchfork, and Okayplayer as one of the defining independent hip-hop releases of its era.
Unavailable on wax for several years and long sought after by collectors, Popular Demand now returns fully remastered for vinyl with updated packaging, making it available to new audiences and longtime fans alike.

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

Hey, Hey! Kicking off the 60th anniversary of The Monkees with a first-ever compilation of all their singles released between 1966-1970. Take a deep dive into The Monkees discography with needle-drops and original artwork from the original 7" singles, along with new liner notes by Andrew Sandoval.

Mit "Eon of Obscenity" erreicht die texanische Brutal-Death-Metal-Band STABBING neue Höhen der klanglichen Vulgarität. Das Album ist gespickt mit unerwarteten Momenten verdrehter Technizität und sinneszerstörender Kraft. Das Debüt des Quartetts beim Label Century Media übertrifft, überrollt und vernichtet die Konkurrenz gänzlich. Mit Tracks wie "Inhuman Torture Chamber" nimmt Sängerin Bridget Lynch ihren Platz als eine der kraftvollsten und markantesten Stimmen des Genres ein und macht ihrem ehemaligen Tourkollegen Ricky Meyer von Suffocation mit dem Track "Nauseating Composition" ordentlich Konkurrenz. Nachdem sie sich in der Underground-Szene einen Namen gemacht haben, mit Sanguisugabogg und 200 Stab Wounds (u. a.) auf Tournee waren und beim Maryland Deathfest und Milwaukee Metalfest bahnbrechende Auftritte geliefert haben, setzen STABBING neue Maßstäbe in Sachen Brutalität - und legen ohne Kompromisse noch eine Schippe drauf.

„Zuversicht“, das jetzt erscheinende fünfzehnte Album des laut Crescendo „klanggenialen Trompeters und Ausnahmekomponisten“ Nils Wülker, strahlt die Lebensenergie des Titels aus – in vielfacher, wunderbarer Hinsicht. Die elf Eigenkompositionen, eingespielt im Quartett mit den Jazz-Stars Aaron Parks (Grammy-Gewinner an der Seite von Terence Blanchard oder Joshua Redman) am Piano, Linda May Han Oh am Kontrabass (Grammy-Gewinnerin, u.a. mit Pat Metheny oder Kenny Barron zu hören) und dem laut Jazz Magazine „Drummer seiner Generation“ Greg Hutchinson, drängen den ECHO-Gewinner und Top Ten-Jazzer Nils Wülker bewusst aus seiner Komfortzone in eine schöne, neue Klangwelt. Wülkers Personalsound ist eindringlich und unverkennbar, das Ergebnis dennoch überraschend. Gemeinsam haben die Vier in nur dreieinhalb Tagen voll gemeinschaftlicher Schaffenskraft in den legendären Hansa Studios in Berlin (U2, David Bowie, Depeche Mode u.a.) ein Album geschaffen, das gleichermaßen zeitgemäß wie richtungsweisend ist – und in seinen starken Melodien und dem sagenhaften Interplay voll Zuversicht.


Das Resultat spricht für sich: „Zuversicht“ ist ein sehr organisches, in jeder Note lebendiges Album, dem die Kompositionen des Leaders in Kombination mit der kreativen Zusammenarbeit der drei weiteren Bandmitglieder enorme Größe und Eleganz verschaffen, eine immer wieder überwältigende Energie. Auch live auf Tour wird die Besetzung des Albums zu erleben sein – mit Nils Wülker an der Seite von Linda May Han Oh, Greg Hutchinson und anfangs, aufgrund von Termingründen, mit keinem Geringeren als Omer Klein am Piano. Gute Gelegenheiten, Nils Wülkers spontan entwickelte neue Stücke und die traditionsreiche, moderne Klangwelt dieser Musik unmittelbar zu erleben.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

"Key To The Kuffs has aged into excellence in the nearly five years since it first came out" Pitchfork

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space-age production from Jneiro Jarel can't fail. In practice, it's even better. DOOM is in the form of his life here." Mojo

"Here be GMOs and dead Indians and food and water as a 'secure investment' and an earthquake in Iceland and a discourse on melanin. Here also be the priceless couplet: 'Not to interrupt / But anybody else notice time speeding up?'" 9/10 Robert Cristgau, VICE

"Key To The Kuffs has aged into excellence in the nearly five years since it first came out" Pitchfork

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space-age production from Jneiro Jarel can't fail. In practice, it's even better. DOOM is in the form of his life here." Mojo

"Here be GMOs and dead Indians and food and water as a 'secure investment' and an earthquake in Iceland and a discourse on melanin. Here also be the priceless couplet: 'Not to interrupt / But anybody else notice time speeding up?'" 9/10 Robert Cristgau, VICE

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Purple vinyl. With Abyss Calls to Abyss, their third full-length album, Skulld bring to completion a path that began in 2019, a journey through old-school death metal, esoteric mysticism, and radical punk-rooted activism. Written and recorded in 2025, the album unfolds as an eight-track odyssey exploring the furthest edges of human and spiritual experience through a feminist, pagan, and anti-authoritarian lens. The abyss evoked by the album is not only an external, cosmic void, but also an inner, personal, and collective chasm, the place where death and rebirth collide, where wounds and healing, desire and destruction intertwine. Each song delves deep into the essence of being, merging ancestral ritualism, female mythology, social critique, and archetypal symbolism into a single, cohesive vision.

Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, Country and Folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol"s tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each others phrasing or working together to build momentum. Smith notes: "The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states." Every gesture on the album is rich with intention, moving with grace and playing with timbre and time.

Forked tongue stuffed deep in their cheek and rubber baby masks stretched over their heads, Ty & the Muggers bottle the free spirits of the Emotional Mugger tour, then heave them into the audience on this stomping BBC performance from 2016. Gloriously guttural and blown-out sonics support Ty"s all-to-the-wall vocal performances on every song. "LIVE" "AT" "THE" "BBC" puts the "sick" back into "satiric" and the "the fuh!?!" back into "FUN!". One side has all the music, the other side"s got a rendering of the babyman mask that"s haunted so many punters over long nights of the soul since then.

"Ranking Dread In Dub, originally released, on the Silver Camel UK label run by the late Tony Gorman, in 1982 is back in the shops with a completely remastered version that highlights the musical production of this classic album. The rhythm’s are provided by The Roots Radics and Sly & Robbie, with the tracks mixed at King Tubby’s. It also come back with the iconic artwork by Rod Vass."

Earl Morgan and Barry Llewellyn joined by Naggo Morris in 1978, with the genius engineer Sylvan Morris and the mighty Niney the Observer at the controls, and a crack band featuring Sly Dunbar. Every Day Life and Mr. Do Over Man Song are crucial, tip-top Heptones.

First-ever vinyl edition of Magic Castles' 2014 cult album The Lore Of Mysticore. A hypnotic blend of shimmering psych pop, hazy drones, and kaleidoscopic guitar textures, this record captures the Minneapolis band at the height of their creative powers. Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs. This first-ever vinyl edition brings the band's beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice. Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4 and Spacemen 3

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

Released in partnership with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey. Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart.

Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy. The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense.

Lenticular edition strictly limited to 1000 copies pressed on brown & green split vinyl, housed in a printed outer O-Card. Composer Edo Van Breeman told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

AboutBlank produces here 3 majestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM hardfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

The British guitarist and singer- songwriter -- a fixture of the European blues- rock scene for more than twenty years -- presents a record that marks both a fresh start and a natural progression, musically as much as personally. Asked whether there was an overarching theme to the songwriting, a reinvigorated Bryant answers without hesitation: "The album is about my rehabilitation and the changes I've made in my life." Nothing Left Behind is an unflinchingly personal work. Bryant speaks with striking honesty about the years when alcohol and restlessness dictated much of his existence. Yet this is far from a bleak album. "It's quite a positive, motivating record -- that was important to us," he says. "The songs reflect my new perspective.

Following their successful comeback, they dropped another album featuring a variety of country and pop songs, as well as covers of artists such as Jimmy Cliff and Randy Newman. The album is a stylistic follow- up to No Regrets , where the group blends their pop songs with romantic orchestral arrangements. The singles "Lines" and "We're All Alone" became firm favourites with fans, and the album is widely regarded as a hidden gem among fans of country pop and yacht rock

Rough Trade Records freut sich, die Veröffentlichung einer neuen Single von Lankum anzukündigen. Ursprünglich für die Tanzshow "Specky Clark" von Oona Doherty im Sadler"s Wells Anfang des Jahres komponiert, ist die Single eine eindringliche, fast übernatürliche Interpretation des Nummer-eins-Hits "Ghost Town" von The Specials aus dem Jahr 1981. "Ghost Town" erscheint als 12"-Vinyl mit einer kunstvollen Gravur auf der B-Seite. Zur Entstehung des Stücks erklärt die Band: "Ghost Town kam unter ungewöhnlichen Umständen zu uns. Oona Doherty, deren Arbeit wir bereits aus dem Video zu Gilla Bands 'Shoulderblades" kannten, erzählte uns von einem neuen Stück über ihren Ururgroßvater, der als Kind nach Belfast geschickt wurde, um bei seinen Tanten in einem Schlachthof zu arbeiten. Sie wollte für eine Halloween-Party-Szene ein Musikstück, das zunächst verschwommen und unkenntlich beginnt und sich dann in den bekannten Song von The Specials verwandelt. Anfangs waren wir zögerlich - ein Ska-Cover war nicht unbedingt unser Stil -, doch schließlich entschieden wir uns, es zu versuchen. Dabei entstand eine spannende Studioerfahrung, in der wir begeistert mit Synthesizern und Drum-Machines experimentierten, um einen rauen 90er-Techno-Sound für das Outro zu schaffen. Wir sind sehr zufrieden mit dem Ergebnis und dankbar, dass Oona uns ermutigt hat, neue Wege zu gehen. Es ist uns eine Ehre, diese ikonische Nummer neu zu interpretieren, deren Themen - städtischer Verfall, wirtschaftliche Not und Frustration der Arbeiterklasse - heute so aktuell sind wie damals."

This album is a beautiful union of the enchanting rhythms of Bossa Nova and the sophistication of jazz. Standout tracks from the album include Garota De Ipanema, Desafinado and Corcovado. This highly requested LP were released on a limitednumbered white viny LP in 2025 and now it will be re- released on 180g 'One Step Pressing' Vinyl LP.

Gelbes Vinyl, limitiert auf 200 Exemplare. Exklusiv für den Indie-Handel. Kommt mit Texblatt und Downloadcode. Great Resignation! So wird das massenhafte Kündigen von Bullshitjobs während der Corona-Pandemie bezeichnet. Die Verweigerung die eigene Arbeitskraft zu den widrigsten Bedingungen zu verkaufen, wenn es nicht mal zum Leben reicht. Auch wenn man sowieso bald wieder ran muss - nur für einen Moment spüren, die Macht zu haben alles lahm zu legen, hörten einfach alle auf: Wertschöpfung, Broligarchie, Kaufland, Deutschland. pogendroblem haben sich also nochmal zusammengerauft und ein neues Album gemacht. Drei Jahre für ein neues Album? In der Tat: Great Resignation. Oder zu wenig die Brotjobs gekündigt? Und wenn sie die Arbeit so hassen, warum haben sich pogendroblem dann noch weiter in die Musikindustrie reinbegeben? Widersprüche schärfen und aushalten. Ambiguitätstoleranz. Nachdem AWINHSMK Ende 2022 bei Audiolith erschien, ging es für die Band wild hin- und her zwischen Pop-Festivals, Punkbühnen, Preisverleihungen und Solishows für selbstverwaltete Kulturzentren oder gegen die extreme Rechte. Nun der Nachfolger Great Resignation bei Kidnap. Das Schulterklopfen der Kulturförderung darf natürlich auch nicht fehlen. Zwölf Tracks auf 1:22 bis 2:30. Ästhetisch nochmal diversifiziert und dennoch aus einem Guss, entstanden unter Regie von Gregor Hennig im Studio Nord Bremen, gemischt von Daniel Roesberg und gemastert von Christian Bethge. Musikalisch klarer und pointierter als zuvor. Obviously (Post-)Punk, poppige Niedlichkeit, Garage Vibes, bisschen Hamburger Schule, bisschen Kraut, etwas düsterere Gitarren und natürlich Brotschneidemaschine durch FX geballert. Große Resignation! Die große Traurigkeit zieht sich durch die Platte hindurch, auch in den auf den ersten Blick lustigen Liedern. Denn hier sind sich pogendroblem treu geblieben, es geht um absurde Alltagsgeschichten, um Subjektivierung, die nicht mehr zu funktionieren scheint. Um Fragmentierung von Gesellschaft, Arbeitsbeziehungen, der Linken. Wie durch die Zeit der Monster (Antonio Gramsci) navigieren, fragen pogendroblem. Wie weiter machen gegen Faschisierung und Klimakrise? Klar ist: Es kann nicht immer so weitergehen.

36 Jahre nach dem Fall der Mauer, präsentieren Dirk Zöllner (Die Zöllner) und Manuel Schmid (Stern-Combo Meißen) die schönsten Balladen aus dem
Land vor unserer Zeit. Keine Nostalgie Show, sondern Pflege eines hochwertigen Kulturerbes. Ein opulentes klangliches Erlebnis mit zwei Sängern,
zwei Klavieren, Saxophon, Gitarre. Lieder von Lift, Karat, Biege, Bartzsch, Bicking und Lakomy. Sänger und Pianist Manuel Schmid sorgt auch mit
eigenen Alben in der deutschsprachigen Musikszene für Aufsehen und hat 2024 mit der EP „Die Himmelsscheibe von Nebra“ die Stern-Combo Meißen
wieder in aller Munde gebracht. Saxophonist Marek Arnold ist in der internationalen Progressive-Rock Szene längst eine feste Größe und hat
gemeinsame Alben mit Steve Hackett (GENESIS), Jon Anderson (YES) oder Derek Sherinian (DREAM THEATER) veröffentlicht. Das vorliegende
Konzertmitschnitt wurde von ihm bearbeitet und gemixt. Sänger Dirk Zöllner und der Pianist André Gensicke arbeiten seit November 1987 zusammen
und gründeten im Juni 1988 ihre Bigband „Die Zöllner“. Sechzehn Alben erschienen in den vergangenen 35 Jahren. Zöllner veröffentlichte außerdem
vier Bücher und engagiert sich als Kolumnist der „Freien Presse“ für einen friedvollen gesellschaftlichen Zusammenhalt. Das Raue und das Weiche,
das Improvisierte und das Klare – schon mehrfach kam es zur Symbiose der sehr unterschiedlichen Stimmen von Dirk Zöllner und Manuel Schmid. In
Zeiten von Corona veröffentlichten die beiden ein Wohnzimmerkonzert mit besagtem Liedgut. 2024 wurde die Symbiose nun live erlebbar und als
Mitschnittfestgehalten.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."