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Released in 1991, Nocturnal Emissions' otherworldly drone transmission Cathedral receives its first vinyl edition after years out of print. 2xLP edition of 600 on red & black marble/blue & black marble in deluxe jacket with silver foil and 12-page booklet.

-the groundbreaking third album from 1991

-first remastered re-release & also on vinyl for the first time

-Booklet/inlay with liner notes by guitarist Markus Steffen

-produced by Charlie Bauerfeind at AHA Studio, Munich

When four young musicians from Munich founded the thrash
band Sodom in the early eighties, nobody could have guessed
that they would deliver a milestone for European progressive
metal with their debut album „Life Cycle“ in 1988. Changes
could already be heard on „Steps“ (1990) and on „A Sense
Of Change“ in 1991 they managed to get fans of prog and art
rock on board for the first time. With the much more melodic
singer Jogi Kaiser, who is still active in musicals today, and a
reduced metal component, this balancing act was achieved
in an impressive way. It was the first Sieges Even album
that was no longer released as an LP by the label at the time
(Steamhammer/SPV), but only on CD. „A Sense Of Change“
was very successful in certain circles, but the band parted
ways with guitarist Markus Steffen. The following two albums
deviated from the previous style, but the reunion took place
in 2005, producing „The Art Of Navigating By The Stars“ and
„Paramount“. The chapter was closed in 2007 with the live
album „Playgrounds“. Markus Steffen and singer Arno Menses
founded Subsignal, who are still successfully active today.
„A Sense Of Change“ is finally being re-released in 2024,
with the argument „for the first time on vinyl“ standing out in
particular. The material was first remastered, then mastered
separately for CD and LP. The booklet and LP insert contain
images from the original release as well as liner notes by
guitarist Markus Steffen. The album was produced by Charlie
Bauerfeind in 1991.

-das wegweisende dritte Album von 1991
-erste remasterte Wiederveröffentlichung & erstmals auch auf
Vinyl
-Booklet/Inlay mit Liner Notes von Gitarrist Markus Steffen
-produziert von Charlie Bauerfeind im AHA-Studio, München

Als vier junge Musiker aus München Anfang der Achtziger
die Thrash-Band Sodom gründeten konnte niemand ahnen,
dass sie 1988 mit ihrem Debütalbum „Life Cycle“ bereits
einen Meilenstein für den Europäischen Progressive
Metal ablieferten. Schon auf „Steps“ (1990) konnte man
Veränderungen hören und auf „A Sense Of Change“ schaffte
man es 1991 erstmals, auch Fans des Prog- und Artrock
ins Boot zu holen. Mit dem wesentlich melodischeren
Sänger Jogi Kaiser, der heute noch in Musicals aktiv ist,
und einem reduzierten Metal-Anteil gelang dieser Spagat
auf beeindruckende Weise. Es war das erste Sieges Even
Album, welches vom damaligen Label (Steamhammer/SPV)
nicht mehr als LP, sondern nur noch auf CD veröffentlicht
wurde. „A Sense Of Change“ war in bestimmten Kreisen sehr
erfolgreich, dennoch trennte man sich von Gitarrist Markus
Steffen. Die folgenden zwei Alben wichen vom bisherigen
Stil ab, doch 2005 erfolgte die Reunion, die „The Art Of
Navigating By The Stars“ und „Paramount“ hervorbrachte.
Mit der Livescheibe „Playgrounds“ wurde das Kapitel 2007
geschlossen. Markus Steffen und Sänger Arno Menses
gründeten Subsignal, die bis heute erfolgreich aktiv sind.
„A Sense Of Change“ erfährt 2024 endlich die überfällige
Wiederveröffentlichung, wobei das Argument „erstmals auch
auf Vinyl“ besonders hervorsticht. Das Material wurde erst
remastert, dann für CD und LP separat gemastert. Das Booklet
und der LP-Einleger enthält neben Abbildungen vom OriginalRelease auch Liner Notes von Gitarrist Markus Steffen. Das
Album wurde 1991 von Charlie Bauerfeind produziert.

Individually, JD Simo and Luther Dickinson are building their own legacies as solo artists, sidemen, songwriters, and guitar heroes. Together, they're a creative force to be reckoned with, making their own version of amplified American roots music. On the pair's first collaborative album, Do The Rump!, the musicians trade blistering guitar solos, take turns at the microphone, and turn their classic influences -- including hill country blues, spirituals, swamp rock, and Afrobeat -- into something contemporary, reinterpreting a number of their old-school favorites into eclectic, electrifying anthems. The partnership began onstage, where Simo and Dickinson first shared the spotlight as touring members of Phil Lesh and Friends. Dickinson had already established himself as co-founder of the Grammy-winning duo North Mississippi Allstars, as well as a celebrated guitarist for acts like Black Crowes and John Hiatt. Similarly, JD Simo had built an audience not only with his solo project, but also as a session musician for Jack White, Beyonce, Chris Isaak, and Baz Luhrmann's Elvis movie.

In a joyous reunion after a long, 7-year hiatus, the Neil Cowley Trio reconvene giving rise to a creatively inspired recording, 'Entity', their 7th studio album. In 2006 the Neil Cowley Trio burst onto the scene with an exciting sound that fizzed with energy; their muscular anthems, galloping grooves and tender moments placed them at the forefront of the new 'post jazz' movement, paving the way for 6 highly acclaimed albums over 10 years. Cowley then pressed 'pause' to pursue a solo career - no less successful - with a focus on electronica. Now, stirred by his extended time of solitary music making, he makes a firm statement about the joy, comfort and the rewards of human connection in the digital age. Joining Cowley are his close musical allies, bassist Rex Horan and drummer Evan Jenkins; three friends giving their all to each other. Cowley is a brilliant composer and dazzling pianist and the trio flame still burns bright. 'Entity' is a magnificent return to form cementing the 'Neil Cowley Trio sound' - head-nodding wonky grooves, killer melodies, emotionally charged pieces with a glass like fragility laced throughout. It is a mature, sophisticated album of deeply impassioned music, delicate beauty, hooks aplenty and an ode to friendship.

Saint Julian had established Julian Cope as something of an establishment anti-hero and audiences, who'd been reacquainted with him were expecting more of the same. Instead, Cope changed his band line-up and attempted to mix funk and Krautrock on his new material; Chris Blackwell paired him with veteran US producer Ron Fair. The album produced three singles including "Charlotte Anne" which was a minor hit in the US. Album opener, "5 O'Clock World", a cover of a 1965 Vogues song, is light and poppy and the seven-minute title track, complete with strings and a harmonica solo, is one of the greatest (and perhaps only) attempts to merge go-go beats with post punk. There is a great deal to enjoy on My Nation Underground, underlining as it does Julian Cope's desire to continually push the envelope. My Nation Underground is an album ripe for rediscovery - This re-issue faithfully replicates the original 1988 Mercury Records UK release and is pressed onto high quality 180g vinyl.

In 2023, underscores released her highly anticipated sophomore album Wallsocket via Mom+Pop, a 12-track narrative body of work that delves into the lives of the citizens who occupy Wallsocket, Michigan. Surrounding the campaign, she immersed fans in an alternate reality game (ARG) which led players through various local-business websites to unlock unreleased music and giveaways. Wallsocket quickly gained the attention of critics with rave reviews coming from NME, The Atlantic, The Guardian, Line of the Best Fit, and Anthony Fontano of The Needle Drop. The development of underscores’ live shows have been equally as remarkable as her recorded work. Following the Gecs tour, she hasn’t stopped touring with multiple sold out headline shows in New York, Los Angeles, Chicago, San Francisco, and London, and several festival appearances including the main stage at Lollapalooza, Electric Forest, FVDED in the Park, Capitol Hill Block Party, Meow Wolf’s Vortex Festival, and most recently Corona Capital CDMX and Governors Ball NYC. She embarked on her first worldwide headline tour selling out shows in the US, Canada, Japan, Australia, the UK, and Europe, and she’s slated to perform at Outside Lands and Reading & Leeds Festival this summer 2024. She was recently announced as direct support to her label-mate Porter Robinson on the Europe/UK leg of his worldwide tour in February 2025. To put a cap on the “Wallsocket era” underscores is releasing and extended version titled Wallsocket (Director’s Cut) which includes “four deleted scenes” from the Wallsocket story.

Wynd Chymes' 1982 album Arrival is a standout in the funk and R&B genre, highlighting the band's dynamic sound and tight musical arrangements. Released on RCA Records, the album features the recognizable and addictive production of Anthony Lockett of Cameo and includes the diggers' classic ""Body Rap"". Known for their compelling blend of funk, soul and jazz influences, Wynd Chymes showcases their musical prowess and distinctive style on Arrival. This album is a testament to the vibrant funk scene of the '80s, with catchy hooks and rhythmic grooves that keep listeners engaged. A must-have for fans of classic funk and R&B, Wynd Chymes' Arrival captures the essence of the era's musical innovation. Arrival is available as a limited edition of 500 copies on blue coloured vinyl and includes an insert.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire_ a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
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Repress

MILES001 consists of two contemporary re-edits of some widely appreciated tracks that everyone should know.
The A side is a reflip of a certain trance anthem from the 90s. The B side contains a rework of a RnB'ish charthit from not too long ago.

Hazardous D&B reworks for club situations!

Rage Queen Delilah Bon is a force to be reckoned with blending elements of hip-hop, nu-metal, and riot grrrl ethos into her signature "Brat Punk" style. Her music serves as a fierce anthem for marginalized communities, particularly women, non-binary and the LGBTQ+ community. Her performance at the 2023 Glastonbury festival garnered acclaim from Kerrang!, who hailed her as a ‘standout voice in the rise of bold and bratty heavy music’. This recognition secured her a coveted spot on Kerrang!'s 'Sound of 2024' artist list and further recognition as ‘New Noise’ artist in Metal Hammer magazine and full feature in Clash Magazine. 2024 promises to be a monumental year for Delilah Bon, with a series of highly successful single and video releases to date and her highly anticipated album ‘Evil, hate Filled Female’ due for release in September. She’s also playing a host of Summer festivals including Download, Glastonbury, 2000 Trees and several European festivals including Rock For People in Czech Republic and Metropolis Festival in the Netherlands, with more to be announced! Her singles from the upcoming album, “Maverick” and "Finally See Me” have received widespread support from BBC Radio 1 and Kerrang! Radio, earning coveted spots as Track of the Week’ on Alyx Holcombe’s BBC Radio 1 Introducing Rock Show, ‘Future Flavour’ on Nels Hylton’s BBC Radio 1 Future Alternatives and ‘Track of the week’ on Kerrang! New Noise with Hope Lynes. She’s also had major editorial support from Spotify, Apple Music, Deezer and Amazon Music, including her 3rd Misfits 2.0 playlist Cover artist. Delilah Bon's international appeal was further solidified by her support slot on US artist Scene Queen's UK tour in 2023 and performances at sold-out arena shows in France earlier this year supporting French band Shaka Ponk. Notably, she made National television appearances on Le Late Show and Taratata TV in France, showcasing her magnetic stage presence to a global audience. With her bold persona, genre-defying sound, and unwavering commitment to amplifying marginalized voices, Delilah Bon continues to cement her status as a trailblazer in the music industry.

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

Ever been hit in the face with a wooden plank stuffed with rusty nails? Me neither, but I imagine the effect would be something like the sensation of having Montreal five-piece Puffer blasted into your eardrums. Put simply, this is the midpoint between hardcore and dirty ol’ rock’n’roll - part Poison Idea going dumpster-diving outside the garages of Melbourne’s punk scene, part Fucked Up playing their X records on a rotary sander. They’re equally at home with a pacy blur of riffs as they are going for a four-to-the-floor stomp; either way, the ragged larynx sits perfectly astride the roar, while the guitars go full Bob Stinson at his too-drunk-to-fuck-up best. You can practically hear the leather jackets creaking between phrases. This is music to move to. So what better place to start with this band than an LP compiling their must-have demo from 2022 and the remarkably excellent self-titled EP that followed in 2023? Originally released by New York’s increasingly-essential hc label Roachleg Records, these two highly digestible bursts of punk’n’roll complement each other perfectly. Whether you get your giddy thrills from the raw-as-hell likes of opener ‘Suffering’, or from the non-more-anthemic, holy-shit-I-need-to-bang-my-skull-against-the-wall double whammy of ‘Sister Marie’ and ‘Hard Way To Go’, you are guaranteed to find something to love here. You could always try hitting yourself with that plank, but you’ll probably find you return to this more often. Drunken Sailor delivers the goods again. Get the fuck involved.

Produced by J Lloyd (Jungle 12M MLs) and James Skelly, What Can I Say After I'm Sorry? ushers in the start of the band's 5th album campaign. The album titled Gary is named after a 8 foot fibre glass gorilla was stolen from a Lanarkshire Garden Centre in early 2023, and since then there has been a campaign to locate him, his rear end was recently found, but his frontage is still missing! Cameo from Everton Football Manager Sean Dyche…



The band's 5th album comes after four top 5 albums in the UK. Blossoms’ 2016 debut topped the album charts for two consecutive weeks and went on to earn the band BRIT Award and Mercury Prize nominations, while 2018’s Cool Like You charted at Number 4 in the UK album chart, spawning the anthemic singles I Can’t Stand It, There’s A Reason Why (I Never Returned Your Calls) and How Long Will This Last? Their third studio album, 2020’s Foolish Loving Spaces was the band’s second UK Number 1 album and following the release of In Isolation/Live From The Plaza Theatre, Stockport in 2020

2026 Repress

Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany, Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom, oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her music into new territory. The resulting work, Un American Activities, is a love note not only to the artist who was among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed, slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout, however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of fighting oppression with full hearts of hope.

Endeckt die Electronic Music Anthology Collection neu. Diesmal dem TipHop gewidment. Echte Perlen, liebevoll ausgewählt vom französischen privaten Rundfunksender FG, gesammelt auf 2 Vinyl.

Quintessential compilation of early collaborations by Silverlining (aka Asad Rizvi) with other artists between the golden years of 1996 and 2001. The album reinvigorates several timeless tracks—some known, others rare or unreleased—across a beautifully packaged 3LP with extensive sleeve notes and exceptional analogue mastering. The album includes sought-after and rare works by Two Right Wrongans, Impossible Beings, Appleheadz, Southern Comforters, and Bluegoose vs. Silverlining. The compilation includes one previously unreleased Impossible Beings track rescued from DAT archives. Moving from blissed-out listening into up-tempo underground grooves and then back, the anthology serves both headphone and heads-down-on-the-dancefloor listeners alike.

DJ Support: Liquid earth, Aladdin, Julian Anthony, Will & Batty, Ray Mono, Venard

Lungo makes his return to Groove Arcade this time with a 4 track solo EP. He’s created a beautiful all rounder with something for everyone but every track is still oozing with GA flair.

The A side brings us ‘La Gente’ and ‘Romantic’. The former being the party starter with a vocal that’s guaranteed to get the crowd excited, while the latter brings the tempo down with lush synths and a driving bassline.

The B side starts off with ‘I Understand Perfectly’, a silky smooth groove with an electro inspired bass line and a killer piano hook. The EP is then complete with ‘I Forgot The Password’, full of nostalgic melodies, computerised sounds and 8 bit vocal samples perfect for winding down at the end of the night.

Dark Entries returns to Mexico with Back Up Dos: Mexican Tecno Pop 1982-1989. Following 2021’s Back Up compilation, Back Up Dos delivers 10 more tracks of synth-pop and New Beat, 7 of which have never before appeared on vinyl. From mutant drum machine beats to irresistible synthesizer hooks, fans of the fringes of the 80s will find songs to stir their cold, dark hearts. But Back Up Dos does more than mine retro kitsch; it documents the development of a rich DIY music scene that is still underexplored. As affordable samplers and digital synths spread throughout the decade, post-punk and new wave gave way to more aggressive EBM and cyberpunk sounds. The scene also developed in opposition to the political climate of the times: the rise of the drug cartels and a reactionary turn in national politics. Using home recording techniques, these bands took cues from the electronic wizardry of the Human League and Wax Trax Records while reflecting the vibrant and chaotic Mexican cultural landscape of the era. On Back Up Dos, impeccable pop anthems from Casino Shanghai and Los Agentes Secretos sit alongside gnarled obscurities from Ford Proco and María Bonita, showcasing a decade of sly deviance and enthusiastic experimentation. This album comes housed in an 80s-inflected neon sleeve designed by Gwenael Rattke and includes a 12-page booklet with photographs, lyrics, and notes. Back Up Dos compiles synthetic music produced in Mexico at the crossroads from Tecno Pop to Post-Industrial, nourished by culture shock and stories of dystopian worlds.

ERIN Collective is an ensemble of musicians from the Bologna scene born in March 2022 from an idea/project by Gionata Lazzari
shared over time by Valentino Pirino, Filippo Cassani, Andrea Lazzari, Marcello Pala, Federico Magazzeni, Giuseppe Sardina and
Francesco Antico. Their repertoire, inspired by the Afrobeat of the 70s, is composed of original songs written by Pirino/Lazzari and
arranged together with the other members of the group. The style looks to Afrobeat and some of its artists such as Fela Kuti, and
Ebo Taylor, but also focuses on contemporaneity and other artists such as Antibalas, Budos Band, Tony Allen and other sounds from
other areas of Africa. “Alternative Positive”, anticipated by the singles “Kalam Layl” and “Alafia” is their first LP, which follows the
release of the Ep “Same Blood” in 2023 and which marks the meeting between the band and the label Irma Records. The album,
strongly influenced by Afrobeat sounds with funk nuances, contains 8 original songs written by Pirino / Lazzari and arranged together with the other members of the group, three of which are instrumental, 4 sung by the Nigerian artist Devon Miles and one by the
Moroccan artist Reda Zine. The songs on “Alternative Positive” all have a social value: for ERIN Collective, music takes a stand
against inequalities and tries to break down borders and barriers, calling on everyone to commit themselves to rights for peace for
resistance to racism and inequalities of all kinds. All this requires commitment and a choice. Music makes you dance, makes you
smile, raises your spirits, creates bonds. ÈRÍN means smile, laughter in Yoruba language and it is through this attitude that one can
meet the other and that one can defeat fears, borders, cultural differences, hatred and wars. The titles and the meaning of the lyrics
of this debut album recall this horizon.

Following the phenomenal success of the original 'Modern Stalking' EP in 2007, Lovebirds triumphantly returns with the highly anticipated sequel, 'Modern Stalking Vol. 2.' Known for their uncountable releases and timeless Music like 'I Want You in My Soul' and 'In the Shadows,' Lovebirds continues to deliver high-quality music with this new EP.

After the highly anticipated debut album “Sugar Honey Iced Tea!,” the dynamic NYC duo strikes once more with a double pack of alternate versions and remixes. Craig Handfield and Brandon Weems, better known as musclecars, have unveiled a dance music masterpiece, now graced by the touch of house music legends Louie Vega and Maurice Fulton.

This double pack showcases multiple versions of “Tonight,” remixed by dance music maestro Louie Vega, who momentarily stepped away from his Masters At Work ventures to infuse this project with his magic. The main remix unfolds like an epic journey adorned with orchestral elegance, while the dub versions range from festival anthems (NV South Jersey Mix) to tracks that echo the early Masters At Work essence (Louie Vega’s Bronx Dub).

Additionally, we are gifted a new version of “Hello?” reimagined by Maurice Fulton. In this version, Maurice’s signature live bass lines intertwine with exuberant, hard-hitting percussion, casting a whimsical light on the deep, introspective original.

Complementing the remixes from musclecars’ esteemed inspirations, we encounter two new versions of “Ha Ya! (Eternal Life)” and “Water,” both stripped of percussion to reveal the stunning arrangements, textures, and harmonies. These renditions are accompanied by a full side of musclecars’ dance odyssey “I Don’t Remember The Last Time I Saw Stars.”

The Double Honey Pack is a tour de force. It’s a rarity to witness two legends unite to elevate an already stellar project, yet Vega and Fulton achieve just that. Meanwhile, Weems and Handfield meticulously peel back the layers, allowing the intricate details to shine. This promises to be the release of the summer!

This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people. Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem.

Boxset contains:

3 x Vinyl, LP, Album
2 x CD, Album
2 x Cassette, Album
3 x DVD, Multichannel, Stereo

Die große Antilopen Gang hat zwei (!) neue Alben im Kasten. Pünktlich zum fünfzehnten Bandjubiläum legen Danger Dan, Koljah und Panik Panzer nicht nur ihre sechste gemeinsame HipHop-Platte, sondern zugleich auch ihr längst überfälliges Punkrock-Debüt vor. Beide Alben ergeben zusammen die Doppel-LP »ALLES MUSS REPARIERT WERDEN« und bündeln mit Nachdruck, was im Antilopen-Kosmos seit jeher Hand in Hand geht. »ALLES MUSS REPARIERT WERDEN« ist kein schnödes Crossover-Experiment, sondern das erste Hälfte-Rap-Hälfte-Punk-Doppelalbum der Musikgeschichte. Und: Das Punk-Album enthält keine Interpretationen alter Lieder, sondern ausschließlich neue Songs, auf denen auch nicht gerappt, sondern gesungen oder geschrien wird. Ein Meilenstein! »ALLES MUSS REPARIERT WERDEN« erscheint am 13. September 2024 auf dem bandeigenen Label Antilopen Geldwäsche.

Die große Antilopen Gang hat zwei (!) neue Alben im Kasten. Pünktlich zum fünfzehnten Bandjubiläum legen Danger Dan, Koljah und Panik Panzer nicht nur ihre sechste gemeinsame HipHop-Platte, sondern zugleich auch ihr längst überfälliges Punkrock-Debüt vor. Beide Alben ergeben zusammen die Doppel-LP »ALLES MUSS REPARIERT WERDEN« und bündeln mit Nachdruck, was im Antilopen-Kosmos seit jeher Hand in Hand geht. »ALLES MUSS REPARIERT WERDEN« ist kein schnödes Crossover-Experiment, sondern das erste Hälfte-Rap-Hälfte-Punk-Doppelalbum der Musikgeschichte. Und: Das Punk-Album enthält keine Interpretationen alter Lieder, sondern ausschließlich neue Songs, auf denen auch nicht gerappt, sondern gesungen oder geschrien wird. Ein Meilenstein! »ALLES MUSS REPARIERT WERDEN« erscheint am 13. September 2024 auf dem bandeigenen Label Antilopen Geldwäsche.

On January 19, 2024, the legendary post-punk band De Brassers played their farewell concert in a completely sold-out Brussels Ancienne Belgique. It was a very memorable evening with guest appearances by Sietse Willems (Meltheads) and Stijn Meuris.
In short, a unique and historic concert now released on vinyl and CD by Antler, the label that helped found the birth of Belgian post-punk and cold wave. A release not to be missed, both for those who attended that evening and for those who could not get tickets
at the time and can now enjoy it thanks to this album.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Sam Shepherd alias Floating Points hat heute angekündigt, dass sein neues Album, „Cascade“, am 13. September 2024 via Ninja Tune erscheint.

„Cascade“ ist eine Eruption unvollendeter Angelegenheiten. Ende 2022 fand sich Shepherd, der dafür bekannt ist, so frei zwischen den Genres zu wechseln, wie es sein Künstlername andeutet, in der kalifornischen Wüste wieder, um an etwas Neuem zu arbeiten. „Mere Mortals“, seine erste Ballettmusik, die in Zusammenarbeit mit dem San Francisco Ballet entstand, sollte eine Kollision von Klang und Tanz sein, die die antike Parabel von Pandora durch das Prisma der Technologie erforscht. Auf „Promises“, seinem Vorgängeralbum, das 2021 veröffentlicht wurde, tauschte er seine typischen modularen Synthesizer-Teppiche und komplizierten Drum-Patterns gegen luftige Traumlandschaften aus, die er mit dem legendären Saxophonisten, Pharoah Sanders, und dem London Symphony Orchestra entwickelte. Diese Zusammenarbeit war so beliebt, dass eine Mercury Prize-Nominierung und ein ausverkauftes Konzert im Hollywood Bowl im September 2023 folgten. Zwischen diesen Projekten und einem bevorstehenden Anime-Score für Adult Swim, könnte es von außen betrachtet so aussehen, als ob Shepherd die Tanzfläche für immer verlassen würde. Aber während er tagsüber an seiner Ballettmusik schrieb, sehnte er sich nachts nach der schweißtreibenden Gemeinschaft einer Tanzfläche. Nach der pulsierenden Unbekümmertheit der elektronischen Musik. Im November 2019 veröffentlichte Shepherd sein von Kritiker:innen hochgelobtes zweites Studioalbum, „Crush“. „Cascade“ wurde als Nachfolger:in von „Crush“ konzipiert, um Album (und Publikum) die Möglichkeit zu geben, Floating Points noch einmal in seiner traditionellen Form auf einer Tanzfläche zu erleben: voller Buchla-Rhythmen, glitchenden Melodien, die einen Raum voller wogender Körper verzaubern. Die neun Songs dürfen bis zu acht Minuten am Stück schwelen und funken, was eine weitreichendere Erkundung von Sounds und Grooves als zuvor ermöglicht. Fast ein Jahrzehnt nach seinem vielbeachteten Debütalbum, „Elaenia“, hat der Komponist Wege gefunden, seine Experimente außerhalb der Clubmusik nahtlos in seine für die Tanzfläche konzipierte Musik einzubinden.

a A1. Vocoder Club Mix

• Pressed to vinyl for the first time

• Manufactered by Polysom (Brazil)

• Produced by Arto Lindsay, arrangements by maestro Arthur Verocai (Strings) and trombonist Antonio Neves (Horns).

• Special guest appearances by Jorge Drexler, Seu Jorge, and Flor



"Portas" easily showcases Marisa's ability to blend together a diverse range of genres with a style and smoothness that only comes from the expertise she has gathered throughout her celebrated career.



Having already received numerous prestigious awards throughout her artistic career, the announcement of this album has left fans eagerly awaiting its release. In addition to her four Latin Grammy wins, she is considered the greatest Brazilian singer of her generation, known for the creative power of her live performances and the consistent excellence of her entire discography – the new album being no different.

Etran de L'Aïr, die Sterne der Luft, die am längsten bestehende Hochzeitsband in Agadez, der Hauptstadt der Tuareg-Gitarre, kehren mit einem neuen Album mit sonnenbeschienenem Wüstenklang zurück! Ihr erstes Album, No.1, brachte ihre Musik den Kritikern und Fans näher. Ihr zweites Album, Agadez, führte sie auf internationale Tourneen. Und jetzt sind sie zurück mit 100% SAHARA GUITAR, bereit, die Welt zu erobern, mit diesen swingenden Melodien, wie ein vom Meer her wehender Sandsturm . Etran de L'Aïr sind 100% SAHARA, und das gilt auch für die Band, alles Söhne aus Agadez, darunter die Brüder Moussa, Abdoulaye und Abdourahamane,und ihr lieber Freund, der jüngste der Gruppe, Alghabid. Alle Brüder schreiben und spielen Gitarre und tauschen die Instrumente aus, während Alghabid die vier auf dem Boden hält. Mit 100% SAHARA GUITAR sind Etran de L'Aïr zurück, um den Thron zu erobern, mit ihrem ersten Studioalbum! Und was für ein Sound das ist. Aufgenommen in sonnigen Studios an der Westküste, bringen die Brüder den alten Agadez-Sound auf ein neues Niveau. Sie fügen noch mehr Gitarren hinzu und verweben Schichten von halligen Melodien und schimmernden Harmonien zu einem Klangteppich. Wie viel Gitarre können sie in eine Platte packen? Die Antwort lautet 100%.

Etran de L'Aïr, die Sterne der Luft, die am längsten bestehende Hochzeitsband in Agadez, der Hauptstadt der Tuareg-Gitarre, kehren mit einem neuen Album mit sonnenbeschienenem Wüstenklang zurück! Ihr erstes Album, No.1, brachte ihre Musik den Kritikern und Fans näher. Ihr zweites Album, Agadez, führte sie auf internationale Tourneen. Und jetzt sind sie zurück mit 100% SAHARA GUITAR, bereit, die Welt zu erobern, mit diesen swingenden Melodien, wie ein vom Meer her wehender Sandsturm . Etran de L'Aïr sind 100% SAHARA, und das gilt auch für die Band, alles Söhne aus Agadez, darunter die Brüder Moussa, Abdoulaye und Abdourahamane,und ihr lieber Freund, der jüngste der Gruppe, Alghabid. Alle Brüder schreiben und spielen Gitarre und tauschen die Instrumente aus, während Alghabid die vier auf dem Boden hält. Mit 100% SAHARA GUITAR sind Etran de L'Aïr zurück, um den Thron zu erobern, mit ihrem ersten Studioalbum! Und was für ein Sound das ist. Aufgenommen in sonnigen Studios an der Westküste, bringen die Brüder den alten Agadez-Sound auf ein neues Niveau. Sie fügen noch mehr Gitarren hinzu und verweben Schichten von halligen Melodien und schimmernden Harmonien zu einem Klangteppich. Wie viel Gitarre können sie in eine Platte packen? Die Antwort lautet 100%.

Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Madonna is reissuing LIKE A PRAYER this summer to celebrate the acclaimed album’s 35th anniversary. Pressed on opaque silver vinyl, it will be the second release from the Silver Collection, a series of limited-edition vinyl reissues celebrating 40 years of Madonna’s illustrious career. The Silver Collection debuted last year with True Blue and will continue to spotlight other Madonna albums in the coming months.
Originally released on 21 March 1989, LIKE A PRAYER quickly became an iconic album, acclaimed by critics and cherished by fans. It was Madonna’s fourth studio release and one of the most personal albums of her career. The title track became Madonna’s seventh No. 1 hit in the US. In the UK, the album was a major success as well, topping the UK Albums Chart and solidifying Madonna's status as a global superstar. A massive international success, the album has sold 15 million copies worldwide and remains a favourite among fans.
The repress has been hotly anticipated from fans and we plan to run heavyweight online promotion including new content from the Madonna socials (FB 19m / IG 19m).

JOYCE ist das neue Projekt von Jimmy Watkins (ex-Future Of The Left) mit einer Reihe Musikerfreunde, darunter Phil Thornalley (The Cure), Joe Hicklin (BIG SPECIAL), Gwenllian Anthony (Adwaith) und Paul Broome (Fauxchisels). Ihr Debütalbum wurde von Thom Edward (God Damn) bei KK's Steel Mill produziert, dem Studio des Judas Priest-Gitarristen Kenneth 'K.K.' Downing Jr. VOYCE ist ein wahres Soundkaleidoskop mit schnellen Indie-Pop-Krachern, Hits mit herrlich ausgelassenem Noise-Rock und nachdenklichen Spoken Word-Momenten. Ltd. Auflage auf "Luna Yellow" Deluxe Eco Mix Vinyl. 10% der Einnahmen gehen an die Wohltätigkeitsorganisation Prostate Cymru.

- "Rejoice at the power of Joyce with Voyce!" - Craig Charles, BBC 6 Music
- "X-Posure Hot One" – John Kennedy, Radio X

"Moon Mirror, Nada Surf’s new record, has everything fans love and expect from them. Bittersweet anthems that begin quiet but explode into soaring harmonies? Check. Songs that are play-on-repeat heart punches? Check. Songs that are poetic and thought-provoking while also being absolute belt-at-the-top-of-your-voice-with-the-windows-down masterpieces? Check. It’s all here.

For the past 30 years, Nada Surf has had the same core lineup: Matthew Caws, Daniel Lorca, and Ira Elliot. Moon Mirror, their first for New West Records, was produced by the band and Ian Laughton at Rockfield Studios in Wales. For the recording, Matthew, Daniel, and Ira were joined by their friend and longtime keyboard player Louie Lino.

Moon Mirror is a thrilling and moving leap forward for Nada Surf. The songs on the album are true to the human experience—as meaningful and mysterious and sometimes absurd as it is. There’s love, yes, but also grief, deep loneliness, doubt, wonder, and hope. These are not the songs of a band in their 20s. There is hard-won wisdom here, and hard-won belief in possibility—the kind that comes from falling down and getting back up."

Over a catalog of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules.

Formed a decade ago, Native Harrow spent their first five or six years crisscrossing the United States and Canada on numerous tours, averaging more than 150 concerts per year in 47 states and 4 provinces, on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.” The critical acclaim and Americana chart success of the album prompted three back-to-back UK tours in 2019 and early 2020, ultimately leading to a three-year stint living and touring in the UK and Europe. In this time, Native Harrow released two more critically acclaimed records with Loose; Closeness (2020) and Old Kind of Magic (2022), playing for audiences ranging from rock clubs in Norway and Sweden to opera halls in Portugal, and every stop in-between, as well as performing at festivals such as BST Hyde Park (supporting the Eagles and Robert Plant & Alison Kraus), Greenman Festival, Black Deer Festival, The Great Escape, Celtic Connections, Moseley Folk Festival, SXSW, and many more.

Following the eruption of its title track, Side A of “Divided Kind” transitions nimbly through hazy tremolo-laden dusty canyons, past an intimate soulful love letter, and towards a moody anthem of devotion buoyed by propulsive grooves, before ultimately settling on a gentle bird’s-eye-view of love and transcendence. Side B opens with the debut single, “Goin’ Nowhere” a soul transmission over incendiary bass and undulating layers of guiro, congas, tambourines, shakers, and handclaps that sidesteps into moments of infinite dial-toned burnished, Rhodes-propelled soul-jazz and self-assured blues rock à gogo before ending in a spectral folk reading on celestial meditation.

“Divided Kind” was produced and recorded by the pair, in their home studio surrounded by the vintage acoustic and electric guitars, dusty semi-functional amplifiers, and out-of-date Rhodes, B3, piano, and assorted percussion they’ve grown accustomed to. Chicago-based Alex Hall was again drafted to add drums and to mix, and Philadelphia drummer and engineer Joshua Friedman mastered the record. London-based musician Joe Harvey-Whyte added the pedal steel to “Borrowing Time”, with all other voices and instruments being performed by Tuel and Harms.