Suche:n son x

"All Good" is the second single off De La Soul's fifth studio album, Art Official Intelligence: Mosaic Thump. Released in August 2000, it features a collaboration with soul legend Chaka Khan, who brings her silky vocal acrobatics and provides an extended hook leading into each verse. The song was an international hit, charting in multiple European countries and Australia and reached number 6 on the Billboard US Hot Rap Songs chart. The b-side to this 7" is "Oooh," the first single off Mosaic Thump, and features Redman.

Barac and Alex Font deliver a mesmerizing 2x12" – four deep, transcendent tracks that blur the lines between rhythm and ritual. This is music carved from emotion and space, where minimalism meets soul, and every detail breathes intention. The sonic quality is exceptional – raw yet refined, warm yet weightless. A meditative pulse runs through it all, inviting the listener inward.
Each cut is a journey, crafted with precision and soul, rich in atmosphere and unmistakable in identity. This collaboration isn't just a meeting of minds – it’s a shared vision, etched into wax. A record that doesn’t shout, but resonates. Timeless and essential. Almost 30 min Playtime, 180g 2x12inch, Fullcover print.

Zum 50. Jubiläum von Bad Company und anlässlich ihrer Aufnahme in die Rock and Roll Hall of Fame 2025 erscheint am 24. Oktober das erste von der Band autorisierte Tribute-Album:
„Can’t Get Enough: A Tribute to Bad Company“

Diese besondere Veröffentlichung vereint namhafte Künstler*innen aus Rock, Country und Americana – darunter The Pretty Reckless, Charlie Crockett, Slash, HARDY und Def Leppard – die Bad Companys Klassiker auf persönliche, frische Weise interpretieren.

Ein echtes Highlight: Frontmann Paul Rodgers und Drummer Simon Kirke wirken selbst an mehreren Songs mit – in Kollaboration mit den teilnehmenden Künstlern.

Ein Must-Have für Fans von Classic Rock und eine ehrwürdige Hommage an eine der einflussreichsten Rockbands der Musikgeschichte.

We are very pleased to share with you our fourth vinyl release: “Volvió el minimal, dicen los Content Creators” (FYC008) by Santiago Uribe.


An EP that confronts the current relationship between the world of electronic music and social media.
Through four compositions, the work unfolds with sonic rawness and radical abstraction, challenging both the dominant aesthetic and the logic of accelerated consumption.


"Deeply tied to the composer’s own life, the narrative of Lacrimosa invites reflection in the face of loss. This sonic work draws inspiration from Alice Coltrane’s spiritual Eternity (1976) as well as the traditional structure of the Requiem, a mass for the dead. One of its sections, the Dies Irae, evokes Judgment Day and concludes with the Lacrimosa (literally, “full of tears”), depicting the weeping of souls in search of salvation.

In Lacrimosa, Low Jack transforms autobiographical elements into a messianic, polyglot form, unfolding across eight movements that chart the storms and serenity of grief. The piece unfolds from dawn to dusk, as the eyes open and then close. An initiatory solar cycle, from which one returns like Dante in his Divine Comedy, transcendent yet grief-stricken by the loss of a guiding presence.

Low Jack crafts one of his most intimate compositions, weaving together musical archetypes and universal narrative structures, drawing from both classical lyrical music and pop standards."

There is a new artist from Japan followed by the name Kakeru who is giving his Shaw Cuts debut with ãRaw CourageÒ, telling the story of an emperor besieged by an army who then entrusts his child to the Black Dragon Clan heading off to a dangerous journey.
An attempt to usurp the Ming Emperor's throne by the sinister martial artist simply known as ãold monster" and his armies results in most of the palace being massacred. ãQuagmireÒ and its vibrant percussive pattern carried by a heavy broken kick and a driving bassline help the emperorÕs infant son to escape and put in care of the Black Dragon Clan.
En route they are attacked by government forces but rescued by two knights. They prove to be a valuable addition to the party in subsequent encounters with their pursuers. ãMirror ForestÒ and its laid-back atmosphere, mysterious vocal snatches and shining pads carried by an expressive drum pattern help the travellers parrying every sneaky attack on their journey.
Trying to head to the White Dragon Clan in order to seek for help, the squad has to masquerade and take several battles, always protecting the baby in tow. The razor-sharp percussions, corrosive bass and thrashing kick of ãSwayingÒ tremendously supports the warriors in each fight.
Finally they make it to the temple of the White Dragons where they show their Black Dragon seal as a sign of solidarity. But all of a sudden the mood changes. ãBroken BubblesÒ and its menacing atmosphere built up by a monstrous sub bass, reduced but impactful drums and subtle synth elements underline the potential threat. Did they walk into a trap? Is there enough energy left for one big fight? Raw courage is vital now.

Trystero returns with their new album Humming Fuzz on Knekelhuis — a kaleidoscopic voyage deeper into the band’s expanding cosmos.

Built on plunging basslines, acid-drenched loops, and spiraling kraut-inspired guitar textures, the record drifts between hypnotic repetition and free-flowing, hallucinatory songwriting. It echoes the visionary spirit of Psychic TV and the genre-blurring universe of Weatherall, while carving out a raw, magnetic space of its own.

Recorded once again on a canal barge in the North of France, Humming Fuzz feels like a natural evolution from their debut Sfumare e Vedere — denser, more alive, and charged with electricity. Now expanded with Nelly on bass and Alexia on vocals, Trystero channels this expanded energy into their wild, expressive live performances, soon to ignite audiences on their upcoming tours.

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! Das in nur drei Monaten aufgenommene Doppelalbum (Gatefold) der Band erschien 1971 und entstand noch auf Schloss Nörvenich. Es gehört zum Weltkulturerbe der jüngeren Musikgeschichte, so wie "Sergeant Pepper" von den Beatles, "Electric Ladyland" von Hendrix oder das Bananenalbum-Debüt von Velvet Underground. Die sieben hier versammelten Titel bestimmen bis heute die DNA der Populärmusik. "Tago Mago" nimmt eine Sonderstellung im Werk der Band Can ein. Sie ist der Mount Everest, die höchste Verdichtung eines schieren Ausdruckswillens, der weder stilistische Kleinkrämerei, noch musikalische Genre-Grenzen akzeptierte und das war, was "nur nach sich selbst klingt, wie nichts zuvor und danach" ("sounds only like itself, like no-one before or after" (Julian Cope, "Krautrocksampler"). Tatsächlich wurde "Tago Mago" gerne als "magische Platte" bezeichnet, eine geheimnisvolle Reise ins düstere Herz einer bis dahin nicht gehörten Musik.

Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. Tarantola was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial.

Each track is an emotional fragment, a bite that leaves its mark: from the electric tension of Vivere Distaccati to the feverish rush of Trasmissione, from the rawness of Decadente to the hypnotic title track Tarantola, which embodies the beating heart of the album. Side B unfolds into more nocturnal and intimate landscapes, from Chiang Mai to the disenchanted sincerity of Lavoro Troppo, closing with a party that carries the bittersweet taste of reality.

Tarantola is a journey into the chaos of human emotions, an album that doesn’t just narrate but pulls you deep into its sonic labyrinth, giving noise back its vulnerable yet powerful soul.

Der meistgesampelte Reggae-Song aller Zeiten“ - Billboard Magazine Film / TV / Videospiel-Soundtrack: Inc. Ozark. Dexter. Belly. The Interview. Skate. Reebok und viele mehr Gesampelt von Lauryn Hill. Beyonce. Kanye West. Rihanna. Jay - Z. Groove Armada etc.
Aufgeführt in den 500 Greatest Songs Of All Time: Rolling Stone Magazine Ein letztes Mal auf einer 7"-Single und mit der entscheidenden Dub-Version des Original Stalag 17 instrumental

Limitierte Auflage in illustrierter Hülle - nicht verpassen!

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

"It's a Beautiful Day" brings together 12 outstanding songs recorded between 1971 and 1976, reminiscent of sunshine pop, psych folk and soft rock with Peruvian touches, taken from extremely hard to find records, some of them reissued here on vinyl for the first time. A mindblowing look at a really stunning musical moment in Peru. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups. MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... Following our recent release "14 MAGníficos Bailables", comprising some of the best tropical music on MAG, this new compilation brings together 12 songs recorded between 1971 and 1976, reminiscent of sunshine pop, folk psych and soft rock but with Peruvian touches. The lyrics range from youthful reflections, environmental awareness, paradigm changes to all shades of love that the youth of the day experienced. Unusual instruments and exceptional vocal play also feature in the ten original songs and two cover versions, all performed by Lima-based groups.

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

Ein Vierteljahrhundert Punkrock mit Ruhrpott-Attitüde, charismatischen Texten und ehrlicher Musik mit dem gewissem Charme - Emscherkurve 77 feiern 2025 ihr 25-jähriges Bandjubiläum. Und wie! Am 30.Oktober erscheinen zwei brandneue Songs in der Königsklasse "10inch-Vinyl", die nicht nur musikalisch, sondern auch zeitlich ein echtes Highlight sind. Denn zum Jubiläum haben sich die Jungs, bei "Eins ist geblieben" eine ganz besonderen Gast (und sogar Fan) ins Boot geholt: Reinhard Mey. Ja, der Reinhard Mey! Die unerwartete, aber umso kraftvollere Kollaboration zeigt, was passiert, wenn Punk und Liedermacher auf Augenhöhe zusammenkommen: Kein billiger Crossover, sondern gelebte Solidarität zwischen Generationen und Genres, die verbindet. Reinhard Mey hat seine erste Single zwar schon vor exakt 60 Jahren veröffentlicht, da lagen die Sex Pistols und Die Toten Hosen noch in ihren Windeln und die Jungs von Emscherkurve 77 waren noch lange nicht einmal geboren, aber er war schon da und ebnete diesen Weg mit seiner freundlichen Radikalität: Niemands Herr und niemands Untertan! "Eins ist geblieben" von Emscherkurve 77 im Duett mit Reinhard Mey ist somit nicht nur nicht verwunderlich, sondern absolut naheliegend, ja sogar überfällig. Der Generationenunterschied ist irrelevant, die Geisteshaltung, die Freiheitsliebe, das Misstrauen gegen jede Machtfülle und die Demut vor dem Leben eint sie alle: "Dem Himmel sei Dank; für immer ein Punk!" Der zweite Song "Alchemie" ist ein klassischer Emscherkurve 77-Song im modernen Gewand. Ein Song über das Leben, der eine Brücke baut von der Kindheit bis ins "Jetzt" , verbunden mit der klaren Botschaft, dass man jede Phase des Lebens genießen sollte und zufrieden zu sein. Die EP erscheint als 10inch Vinyl auf 500 Exemplare streng limitiert, davon 100 black und je 200 colored (Swirl & Splatter) Feiern wir 25 Jahre Emscherkurve 77 - und eine der ungewöhnlichsten und spannendsten, musikalischen Allianzen des Jahres!

Ein Vierteljahrhundert Punkrock mit Ruhrpott-Attitüde, charismatischen Texten und ehrlicher Musik mit dem gewissem Charme - Emscherkurve 77 feiern 2025 ihr 25-jähriges Bandjubiläum. Und wie! Am 30.Oktober erscheinen zwei brandneue Songs in der Königsklasse "10inch-Vinyl", die nicht nur musikalisch, sondern auch zeitlich ein echtes Highlight sind. Denn zum Jubiläum haben sich die Jungs, bei "Eins ist geblieben" eine ganz besonderen Gast (und sogar Fan) ins Boot geholt: Reinhard Mey. Ja, der Reinhard Mey! Die unerwartete, aber umso kraftvollere Kollaboration zeigt, was passiert, wenn Punk und Liedermacher auf Augenhöhe zusammenkommen: Kein billiger Crossover, sondern gelebte Solidarität zwischen Generationen und Genres, die verbindet. Reinhard Mey hat seine erste Single zwar schon vor exakt 60 Jahren veröffentlicht, da lagen die Sex Pistols und Die Toten Hosen noch in ihren Windeln und die Jungs von Emscherkurve 77 waren noch lange nicht einmal geboren, aber er war schon da und ebnete diesen Weg mit seiner freundlichen Radikalität: Niemands Herr und niemands Untertan! "Eins ist geblieben" von Emscherkurve 77 im Duett mit Reinhard Mey ist somit nicht nur nicht verwunderlich, sondern absolut naheliegend, ja sogar überfällig. Der Generationenunterschied ist irrelevant, die Geisteshaltung, die Freiheitsliebe, das Misstrauen gegen jede Machtfülle und die Demut vor dem Leben eint sie alle: "Dem Himmel sei Dank; für immer ein Punk!" Der zweite Song "Alchemie" ist ein klassischer Emscherkurve 77-Song im modernen Gewand. Ein Song über das Leben, der eine Brücke baut von der Kindheit bis ins "Jetzt" , verbunden mit der klaren Botschaft, dass man jede Phase des Lebens genießen sollte und zufrieden zu sein. Die EP erscheint als 10inch Vinyl auf 500 Exemplare streng limitiert, davon 100 black und je 200 colored (Swirl & Splatter) Feiern wir 25 Jahre Emscherkurve 77 - und eine der ungewöhnlichsten und spannendsten, musikalischen Allianzen des Jahres!

Quattro Racconti" is a new version of the debut solo album from Wobbler's Lars Fredrik Froislie - This time in Italian, with Stefano "Lupo" Galifi from the legendary Museo Rosenbach on vocals! "Fire Fortellinger" became a great success when released in 2023, and when the opportunity for Lars to do one of the songs in Italian with Galifi, he did - and the 10" release of "Un Posto Sotto il Cielo" came out. And later, when Wobbler played a festival in Italy in 2024, Froislie went to visit Galifi and to record vocals for the rest of the album. The result is stunning! FROISLIE who is himself a huge fan of Italian Prog in general and of MUSEO ROSENBACH in particular, explains: "When I wrote "Et sted under himmelhvelvet", I imagined an Italian version in my head with just STEFANO "LUPO" GALIFI'S vocals. Not so surprising, perhaps, since he is one of my favourite vocalists. I have loved his slightly raspy, but powerful and soulful vocals, ever since I discovered MUSEO ROSENBACH as a teenager. When the opportunity presented itself, I thought it couldn't hurt to ask him, and it gave me much joy that he was actually willing to sing on this. He brings a new dimension to the songs, and it's incredible that he actually sings just as well today as he did 50 years ago. For me, it was both emotional and surreal to hear a voice I have known and loved throughout much of my life, singing my songs."

Denmarks leading outlet for fresh, forward forward-thinking jazz, April Records, proudly presents the debut release from award award-winning Danish vibraphonist Viktoria Sondergaard. With wide ranging influences from jazz, chamber music, cabaret, pop, rap and SukumaSukuma-inspired grooves, as well as the hymns and melodies of the Danish Hojskolesangbog traditional/folk songbook, the music is grounded in collective expression and responsibility. The album s bold, boundary boundary-pushing sound was built on a strong sense of musical community, as well as Sondergaard s desire to integrate spoken word and lyrics into her practice to convey her thoughts and feelings on the world around her on a deeper, more personal level. Composing with her four collaborators in mind, Viktoria imagined her quintet playing each note as she composed, making the music inseparable from their presence. The album integrates spoken word, rap, singing, screaming, and whispering - a shared sonic tapestry that expresses joy, wonder, questioning and celebration. It s a band built on inspiration, joy, dreams and love, Viktoria says. For me, one of the most beautiful things in art is that we have a platform to say something about the society and world around us. This album is an attempt to do just this. this." Balancing warmth and intimacy with tension and exploration, the music weaves rich instrumental textures and spacious soundscapes with intricate vocal arrangements - intertwining voices that move between comforting folk folk-like harmonies and angular, avant avant-garde expression. The quartet s deep listening and intuitive interplay are evident throughout, shifting fluidly from open, exploratory passages to tightly locked grooves. The result is a sound that feels both grounded and searching: a sonic conversation inviting the listener into a space of vulnerability, curiosity, and connection. With a sparkling tone, emotive improvisation and refined control over her instrument Viktoria is recognised as a fearless explorer and bold musical voice. A recipient of the Aarhus Jazz Talent Prize, Tivoli Jazz Prize and the 2025 Carl Prize Honorary Award presented by Marilyn Mazur, she balances adventurous writing and collective invention with melodic immediacy and emotional power.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

"Magical Thinking", Faraos drittes Studioalbum, entfaltet sich als vielschichtige Reise durch Verlust, Sehnsucht und Verwandlung. In Anlehnung an den Titel und den Geist von Joan Didions "The Year of Magical Thinking" bewegt es sich durch das stille Terrain zwischen Verleugnung und Akzeptanz - wo Trauer nicht gelöst, sondern getragen wird. Es sind Songs über Wiederaufbau und Widerstandsfähigkeit, geprägt von Themen wie Trauer, Mutterschaft und den wesentlichen Ritualen, die uns aufrecht halten, wenn die Klarheit schwindet. Das Album wurde zwischen Oslo und Berlin aufgenommen und pulsiert mit dem Flair des R&B der 90er Jahre, dem Glanz der 80er-Disco und der kontemplativen Schwungkraft des spirituellen Jazz - allesamt verankert durch Faraos intime Vocals und komplexe Arrangements. Vom ersten Schimmern von ,Waiting for You", wo Herzschmerz in Pailletten gekleidet ist und ein Groove an Robyn und Chaka Khan erinnert, lädt uns das Album in eine Welt ein, in der Sehnsucht zum Leuchten gebracht wird. In ,Spiritual Garden", benannt nach einer flüchtigen Textzeile von Janet Jackson, schafft Farao eine feuchte, narkotische R&B-Träumerei. Percussion im Stil von Timbaland und seidige Basslines umhüllen die unerwarteten Texturen ihrer Zither und beschwören eine Meditation über Verlassenheit und die fragile Rückeroberung des Selbstwertgefühls herauf. Wenn ,Dreamy Ride" einsetzt - wo Aaliyahs Coolness auf Dorothy Ashbys kosmische Harfe trifft -, gleitet das Album in nächtliche Bewegungen, eine R&B-Fantasie für nächtliche Autofahrten um 2 Uhr morgens, wobei ihre Zither sich wie ein Leitstern durch den Mix webt. Der verspielte Synth-Jam ,Hey Ladies" und eine kühne Neuinterpretation von Brandys ,Full Moon" lockern die Stimmung in der Mitte des Albums auf. Ersterer ist eine freche, einminütige Hommage an Destiny's Child, letzterer eine nächtliche Elegie, die einen geliebten Klassiker in tiefe Bässe und schimmernde Synthesizer hüllt. Dann kommt ,Xiang Xiang", ein intimes Intermezzo, das um eine geflüsterte Stimme einer Freundin herum aufgebaut ist und uns an die realen Bindungen erinnert, die Faraos üppiges Klanguniversum erden. Im Zentrum des Albums steht der Titeltrack ,Magical Thinking", der direkt auf Didions Memoiren Bezug nimmt. Hier zeichnen pulsierende Synthesizer und schwebende Vocals die verschwommene Grenze zwischen Präsenz und Dissoziation nach. Es folgt ,Endelig" (,endlich" auf Norwegisch), ein tiefes Ausatmen - ein minimalistisches, spirituelles Jazz-Intermezzo, das die Illusion einer Auflösung vermittelt. Farao tut sich dann mit dem Ambient-Pionier Laraaji für ,Voice Continues" zusammen, einer weitläufigen, von der Vierten Welt inspirierten Meditation, in der Zither, mehrschichtige Vocals und Synth-Texturen einen Klangteppich bilden, der die Spuren mütterlicher Liebe über Generationen hinweg nachzeichnet. ,Tschüssi" (ein luftiger deutscher Abschiedsgruß) wird zum Gefäß für etwas weit Schwerwiegenderes: ein Abschied, durchzogen von sich wiederholenden Erinnerungen und emotionaler Desorientierung, aufgebaut um ein gespenstisches Fragment aus Faraos Track ,Marry Me". Das Album schließt mit ,Sleep It O" zu einer verschwommenen, gnädigen Note, einem Wiegenlied für die Überwältigten - eine letzte Erlaubnis, sich auszuruhen, loszulassen, sich einfach hinzulegen. Keine Verheißung der Heilung, sondern eine mitfühlende Pause in einem Album, das von Sehnsucht und Illusion geprägt ist. RIYL: Erika de Casier, Tirzah, Sade, Kelela, Qendresa, Caroline Polachek, Solange

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

Zum 20-jährigen Jubiläum erscheint A Certain Trigger gemeinsam mit der 2006er B-Sides- und Demo-Compilation Missing Songs als hochwertige 2LP auf schwarzem Vinyl im Gatefold-Cover. Die Zusammenstellung enthält seltene B-Seiten und Demo-Aufnahmen aus den UK-Singles dieser Ära und wird ergänzt durch ein beidseitig bedrucktes, farbiges 60 × 90 cm Poster auf luxuriösem Kunstdruckpapier. Ein Sammlerstück für alle Fans des energiegeladenen Indie-Rock-Sounds von Maxïmo Park.

Format: 2LP schwarzes Vinyl, Gatefold, inkl. beidseitigem Farbposter (60 × 90 cm)

Das Reissue enthält sechs bisher unveröffentlichte Demos, darunter die Songs Hold Me Up und Don"t Blow Your Wind, die nie über die Demo-Phase hinausgingen. Auch frühe Versionen von Tangerine, Summer, Kitchen Door und Clobberedsind enthalten und zeigen, wie diese Klassiker entstanden. Ergänzt wird die Veröffentlichung durch neues Artwork, Fotos, Erinnerungsstücke sowie Notizen der Band und Produzent John Agnello. Sleepy Eyed markierte Mitte der 90er einen Wendepunkt: Nach dem Erfolg von Big Red Letter Day (1993), das Buffalo Tom in die Billboard-Charts brachte und mit Late At Night in der Kultserie My So-Called Life zu sehen war, wollte die Band zurück zu einem roheren Sound. Bill Janovitz verweist auf Dylan- und Stones-Platten als Inspiration: weniger Perfektion, mehr Direktheit, Nähe und Authentizität. Aufgenommen wurde in den Dreamland Studios im Bundesstaat New York - abgeschottet, intensiv, fast wie tägliche Live-Sets. Herausgekommen sind Songs, die bis heute zu Fan-Favoriten zählen, allen voran Tangerine, Summer und Kitchen Door. Gegründet 1986 an der University of Massachusetts, stehen Buffalo Tom (Bill Janovitz, Chris Colbourn, Tom Maginnis) seit fast 40 Jahren gemeinsam auf der Bühne - 10 Alben später ein beeindruckendes Stück Beständigkeit.

‘A Tremendous debut. Skilfully blending folk, country and other styles, Woof’s eponymous debut album features thoughtful songwriting, adroit musicianship and her remarkable, crystalline vocals’ - 4/5 RECORD COLLECTOR

‘Enchanting. Whether playing almost solo or with a full band arrangement, Wooff is never less than mesmerising’ - 4/5 SHINDIG!

‘Her spectral voice and acoustic guitar lead abstract stories of loss, yearning and self-exploration, nimbly embellished with pedal steel, organ and strings. ‘The Waltz Of Winter Hey’ and ‘Lefty’s Motel Room’, with its allusive nod to Townes Van Zandt, are outstanding’ - 8/10 UNCUT

‘Launching herself fully onto the scene, she beguiles with tales of love, loss, hope and womanhood, wrapped up in a beautifully strange gothic romanticism’ - FOR FOLK’S SAKE

‘The beauty in the record is not merely based on Toria’s melancholic melodicism and rich delivery. It can be enjoyed in the juxtaposition between the singer’s darker, more eerily gothic instincts and the soothing, reassuring presence of instruments like pedal steel and cellos.’ - KLOF

Kee'ahn, whose name is derived from kee’an, the Wik word meaning to dance and to play, is a proud Yalanji, Jirrbal, and Badulaig artist. Her music is steeped in connection to culture, community, Country, and self and with her soulful voice and storytelling, Kee’ahn has had a powerful impact on the Australian music scene, earning her the Archie Roach Foundation Award and Music Victoria’s Best Emerging Artist award. She has since performed at the 2025 AFL Grand Final collaborating with Baker Boy, Thelma Plum, Emma Donovan, Dallas Woods, Alice Ivy and shared stages with the likes of Julia Jacklin, Hiatus Kaiyote, Greentea Peng and Angie McMahon.

Kee’ahn’s debut EP “for me, for you x” is a collection of lush cinematic soul and rnb love letters. Across 5 tracks, Kee’ahn explores the pursuit of hope, compassion, connection, heartbreak, and healing. This project naturally and authentically came together, detailing moments across 5 years of Kee’ahn’s life. Each song begins on guitar and vocals with demo production in Kee’ahn’s Brunswick bedroom - they are diary entries to herself, formed into messages that hit the hearts of its listeners.

Each song is reminiscent of classic 60’s jazz soul to 90’s neo-soul rnb, to early 2000’s inspired soul pop weaving dynamic soundscapes with clear and meaningful catchy lyricism.

After so long it becomes harder to say new things about older things you now just do. Some things you've become. Some things you simply (never simply) are. The thing becomes a slippery notion. The self slides along with it. After this long, the story is whatever are the songs. A Self-portrait at two decades. Here are 11 new ones, from the current constellation, and a future still to come. The cement is still wet on that one. From the forest near where I now live you can hear a chorus of different birds in voice at once, competing but each defined, in defence of a territory or to attract a mate. There's an app that tells you so. I wonder, too, what that app doesn't reveal, if their nature need not share those same purposes. This is simply (never simply) how it exists. If we can't speak to the mysteries of these strategies, they at least persist, regardless of who picks up the frequency. Singing to itself, and there will always be these kinds of songs. Indies only Blue Vinyl! 1.Ulrika Spacek - 'Interesting Corners' 2. Empty Country - 'D3SP4IR' 3. The Reds, Pinks & Purples - 'New Market Space (Down the Stairs Ver.) 4. Cindy - 'The Thousand First' 5. April Magazine - 'U Bop' 6. Index For Working Musik - 'Going to Heaven On the End of A String' 7. Midding - 'Do As You Would' 8. Luft - 'My Third Eye' 9. Hospital - '25 Jade Place' 10. William Doyle - 'The Sun Ain't Doing It For Me Lately' 11. Daily Toll - 'Begin Again'

Zum 20-jährigen Jubiläum erscheint A Certain Trigger gemeinsam mit der 2006er B-Sides- und Demo-Compilation Missing Songs als hochwertige 2LP auf schwarzem Vinyl im Gatefold-Cover. Die Zusammenstellung enthält seltene B-Seiten und Demo-Aufnahmen aus den UK-Singles dieser Ära und wird ergänzt durch ein beidseitig bedrucktes, farbiges 60 × 90 cm Poster auf luxuriösem Kunstdruckpapier. Ein Sammlerstück für alle Fans des energiegeladenen Indie-Rock-Sounds von Maxïmo Park.

Format: 2LP schwarzes Vinyl, Gatefold, inkl. beidseitigem Farbposter (60 × 90 cm)

Cindy Lee is the brainchild of singer/guitarist Patrick Flegel. While some may know Flegel from his time spent in Canadian experimental indie band Women, Cindy Lee has spent the past four years crafting songs that push and pull in opposing directions - from tales of tragedy laced with haywire distortion to moments of breathtaking beauty. On Malenkost, Flegel combines everything that makes Cindy Lee so essential: heart-wrenching romantic pleas, rough shards of noise and twilit ballads. Featuring the lo-fi pop single "A Message From The Aching Sky," Malenkost sounds like Deerhunter playing The Supremes or vice versa.

Cindy Lee is the diva alter-ego of singer / guitarist / drag queen Patrick Flegel, the one-time captain of heralded Canadian experimental guitar pop act, Women. In Flegel's working on / as Cindy Lee exclusively over recent years, their songwriting makes a move toward high atmospherics, often achieving a mysterious sweetness rooted equally in beauty and ache.

As Cindy Lee's first long-form statement, Act Of Tenderness makes use of antipodal themes to create a living sound: static with grace, distortion and sugar, all masterfully arranged with crooked nods toward pop classicism. The layered vocal on "Power And Possession" creates a palpable haunt, bringing historical girl-group lament to choir-esque heights. The feedback shriek and industrial grind of "Bonsai Garden" provides near-operatic damage, yet never stumbles into the irrevocably grave. These snowy pieces give the album a decidedly cinematic feel, albeit one bent more towards Eraserhead.

Originally released in a scant private edition in 2015, Superior Viaduct's imprint W.25TH is pleased to give Act Of Tenderness its deserving wide release.

Reissue 1986

Repress 2025

The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00’s with his group, Big Bang, that later went on to become one of the world’s biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast’s 100 list, to Forbes’ 30 Under 30 list, it’s apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos – groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop and former Velvet Underground drummer Maureen Tucker.

Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles – as well as an appearance on Placebo's Amuck comp in late '82 – would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed.

While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones.

The group's foresight to document and capture this meeting of musical minds – a meeting as unlikely as it was short-lived – provides a missing link between the Velvets and the Voidoids, between the Dead Boys and the Dead C, between ESP-Disk' and DNA. Far more than a historical curiosity, Paris 1942 provides a fresh perspective on an embryonic and sadly vanishing US underground. It is music that blinks at the past and anticipates a thousand possible futures.

– James Toth (excerpt from the liner notes)