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"Known for her powerful vocals, dynamic stage presence, and diverse musical influences, LA-based soul and funk singer Nikka Costa returns from a musical career break with future-forward disco-inspired sounds on ‘Dirty Disco’.

The lyric “Everyone is welcome, everyone’s an Avatar” denotes a place where anyone can go to be themselves and let their freak flag fly! and sets the tone for her disco and soul fused, progressive album, which is recorded with and produced by Justin Stanley (Prince, Jamie Lidell, Beck etc). Along with the talents of versatile musicians such as Brandon Coleman (Kamasi Washington, Thundercat, Donald Glover, Flying Lotus), Greg Phillinganes (Michael Jackson, Stevie Wonder) and Kaveh Rastegar (John Legend, Beck), Nikka Costa invites you to immerse yourself in her “Dirty Disco” world.

“Dirty Disco is about a place anyone can go to be themselves and let their freak flag fly! It’s about a place where no one is looking, no one cares what you're doing or what you're into. It could be a disco, but it could also be another planet or headspace or vibe. It's dark and sparkly, blue and purple. Gritty, raw and sexy. Whatever you want it to be.” - Nikka Costa"

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

Der visionäre südafrikanische Pianist, Komponist, Philosoph und Heiler Nduduzo Makhathini legt mit „uNomkhubulwane“ seinen elftes Studioalbum und insgesamt drittes auf Blue Note Records vor (nach „Modes of Communication: Letters From The Underworlds“ von 2020 und „In The Spirit Of Ntu“ von 2022).

Das tiefgründige Werk, das eine Hommage an die Zulu-Göttin uNomkhubulwane darstellt und die tragische Geschichte der Unterdrückung Afrikas erforscht, besteht aus drei Sätzen und präsentiert Makhathini in Triobesetzung mit Zwelakhe-Duma Bell le Pere am Bass und Francisco Mela am Schlagzeug.

"Grand Slam’s album Hit the Ground has been given a makeover and will be re-released as Hit the Ground – Revised on June 7th via Silver Lining Music. The re-issue has been remastered and features new Artwork.

Grand Slam was formed in 1984 by Phil Lynott and guitarist Laurence Archer before being forced to break up in 1986. Originally released in 2019, Hit The Ground signalled the Archer (guitar), Mike Dyer (vocals), Benjy Reid (drums) and Rocky Newton (bass) Grand Slam incarnation and is an unequivocal part of the band’s re-energising story.

With stylistic salutes and tips to the legendary Lynott melding with the energy and vocal performance of Dyer and Archer’s fiery fretboard forays in cuts such as the crunchy “Hit The Ground” and the thrusting “Crazy”, Grand Slam stride confidently back into the conscience of classic rock devotees who didn’t know what they were missing.

Grand Slam are a band firing intention regarding their future… Let the music do the talking!"

After a decade-long hiatus, Blake Baxter (Underground Resistance, Tresor) and Marc Romboy (Systematic, Kompakt) have reunited to release their latest track, "Muzik is Love." More than just a song, it represents a philosophy, a mindset, and a tribute to authentic techno music.
The duo previously collaborated on the hit "Freakin'" two decades ago, a track that continues to electrify dance floors. They followed up with several iconic tunes, including "Muzik," "Where Would You Be?" and "House Ya."
This new 12-inch record features special locked grooves on the B-side, catering specifically to vinyl enthusiasts.
With two records, DJs and music lovers can creatively rearrange the track, blending the locked grooves with individual stems from the original to form a unique mix.
Dive into a new realm of vinyl mixing with this innovative release and experience the evolution of techno firsthand

Veteran electrohead and former artist on the Rephlex Records roseter DMX Krew's Ed DMX takes the well-known story by Jorge Luis Borges of The Library of Babel, said to contain all the different languages of the earth. Some deep philosophical thought has gone into the album's concept, but we'll leave that to Ed to explain. Instead, we'll tell you that from beginning to end there's plenty of the kind of trademark 80s synth playfulness in evidence, with a generally more mellow and soundtrack-related rather than frenetic and dancefloor-filling vibe in evidence, even on faster tracks like 'The Combed Thunderclap'. Still, Ed knows what he's doing when it comes to this kind of leftfield electro gear, and it's a rewarding, never boring listen.

2024 repress.

French saxophonist Laurent Bardainne summons the spirit of astral jazz on heavy-grooving album, 'Hymne au Soleil'

A dreamlike, cinematic excursion to the outer reaches of the solar system and the inner workings of the soul, Laurent Bardainne returns to Heavenly Sweetness with his Tigre d'Eau Douce group for a second album of genre- agnostic jazzfunk.Building on critically acclaimed 2020 album 'Love Is Everywhere', 'Hymne au Soleil' sizzles with Arnaud Roulin's Hammond organ licks, in-the-pocket bass work from Sylvain Daniel, and shuffling drum and percussion interplay from Philippe Gleizes and Roger Raspail, pinning Bardainne's soaring saxophone lines to the mast like a flag in the wind.

The 11- track album represents a consolidation of Bardainne's vision as a consummate jazz saxophonist, having made his name collaborating with the likes of Pharrell Williams and Cassius, afrobeat legend Tony Allen and co- founding Tigersushi electro outfit Poni Hoax.
That eclectic experience comes to the fore on 'Hymne au Soleil', which is named after a piece by trailblazing French composer Lili Boulanger. Beginning with the lilting, late-night smoker "Oh Yeah", which recalls the mellow funk of Khruangbin, the album rolls through a rich musical landscape, whether in the Motown-era soul breakdowns of "Adieu My Lord" or the roaring, dance floor- ready "Hymne au Soleil", that draw parallels with the high-octane sound of UK jazz outfit The Comet Is Coming..

Attention, aficionados of sublime pop music! Jim is, in fact, the older brother of pop singer Gerry Rafferty. Following two albums of sophisticated, melodic material with strong emphasis on vocal harmonies (not dissimilar to his brother"s work), Jim entered the 80s with no record deal, but good new tunes to shop. His original demos provided chart fodder for Frida (late of Abba), Clannad and Ian Matthews, but Jim"s versions outshine them all!"I See Red" was picked up by Phil Collins for Abba star Frida"s 1982 solo album.The flip-side of Jim"s "I See Red" has its own cover history - "Fear Strikes Out" first appeared on Ian Matthews" 1984 LP, Shook. Now, some 40 years later, the superior versions of these two Jim Rafferty originals arrive on a 7" single.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Dieses Album ist wie aus einem Guss. Perfekt produziert. Grosse Melodien, Hymnen gar – opulent und doch so zart. Getragen von dieser einzigartigen sanft weich und doch so kraftvoll und bisweilen rauhen Stimme. Untermalt von den stimmigen Arrangements des Haseland Orchesters. Hier wächst ein Steiffen über sich hinaus. Er selbst sagt auf die für ihn so berühmte schüchterne und zurückhaltende Art:

Dies ist mein bestes Album seit „Arbeiter der Liebe“! Und recht hat er!
Auf seinem 2. Studioalbum wirkt der „Arbeiter der Liebe“ reifer, nachdenklicher, hinterfragt Beziehung, seziert Persönlichkeitsstrukturen und beschreibt dabei Typen und Situationen, die wir alle kennen. Und zwar so klar und präzise und stellt sich damit ungefragt auf eine Stufe mit Goethe, Nietzsche oder Heine. Ist hier vielleicht der grösste Philosoph des 21. Jahrhunderts am Werk? – Wahrscheinlich nicht. Aber er kennt die Menschen und spricht ihre Sprache. An Christian Steiffen scheiden sich die Geister. Die einen lieben und verehren ihn, die anderen vergöttern ihn schlichtweg. Und sollte der eine oder die andere auch überfordert sein im Angesicht der Fülle und des Reichtums dieser Tonaufnahmen, Christian bringt es wie immer auf den Punkt:
“Diese Platte ist wirklich zuviel des Guten!“

Having been based in Sussex, Philip moved to an old mill in France and never stopped writing. In 2014 he released his organic and honest solo debut album "I'm Not The Man I Used To Be". This was followed up by the critically acclaimed Mental Home Recordings is upon us. And now Philip Parfitt is set to release Dark light via Chicago/London/Paris based label Tip Top Recordings.

A significant milestone in his long accomplished career, Dark Light features 10 beautifully crafted pieces, including deep cuts 'I know I shouldn't but voices' and 'Dark light' the title track, give ample evidence of Philip's prowess as a wordsmith and musician, but also arranger and producer. Think Nick Drake and Captain Beefheart accidentally bumping into each other at a private viewing of Bright Sta
in Heaven, you won't be too far out of the crease. Philip is accompanied by a merry band of friends and luminaries including Alex Creepy Mojo, Amelie Fish, Lucie Robet (who also wrote title track Dark Light with Philip), Gilda Scouarnec, Rog Mogale (who also mastered the album), and Mark Refoy.

Dark Light is released on digital, CD, limited edition vinyl LP with 200 copies in black and 200 copies in dark purple to match the darkly beautiful artwork by Fernando Ruibal. Sleeve notes come from Matthew Spector within the included booklet with art from Joane Charlotte Senechal, photography by Sarah Baba, and design by Anna Mort.

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a ballad side with a funk side on the flip, here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin” comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman.

It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip, you will find a nod to Ron’s former band, Power Of Attorney, and their breakout single “Changing Man” which inspired the uptempo groove and sweet flute part. Hinting at the classic Philly Soul style, there are lush strings and as a bonus, the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Another Michael's next chapter begins with Pick Me Up, Turn Me Upside Down, their new album due out this spring on Run For Cover Records. Following last year's sibling album Wishes to Fulfill, Pick Me Up is a more expansive output, patiently unfolding to reveal an exploratory side that brings new hues into the band's vibrant sound. Helmed by lead singer/songwriter Michael Doherty and producer/bassist Nick Sebastiano-along with signature contributions of multi-instrumentalist/vocalist Alenni Davis, drummer Noah Dardaris, and longtime engineer/co-producer/confidante Scoops Dardaris-Pick Me Up, Turn Me Upside Down came to life over three years of intermittent writing and recording sessions that proved unexpectedly fruitful. The band decamped at Headroom Studios in Philadelphia, PA, as well as the same Ferndale, NY house where they made their debut LP, 2021's New Music and Big Pop. The songs on Pick Me Up, Turn Me Upside Down often take the knack for melody that defined Wishes To Fulfill and apply it to left turns like the hypnotic quasi-krautrock of "I've Come Around To That," the sparse balladry of the title track, or the pulsating synth explorations of "The Diner's Spoon." The album's world is weirder and more improvisational, like in the twisting ends of "Hub of Dreams" or the spontaneous performances of "Like I Won A Car"-but Doherty's warm singing and conversational lyricism always keep things grounded. On Pick Me Up, Turn Me Upside Down, the band didn't set out to capture the all encompassing, existential value of music, but they did contribute to it-offering more songs to the world, and with them, chances to create one of those moments.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

LAKE's 2009 album Let's Build A Roof KLP213, produced by Northwest legend Karl Blau, is sweet, funky and nostalgic - a paragon of psychedelic pop. Originally, this landmark album had overlooked sonic anomalies now corrected by REMASTERING. Five bonus songs have been added to the DIGITAL ALBUM, creating a whole new Let's Build a Roof.Let's Build A Roof is LAKE's most popular album with many fan favorites, though every track is unique. After extensive touring in 2009, LAKE entered Dub Narcotic Studio (Olympia, Wash.) to record fresh with their live energy. In the studio they were able to fill out their jingly pop aesthetic, enhanced with the vintage sounds of instruments available at Dub Narcotic and the local community. Blazing synth solos, timpani, flutes, saxophones, cello, and marimba, are just some of the featured sounds on Let's Build a Roof.Some of the album's most requested songs: "Madagascar," a dubby, slow-groove track; "Christmas Island" a surfy Phil Spector-sounding song used as theme music for the television in show Adventure Time; and "Don't Give Up", an upbeat motivating dance song with Blau performing the hook on harmonized saxophones; "Gravel" is the first single and has that a driving intensity that we can all deeply relate to - trying to keep up.

Luka Kuplowskys Stimme ist ein Paradoxon - manchmal klingt sie zu leise, um eingefangen zu werden, als würde sie sich in Rauch auflösen, und im nächsten Moment ist sie so groß wie der Himmel. Es ist eine Stimme, die das Ohr beugt, um zuzuhören, und deren Musik einen einzigartigen Raum für poetische Sprache und improvisatorische Verspieltheit schafft. In den vier Jahren nach "Stardust" von 2020, einem reichhaltigen, jenseitigen Album mit Pop- und Jazzromantik, hat Kuplowsky den Umfang seiner Kreativität durch eine Reihe von Singles und Kollaborationen, die sich mit Ambient-Elektronik, Avant-Pop und psychedelischer Tropicalia befassen, still und leise erweitert. Auf seiner neuen Doppel-LP "How Can I Possibly Sleep When There Is Music" erweitert Kuplowsky sein Interesse an Improvisations-Ensembles und Live-Aufnahmen. Die siebenköpfige Band (Alex Lukashevsky, Anh Phung, Evan Cartwright, Felicity Williams, Josh Cole und Phillipe Melanson) schafft einen einzigartigen Sound aus Weite, Experimentierfreude und ungezügelter Ausdruckskraft, der Traditionen von Jazz, Folk und Blues durchquert. Konzipiert als eine Platte von Adaptionen und Antworten "auf ein Jahrtausend Poesie", vereint das Album die Poesie von Ryōkan Taigu, Bohdan Ihor Antonych, Maria Rainer Rilke, Yosana Akiko, Du Fu, Jalāl ad-Dīn Muhammad Rūmī, W.W.E Ross, Li Bai und La Fontaine und stellt sie in ein dynamisches Umfeld ekstatischen und fantasievollen Ausdrucks. Die neue LP wurde von dem bekannten Produzenten und Songwriter Sandro Perri aus Toronto produziert und vereint internationale literarische und musikalische Einflüsse mit hyperlokalen Toronto-Touchstones zu einem wunderschönen, ausufernden Album voller meditativer und freilaufender Klangabenteuer. In seiner Heimatstadt Toronto ist Kuplowsky nach wie vor ein aktives Mitglied der Jazzund Songwriter-Gemeinschaft. Er organisiert und spielt regelmäßig mit der eklektischen Tribute-Gruppe The Holy Oak Family Singers und arbeitet mit Ian Daniel Kehoe in ihrem Avant-Pop-Duo Ingredient".

This work, imbued with Rastafari philosophy and messages of resistance and unity, reinforces Marley’s status as the voice of the people. Blending captivating melodies with powerful lyrics, “Small Axe” addresses social injustices, calling for a fight against oppression. Marley, with his mastery of reggae, delivers a message of hope and revolution, thus marking a landmark moment in his musical career

The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

Reissue of the 90’s Hidden Gem originally released on the infamous “Rugger Bugger” Records, featuring Frankie Stubbs of Leatherface. The album is a complete Discography, of all things Jesse on a double album, one unreleased song and everything remastered for its release. “Stubbs seems on the verge of breakdown into sorrowful melancholy on a number of tracks, only with an air of odd defiance, as if he's hurting but knows he'll weather it. He inspires hard empathy instead of irritation. You look forward to Stubbs' lyrics and he never fails, particularly as one experiences them with that gut-wrenching sincerity clutched within that sandpaper-voiced howl.” – Jack Rabbid Remastered – Nigel Walton – The Edit Suite & Graeme Philliskirk Artwork – Cactus Vella

With the help of Emandolynn Music, Soul Direction Records have licensed these three
stunning Philly Soul tracks for a 7” vinyl release. Previously only available in digital format
only we believe that showcasing all 3 tracks together was the perfect package. This being
the way it was meant to be released.

On Unknown Road, Pennywise steps up their songwriting, maintains all their fury and intensity, and
lays out their philosophy of independence and the importance of daring to live every moment to its
fullest. This album features a number of songs that played on tons of skate, surf and snowboarding
videos, making this, and other PW records to come, the soundtrack to the exploding extreme sports
board scene. Featuring such Pennywise classics as “Homesick,” “Unknown Road,” “It’s Up To Me,” and
“You Can Demand,” Unknown Road is arguably the quintessential So Cal hardcore record of the ‘90s.
Reissued on limited edition Sunset Boulevard vinyl to celebrate the album’s 30th anniversary!

Back In Stock!

a special 2x12" with some funky old school house classics !! limited re-stock !!!!

Cassette!!

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

Vocal house duo Bäs Noir’s ‘My Love Is Magic’ receives edits from British DJs Bushwacka! and Mark Broom on Nu Groove. Hailing from Philly, the female duo of Morie Bivens and the late Mary Ridley first released ‘My Love Is Magic’ as Bäs Noir in 1988, with the Rhano Burrell production going on to chart in the UK. Today, the record remains a favourite of tastemakers everywhere, with Big Love label boss Seamus Haji dropping the OG at Defected Croatia in 2023. The hugely influential British DJ and producer Bushwacka! now returns to the legendary NYC label Nu Groove, following his four-track EP ‘House Sounds Vol. 1’, to bring out the percussive power of ‘My Love Is Magic’ with its distinct piano bassline and modern synth work. Also a Nu Groove returnee, the seasoned DJ Mark Broom delivers a techno A-12 Edit and house Dub Re-Touch of the Bäs Noir vocal house staple.

Tauchen Sie ein in den dunklen und genreübergreifenden Sound von Totengott in „Beyond the Veil“. Totengott taucht mitten in der derzeit vorhersehbaren und monochromen Metal-Szene auf und besteht aus drei erfahrenen Musikern aus Metal-, Rock- und Hardcore-Bands aus Asturien (Spanien). Das Ziel besteht darin, die düstersten Songs zu veröffentlichen, die sie schreiben können, und die Wichtigkeit des Bösen und Morbidität von Kompositionen über Technik und Rohheit über Demonstration zu betonen. Da es sich bei Totengott um
eine schwierig einzuordnende Band handelt, kann man sie als Occult-Metal-Trio mit Doom/Death-Metal-Einflüssen vorstellen, ohne dabei andere Genres wie Thrash, Gothic oder Ambient außer Acht zu lassen. Aus musikalischer und philosophischer Sicht schöpft die Band aus Quellen wie der härtesten Seite von Celtic Frost, der rohen und epischen Seite von Bathory, der Atonalität von Kryzstof Penderecki, der klanglichen Ernsthaftigkeit von Conan und den Texturexperimenten des frühen Pink Floyd. Totengott vermeidet Einschränkungen in der Art und Weise, wie sie Musik verstehen.

Aided by her producer, the Osaka- born saxophonist Hisatsugu Suzuki, and his band, Wong has created a stylish jazz album brimming with her trademark soulful vocals drizzled over syncopated grooves. Taking well- known songs from the repertoires of pop music acts as diverse as Phil Collins ("Against All Odds"), Pet Shop Boys ("It's A Sin"), Dead Or Alive ("You Spin Me Round") and Toploader ("Dancing In The Moonlight"), Wong refashions her source material to reflect the cool jazz-flavored sophistication that is at the heart of her unique artistry. From emotive ballads to buoyant uptempo material, Susan Wong reveals her outstanding interpretative skills, revealing that she is a song stylist supreme.

"The Eighties spawned many iconic films such as Footloose, Dirty Dancing, Ghostbusters, Rocky and The Breakfast Club. Despite all the different genres, they all had something in common: great film music. 80’s Movies Hits Collected is a collection of music that is inextricably linked to Eighties movie classics, including Queen, Billy Ocean, Lionel Richie, The Bangles, Duran Duran, Pat Benatar, Tina Turner and Survivor amongst many others. 80’s Movie Hits Collected is available as a limited edition of 1500 copies on translucent blue (LP1) and gold (LP2) coloured vinyl. This 2LP-set includes an insert with liner notes, photos, and credits. "

80'S Movie Hits Collected by Various Artists, released 24 May 2024, includes the following tracks: "Philip Oakey & Giorgio Moroder - Together In Electric Dreams (From Electric Dreams)", "Limahl - Never Ending Story (From The Never Ending Story)", "Los Lobos - La Bamba (From La Bamba)", "Ray Parker Jr. - Ghostbusters (From Ghostbusters)" and more.
This version of 80'S Movie Hits Collected comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, blue disc. Another vinyl is pressed as a translucent, gold disc.

Vier Jahre ist es her, dass die amerikanische Thrash-Metal-Band EvilDead ihr Comeback-Album ‚United States Of Anarchy‘ veröffentlicht hat und damit Fans wie Medien gleichermaßen begeisterte. Vier Jahre, in denen sich die Welt stärker denn je verändert hat, während EvilDead – wie ein Fels in der Brandung – an ihren charakteristischen Stärken festgehalten und ihren dynamischen Stil zwar kontrolliert, aber gezielt weiterentwickelt haben. Das Ergebnis nennt sich ‚Toxic Grace‘ und wird am 24. Mai 2024 über Steamhammer/SPV als CD, LP und digitaler Download veröffentlicht. Um die Zeit bis zum Album-Release für die Fans erträglicher zu gestalten, werden bereits vorab mit ‚Raising Fresh Hell‘ und "Subjugated Souls" zwei Singles inklusive Videos ausgekoppelt. Es sind die schwermetallischen Statements einer Band, die über große Erfahrungen verfügt und zugleich den Enthusiasmus und die Energie ihrer Anfangsjahre nie eingebüßt hat. Sänger Phil Flores beschreibt ‚Toxic Grace‘ als ein „Album mit einer Vielzahl verschiedener Stile und Sounds, von Doom bis Melodic Metal, von traditionellem Heavy Metal bis zu unserem signifikanten Old-School-Thrash-Stil.“ Gitarrist Juan Garcia fügt hinzu: „Wir haben uns bewusst auf die Tempi und den durchgängigen Fluss aller Parts und Riffs konzentriert. Wir wollten,
dass die neuen Songs kraftvoll sind, und schnell nicht nur der Schnelligkeit wegen. Ich bin sehr stolz auf das neue Material.“

Introducing “Psyche Gems”, the Jakarta Records debut LP from LA based Rapper JUICEBOX & Norwegian producer duo Myeye. Debut LP “Psyche Gems,” a collaborative musical venture sparked by an impromptu Instagram jam session in 2021, is poised to mesmerize audiences. The brainchild of JUICEBOX, a versatile artist known for his roles as a singer, songwriter, rapper, and one half of the acclaimed group Figmore (with 10.4 Rog), “Psyche Gems” emerged from JUICEBOX's admiration for Simen Hallset's psych-pop band Gold Celeste (over 20 million Streams on Spotify). After reaching out to Simen, they swiftly connected with Henrik Norbakk, the other half of Myeye, igniting the genesis of the collaborative project. An Instagram jam session in 2021 gave sonic birth to LP “Psyche Gems”. Buttery vocals meet funky, soul-driven beats, meticulously recorded live, then chopped and repurposed to create an experience that transcends sonic definition. From vibrant head-nodding energy to lush beats seamlessly melded with an inimitable vocal delivery, “Psyche Gems” captures the essence of past and present, offering a kaleidoscope snapshot of life reflected through timeless grooves. The album's distinctive sound is characterized by meticulous layering, where each element is meticulously played, chopped, looped, and jammed over until achieving sonic perfection. United by their shared passion for old soul and jazz records, ‘90’s + ‘00’s hip hop, lo-fi indie, and psychedelic music, JUICEBOX and Myeye seamlessly fuse their diverse influences to craft a musical experience that resonates with listeners on a profound level. "We wanted to create something that inspires, provokes, and sheds light on the truths we all carry inside us," explains JUICEBOX. "Psyche Gems is more than just an album; it's an infinite journal entry of reflection, a testament to the power of music to illuminate the human experience."

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

This One Is For The Party is the final studio album by The Trammps, originally released in 1984. The Trammps, hailing from Philadelphia, were a prominent fixture in the disco scene of the 1970s. Consisting of Earl Young, Harold Wade, Jimmy Ellis, Robert Upchurch, and Stanley Wade, they were known for their infectious grooves and energetic live performances.

The Trammps earned their place in music history with hits like “Disco Inferno” and “Hold Back the Night”, but also “Shout” and “Move” became disco classics. 40 years after its original release, the tracks of This One Is For The Party continue to fill dance floors at parties and their influence can be heard in modern dance and pop music. The album also features a guest performance by the Dutch female group Mai Tai on “I Don’t Know (One For The Party)”.