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Presenting the vinyl reissue of "French" by the legendary Buzzcocks, an electrifying live album capturing the band’s dynamic performance during their iconic Paris show in 1995. Known for their pioneering sound that fused punk’s raw energy with melodic sensibilities, Buzzcocks deliver a setlist packed with fan favorites and deep cuts, showcasing their impact on generations of punk and alternative rock. This album captures the intensity of their live presence, with Pete Shelley's unmistakable voice delivering heartfelt lyrics on love, desire, and disillusionment, supported by Steve Diggle’s powerful guitar riffs and the tight rhythm section of bassist Tony Barber and drummer Phil Barker. Buzzcocks have long been celebrated for their emotionally charged songwriting and high-energy performances, making "French" an essential recording that preserves their legacy. This vinyl edition invites both long-time fans and newcomers to experience the unfiltered sound of a Buzzcocks concert in its raw, analog glory.

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

This best-of album, curated from his vast catalog, features eight carefully selected songs that highlight his genius. With exclusive access to the master rights to all of his works, P-VINE presents this showcase, a truly special collection that reflects the depth and breadth of Irvine's musical contributions.

Weldon Irvine was a musician whose cutting-edge style and emotionally resonant melodies won him widespread admiration across generations and genres, from the jazz and soul scenes of the 1970s to the club and rare groove movements of the 1990s and beyond. Known for his diverse musicality, Irvine left behind a legacy of timeless tracks. This best-of album, curated from his vast catalog, features eight carefully selected songs that highlight his genius. With exclusive access to the master rights to all of his works, P-VINE presents this showcase, a truly special collection that reflects the depth and breadth of Irvine's musical contributions.

Composed of the techno heavy weight Obscure Shape (formerly known as part of Shdw & Obscure Shape) and classically trained musician Conrad, BERG AUDIO is proud to welcome the duo’s exciting new project, URBAN CC. Focused on the raw side of house & dub techno, the pair’s debut release is already supported by some of the industry’s key players, setting an incredibly high standard for both their future productions as well as live performances that they have been working on during the past two years. URBAN CC’s “The Introduction” also gives the label a chance to showcase a wider array of genres, by releasing its first drum and bass output, something the well-regarded imprint has been planning to do for a long time, and is eager to keep on doing. URBAN CC is here, join the journey!

*Repress*

180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.

Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.


Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

The complete LP + 6 bonus tracks - limited edition pressing on 180g vinyl

Widely regarded as the finest female country singer of all time, Patsy Cline achieved
icon status following her tragic premature death at age 30 in 1963. Presented here is
one of Patsy Cline's best albums, Showcase (1961), originally released by the Decca
label. It boasts such important hits as 'Crazy', 'I Fall to Pieces' and 'Walkin' After
Midnight.
Featuring guitar legend Grady Martin, bassist Bob Moore, pianist Floyd Cramer, The
Jordanaires, this special edition of Showcase features six bonus tracks, including the
unforgettable 'She's Got You' and 'You Belong to Me, constituting a true Patsy Cline
greatest hits release.
"Patsy is and perhaps will always be the standard bearer for all female country
singers."- Tammy Wynette








[h] Walkin' After Midnight [first Version]

Vier erfolgreiche Studioalben, mehrere Theatertourneen in den Niederlanden und erste internationale Shows, die allesamt ausverkauft waren. Es folgten bereits zahlreiche Auszeichnungen, darunter eine Goldene Schallplatte und der renommierte Edison Jazz Award (der Holländische Grammy). Keine alltägliche Errungenschaft im Jazzbereich oder wie „Crooner“ Dennis es lieber nennt, im Swing, einem Stil, der für ihn unvergleichlich ist. Jeff Franzel, der ehemalige Pianist von Frank Sinatra und Sammy Davis Jr, sagt über Dennis: “Music is about working with young talent, especially for people my age. Dennis blew me away with his incredible voice. He’s also an artist who connects with his audience. I predict a great international career for him.“ Sein Repertoire umfasst eine Mischung aus klassischen Jazzstandards, zeitgenössischen Stücken und eigenen Kompositionen, die seinen persönlichen Stil unterstreichen. Neben seiner Musikkarriere engagiert sich van Aarssen auch in der Musikpädagogik und fördert junge Talente in der Jazzmusik. Im März 2025 erscheint sein aktuelles Album " Just call it Love" auf dem deutschen Markt, mit Titeln geschrieben von Maria Christensen, die u.a. für Céline Dion, Jennifer Lopez und Disney Productions Hits abgeliefert hat. Am Piano niemand geringerer als Jeff Franzel, der ihn auch auf seinen ersten Shows in Köln und Hamburg begleitet! Hier kommt ein junger Mann mit grossem Talent, der eine junge Zielgruppe für die Swingmusik begeistern wird.

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

After many years of artistic collaboration, the long-awaited album, KILLING TIME, bringing together London-based MC Killa P and Italian Bass music collective Numa Crew, has finally arrived.

Killa P, a name synonymous with potent lyricism and raw energy in the Grime scene, delivers a vocal masterclass throughout his debut long-player, soundtracked by the stellar production of the Numa Crew. Together they expertly navigate genres including dubstep, grime, dub, and jungle, while maintaining a distinct and cohesive musical identity.

Not simply a collection of individual tracks, Killing Time is a meticulously crafted journey through sound system music. There are no stylistic boundaries, as the long-player encompasses the entire musical spectrum that unites the Italian crew with the London-based MC, with Killa P free to showcase his evolution as an artist. Alongside them, the album also brings together a diverse cast of friends and collaborators, vocalists, and producers, each adding their own unique flavor.

From the pulsating dubstep-infused Boys in Blue, a searing commentary on social inequality, to the reggae-tinged steppa tune Love Inna We Heart featuring Charlie P and Long Range, a plea for unity and love, Killa P's lyrical dexterity shines.

Tracks such as Champion Sound, Badman City Pt.2 featuring the French Ragga legend Big Red, and No Laugh featuring Big Chain and Bristol’s Buggsy are a nod to Killa P's roots, beautifully showcasing his mastery of grime's signature sound, while the sped-up tempos of the Fleck collaboration Jungle Leng, and Can't Get Me Down featuring Ras Demo, inject a jolt of Junglist attitude. Different Life is a vibrant ‘carnival’ jam, that infuses grime and dancehall moods and sees the great Lady Lykez on the second verse.

The album wraps on a contemplative note with Dreaming, a collaboration with Abstract Sonance, and Heartless, featuring Killa’s son GK on production, revealing an introspective note that adds yet more depth to Killa P's artistry.

As the album’s second track, Family, proclaims: ‘man a deal with family, not friends’ - a fitting line to define the album as a whole… An ode to the unity and strength of family.

LP with printed inner sleeve

Mitte der 80er Jahre konnten The Loft eine beeindruckende Liste von Premieren für Künstler von Creation Records vorweisen. Die erste Creation-Band im Fernsehen, die erste, die die Spitze der Indie-Singles-Charts erreichte, die erste, die zu einer großen UK-Tournee eingeladen wurde und die erste Creation-Band, die eine begehrte BBC-Radiosession aufnahm - für Janice Longs Radio One-Show im Jahr 1984. Dann lösten sie sich auf. Seit dem berüchtigten Bühnendrama, bei der sie sich mitten im Song im Hammersmith Palais vor 3.000 Zuschauern trennten, als sie auf dem Sprung zur Big-Time-Indie-Größe waren, hat sich die Band wieder zusammengefunden. Während ihr Status als eine der einflussreichsten britischen Gitarrenbands der 80er Jahre weiter wächst und eine Vielzahl jüngerer Künstler:innen beeinflusst, schien es 39 Jahre nach der bitteren Trennung an der Zeit zu sein, ihr Debütalbum aufzunehmen.

The Andalusian label is back with a new compilation called 192 and once more, 4 new and neatly selected tracks.

The E.P is intentionally made up of four talented music projects. Besides and as is becoming the custom, these four diverse tracks are full of catchy melodies, touching arpeggios, and powerful beats. There is harmony between the four artists, Dark Vektor, Synth Alien, Imiafan (Keen K RMX) and Wardum and without a doubt this compilation can show variety and bet on music that the label loves and respects.

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records. The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. While he was not able to work with Scratch Acid directly through Touch and Go, Rusk had begun booking shows with Scratch Acid in Detroit, so he could see them live and meet them. A friendship formed, and Touch and Go Records would eventually release the band's second EP, Berserker, in 1987.

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator.

‘Celesta’ marks Barbarelle first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself - ‘behind closed doors’ - ‘Celesta’ is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With ‘Celesta’, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time.

‘Celesta’ is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, ‘Celesta’ is an authentic, candid record of emotions, memories, and profound interiorities.

Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by emotional intensities and softly spoken utterances. ‘Celesta’ is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the centre of the heart.

In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina & more.

Von seiner Arbeit in der explosiven frühen Hollywood-Punk-Musikszene mit seiner Band The Plugz über das Produzieren von Bands wie The Gun Club bis hin zur Filmmusik, seiner beachtlichen Schauspielkarriere und der Gründung von Fatima Records - Tito Larriva verdient den Titel, den ihm die LA Times einst verliehen hat, durch und durch: "Renaissance Man".

The Plugz, 1978 in Los Angeles von Tito Larriva gegründet, waren inspirierend für die frühe Latino/Latinx-Punk-Gemeinschaft und ihr "West Coast Punk" hatte einen anhaltenden Einfluss auf ganze Generationen von Rockbands.
Kenner der Latino-Kultur würdigten die Band für ihre unkonventionelle Version von "La Bamba" und ihren Einfluss auf die Chicano/Xicanx-Rocker in Südkalifornien.

Mit "Hombre Secreto", einer spanischen Version des 60er-Jahre-Klassikers "Secret Agent Man", brachte Larriva seine einzigartige Handschrift in die Filmmusik des Kult-Klassikers "Repo Man" ein. Seine Karriere ging von hier aus kontinuierlich und vielfältig weiter; zu den wichtigsten Etappen zählen seine Arbeit als Produzent des Cast-Albums der "Pee-Wee Herman Show" und des Debüts "Fire of Love" von The Gun Club, sein Einsatz als Schauspieler in David Byrnes "True Stories" und die von ihm 1984 gegründeten The Cruzados. 1992 entwickelte sich aus The Cruzados die Band Tito & Tarantula, mit der Larrivas intensive Arbeitsbeziehung zu Robert Rodriguez und Quentin Tarantino begann. Er spielte in einem halben Dutzend ihrer Filme mit, unter anderem auch in "From Dusk Till Dawn", wo sein Song "After Dark" und sein musikalischer Auftritt im legendären "Titty Twister Club" eine legendäre Rolle spielt.

Nun veröffentlichen Tito & Tarantula ihr mit Spannung erwartetes Album "!Brincamos!". Das neue Werk ist eine Soundreise, die die Tiefen der menschlichen Seele erforscht, durchsetzt von der rohen Kraft des Rock und dem reichen Erbe des Latino/Latinx-Punkrock. Jeder Track ist ein Beweis für die Fähigkeit Larrivas, Grenzen, Genres und Sprache zu überwinden und einen Sound zu kreieren, der bei Fans auf der ganzen Welt Anklang findet. Mit rohen Balladen und emotionalen Rock-Hymnen ist Larriva mit "!Brincamos!" ein musikalisches Meisterwerk gelungen, das die Geschichte von Tito & Tarantula mehr als würdig fortschreibt.

Neben der Veröffentlichung dieses Albums bereiten sich Tito & Tarantula derzeit auf ihre "!Brincamos!"-Europatournee vor, um ihre berüchtigten Live-Performances auf die Bühnen des europäischen Kontinents zu bringen. Die Fans werden eine Verschmelzung von Rock'n'Roll und cineastischen Welten erleben und Teil unvergesslicher Konzerte sein. Mit Titos intensivem Gesang und der unvergleichlichen Bühnenpräsenz der Band schickt diese Tournee sich an, eines der großen Highlights des Jahres für Musik-Enthusiasten zu werden.

Mit der Veröffentlichung von "!Brincamos!" und dem Beginn ihrer Europatournee im März 2025 laden Tito & Tarantula alte und neue Fans ein, sie auf dieser aufregenden Reise zu begleiten. Die Musik dieser Band ist ein Zeugnis für die Energie des Rock und den vereinenden, kulturellen Stolz der Latinos.

"!Brincamos!" erscheint am 14.03.2025 als Vinyl (aufgrund der Spiellänge des Albums fallen 2 Live Tracks weg), limitierte Vinyl mit einer separaten 10" incl. der Livetracks, CD und digital auf allen gängigen Streaming Plattformen

Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers' impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. I n these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could b e described as a jazz-informed take o n progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann's house in Los Angeles, the album maintains a focus on beauty, melody, and rhythm as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility o f a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann's fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes' bass chording, and the textural harmonic worldbuilding of Johnson's effect-laden alto saxophone.

"The Sunlandic Twins" markierte 2005 einen Wendepunkt für Of Montreal, als sich Songwriter Kevin Barnes einem stärker elektronisch-tanzbaren Sound zuwandte. Die lebendige Mischung aus Synthie-Pop und Psych-Rock wurde zum kommerziell erfolgreichsten Of Montreal-Album mit mehreren kultigen Fanfavoriten. Zum 20-jährigen Jubiläum veröffentlicht Polyvinyl die "The Sunlandic Twins (20th Anniversary Edition)", von Miles Showell in den Abbey Road Studios auf halber Geschwindigkeit neu für Vinyl remastert. Sie enthält das auf 45rpm neu geschnittene Originalalbum sowie einen digitalen Download mit einer zusätzlichen Fundgrube an Bonusmaterial, darunter bisher unveröffentlichte Raritäten, B-Sides, Coverversionen, Remixe und Livetracks, die einen tieferen Einblick in den kreativen Prozess hinter dieser faszinierenden Platte bieten. Neu verpackt auf holografischem Goldpapier samt Booklet mit noch nie zuvor gesehenen Skizzen des Cover-Artworks von David Barnes und einem Vorwort von Kevin Barnes.

Endlich zum ersten Mal auf Vinyl erhältlich, die My First Holly Golightly Album CD Compilation von vor zwanzig Jahren! Eine 14-Track-Compilation, inspiriert von der damaligen Live-Show von Holly Golightly. Diese Zusammenstellung enthält Hollys Lieblingssongs von ihrem Debütalbum The Good Things aus dem Jahr 1995 bis hin zu ihrem Album Slowly but Surely von 2004. Außerdem enthält sie vier exklusive Tracks, die eigens für dieses Album aufgenommen wurden.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

"Supplicium" represents a perfect balance between tradition and modernity. On one hand, the lyrical concept and epic atmospheres transport the listener to the age of the Roman Empire, evoking visions of triumphant marches and blood-soaked arenas. On the other hand, the sound becomes increasingly technical and refined, with tight riffs, relentless rhythmic sections, and flawless production that enhances every detail. The album, crafted with meticulous care, succeeds in combining the brutality of death metal with highly complex instrumental passages, showcasing a band in constant evolution. With "Supplicium", ADE reaffirm their role as champions of a death metal where historical tradition and modern sound coexist, creating an experience that is both ferocious and captivating.

NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.



LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.



LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.



LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.



NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!

On her forthcoming record, Rose Cousins holds our hands as she guides us on a journey through the "conditions of love." Ever the emotional explorer, the acclaimed, Nova-Scotia-based folk artist seeks truth, in all its imperfection, in the depths of our most complicated of emotions: love. Co-produced with trusted friend and longtime bandmate Joshua Van Tassel, this new collection of songs sees Rose return to her first love, the piano. “Piano is where I feel the most connected. It’s the best partner in expressing the emotion I’m mining,” she shares. Rose’s work as garnered her two JUNO Awards (2013’s We Have Made a Spark & 2021’s Bravado), two Canadian Folk Music Awards, eleven East Coast Music Awards and one Grammy nomination (2018’s Natural Conclusion), along with praise from the likes of the CBC, No Depression, LA Times, Billboard, Folk Alley, and NPR, who raved “Cousins’ disarmingly fluid vocal tone has the ability to convey the most internalized feelings without an ounce of fuss.” Over the years, she has shared stages with Patty Griffin, Mary Chapin Carpenter, Jann Arden, Bruce Cockburn, Josh Ritter, Kathleen Edwards, Joe Henry, Aoife O’Donovan and Anais Mitchell, and her music has fittingly underscored scenes from notable TV shows including Grey’s Anatomy, Fire Country, Station 19, and Batwoman, along with several independent films.

Sam Moss is a songwriter and instrumentalist based in Virginia. His next LP, Swimming, will be released on February 7th, 2025. Past albums have been acclaimed by publications like The Boston Globe, NPR, The Wire, and Paste. He has played hundreds of shows around the country and shared bills with Jake Xerxes Fussell, Joan Shelley, Diane Cluck, Doug Paisley, and others. He is also a woodworker.

The debut recording from one of jazz music's most revered pianists! First U.S. vinyl release!

All-analog remastering by Bernie Grundman.
"Byard is absolutely brilliant...highly recommended." - All Music

Originally recorded in 1960, briefly released in Japan in the early ’70s, it wasn’t until 1988 that Jaki Byard’s solo debut, Blues For Smoke, was widely released. Even then it was more of a secret handshake among fans than the catalog cornerstone it should have always been. Now, Candid has finally created the definitive edition of this lost masterpiece for all to experience.

Byard backed generations of jazz icons, including Charles Mingus, Art Blakey, Roland Kirk, and Quincy Jones.

As a bandleader and soloist, he went on to build his own catalog of iconic recordings across three decades while establishing himself as an educator and mentor to the next generation of artists, most notably, Grayson Hugh, Fred Hersch, and Jason Moran. Blues For Smoke is where it all began.

Recorded as a solo-piano showcase for Byard’s incredible gifts as a player, composer, and jazz historian, the exquisitely engineered session is given new life by Bernie Grundman’s sensitive remastering. With this release, Candid is hoping to make Jaki Byard’s very first album the rosetta-stone of jazz piano it was intended to be.

Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn. It’s the most collectible of the bunch, showcasing Carn’s innovative approach of adding lyrics to jazz standards like Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land,” while originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range.

Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. This beautiful, uplifting album also comes with liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview conducted with Doug Carn himself. Pressed in blue with black swirl vinyl limited to 750 copies!

Formed in 2010, LORNA SHORE is quick to surpass expectations with 2012’s “Bone Kingdom” EP and it’s follow-up, 2013’s “Malificium” EP. Through each release, LORNA SHORE continues to prove themselves to be an increasingly formidable force and a ferocious live proposition. 2017’s sophomore LP, “Flesh Coffin” showed a band that had moved beyond mere “deathcore” trappings and had evolved into a modern metal band, as uncompromising and accomplished as any of their contemporaries or influences. “Flesh Coffin (Re-issue 2025)” comes with a vinyl master by Will Borza and is available as black 180g LP.

Red vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Red/Black splatter vinyl. Released in 1982, III Wishes marked a new chapter for Shooting Star, as it was their first album without founding keyboardist Bill Guffey. Despite the lineup change, the band continued to refine their signature blend of melodic rock and soaring instrumentation, further establishing themselves in the AOR scene. With Van McLain, Gary West, Charles Waltz, Ron Verlin, and Steve Thomas still leading the charge, III Wishes showcased powerful hooks, tight musicianship, and the band's signature violin-infused rock sound. While it didn't achieve mainstream superstardom, the album reaffirmed Shooting Star's underrated brilliance and commitment to delivering heartfelt, high-energy rock.

Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.

Akae Beka’s inimitable style, developed over decades of performing with St. Croix based band Midnite and countless recordings (including the 2014 iTunes reggae album of the year BEAUTY FOR ASHES and RIDE TRU). At the point of his untimely passing in 2019, he had released over 70 LPs. He is without a doubt one of the most prolific reggae artists ever known and his quantity is always matched with quality, with his albums consistently featuring in the top 10 on the Billboard charts reggae LPs.

This LP, Topaz, is a unique contribution to the sea of Akae Beka titles, showcasing Vaughn Benjamin in a stripped-back, raw acoustic fashion. An LP that will not be easily confined to any genre, but for the fans of Vaughn's uniquely rich, deep, textured songwriting, uncompromising devotion to RasTafari and soulful healing melodies an absolute must-have!

Discos Martos Launches with Glen Anthony Henry's Soulful 45 Vinyl Single.

Discos Martos, a new division of Rocafort Records, proudly announces its debut release: a 45-vinyl single by soul singer Glen Anthony Henry. Originally from Los Angeles and based in Spain, Henry combines classic soul with modern flair in this exciting project.

The A-side, "Thankful," is an upbeat tribute to love and friendship, featuring a catchy hook and a drum backbeat reminiscent of Al Green. On the B-side, "Fade Away," Glen Anthony Henry showcases his falsetto in a deeper, more introspective track.

Both songs are produced by Oscar Martos, entirely in analog, capturing the essence of 70s soul music with a contemporary twist.

This release marks an exciting beginning for Discos Martos, celebrating soulful sounds for a new generation.

Imbued with the spirit of their late uncle, the qawwali master Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali have returned with another deeply accomplished, moving collection of songs that ache with the frenzied anxiety of falling in love and dreamy desire of devotion, At the Feet of the Beloved. Their vocals and arrangements are refined and, together with their party, they build a world that helps the listener connect to another one. Brothers Rizwan and Muazzam Ali Khan are the contemporary torchbearers of the rich Qawwali musical tradition using their extraordinary voices to transport listeners to another, spiritual dimension. Performing together since the late 1990s, Rizwan-Muazzam Qawwali have developed a devoted worldwide following with their exceptional live shows and acclaimed albums, including A Better Destiny and Days of Colour. In great demand with global followers, Rizwan-Muazzam Qawwali have performed at festivals and venues including Barbican London, WOMAD festivals in the UK, Australia and New Zealand, and some of North America’s most prestigious performing arts centres.

PRESSED ON BLUE SPLASH COLORED VINYL!

Executive Producers: Benny the Butcher & ElCamino

Benny the Butcher Presents: The Outcome, the new compilation from B$F and Buffalo-based producer ILL Tone Beats, is now available on vinyl. The project boasts star-studded features from artists such as Benny the Butcher, Conway the Machine, and Westside Gunn, who provide hard-hitting verses over Tone’s dynamic production. The album’s 14 tracks, produced entirely by ILL Tone, showcase the distinct sound of B$F that has drawn acclaim from critics and fans alike.

Audiophile 180g Vinyl-Reissue des zweiten Studioalbums "Goodbye Jumbo" (1990) der britischen Rockband World Party. Mit dem Singles "Way Down Now" und "Put The Message In The Box".

Since 1972, the group has remained quintessential bearers of the tradition, releasing
nearly two dozen albums that cast a wide net for inspiration and repertoire. Remains
to Be Scene is no exception, delivering stirring takes on bluegrass standards and
providing their signature interpretations on deep cuts from the likes of The Kinks, Bob
Dylan, and Jim Croce. The album is the first to be released since the passing of
founding member and trailblazing banjo player Ben Eldridge, who contributes
impassioned liner notes to the release. Beneath the album's title lies a plain truth:
more than fifty years in, The Seldom Scene are looking ever forward.
Original Seldom Scene are Bluegrass Hall of Fame inductees
"It goes without saying (but I'll say it anyway), the Seldom Scene is one of the most
influential and durable bands in modern bluegrass history." - Bluegrass Unlimited

Sonny Boy Williamson (Alex Miller 1912 - 1965) was one of the most inspiring
harmonica players in blues history. Though he took his name from another well-known
harmonica player, no one really sounded like him. Williamson developed his own
signature harmonica style, always showing a metronome like timing and an endlessly
inventive technique.
This release consists of Sonny Boy's complete debut LP, Down And Out Blues ,
originally released in 1959 on the Chess Records subsidiary label, Checker. Featuring
Muddy Waters, Jimmy Rogers, Willie Dixon, and Otis Spann, among others.
Sonny Boy Williamson toured England with American Folk Blues Festival in 1963 and
1965 and appeared on the iconic tv music show Ready Steady Go (8 January 1965)
backed by UK band,The T-Bones with Gary Farr.

K L P S has garnered a reputation for their immersive soundscapes and heavy
riffs, blending elements of post-metal and sludge to create a unique auditory
experience
Fans can expect a collection of tracks that not only showcase the band's signature
style but also push the limits of their musical exploration.
This new album promises to be a compelling journey through sound, reflecting the
band's evolution and artistic growth. Each track is crafted with intention, aiming to
resonate with listeners on various emotional levels. The self-titled album serves as a
testament to K L P S's commitment to authenticity and creativity in their music.

Showcasing whip-smart spikiness remains, and a gorgeous weirdness
matched by very few others, it's easy to see why wonk pop 7-piece KEG are
one of the most talked about bands of 2024
Soon they'll be THE band of 2025.
Their forthcoming debut album Fun's Over represents the culmination of KEG's initial
forays into life, and as such leaps all over--from the melodic to the demented with all
the enthusiasm of a very lively bean salad. Sharp angling guitarwork that would be at
home both on a Fugazi or a Wilco record. Cascading synths and drums, pepperings of
trombone and lyrics which invite you into a baffled man's brain full of joy and anxiety.
Contrary to the previous releases the album takes its time, allowing Keg to showcase
the orchestral leanings of the band, melding textures and battering- ram rhythms,
whilst all the time managing to hone their carefully manipulated balance of chaos and
order.