Cerca:sister

Over two years in the making, and many more in the two musician’s shared dream, ‘Real Thing’ unites longtime collaborators Michael Collins (Drugdealer) and Natalie Mering (Weyes Blood). Recorded across continents, ‘Real Thing’ is a return, a refinement and a reminder of the deep connection that has bound these two titans of song over multiple collaborations. The journey of ‘Real Thing’ began when Collins, while on a European sojourn, crossed paths with Parisian producer Max Baby. As one does while in Paris, they found themselves in a studio owned by a member of the 1970s French prog rock band Magma. There, a chord progression long-gestating in Collins’ brain blossomed into a bonafide demo.

Collins recalls, “I realized immediately that it was the perfect thing to show Nat, who I had been wanting to collaborate with again for years.” The connection and musical camaraderie between Collins and Mering dates back to 2014 in Oakland, where a chance meeting and studio session marked the genesis of their enduring partnership. Collins reflects, “Since then, I’ve felt like she’s my musical family. I can’t really ask for more in terms of someone who inspired me to even get to this place in my songwriting.” On the B-side is ‘The News’, Drugdealer’s first collaboration with Robbie Chemical. What began as a simple harmony grew into a panoramic partnership, the musician’s voices effortlessly entwined, and a pop paragon envisioned. Inspired by generational conversations on chaos, change and connection, the track opens a new chapter - topical, personal and unmistakably Drugdealer. As Drugdealer, Michael Collins has crafted a career that blends introspective songwriting with a reverence for classic pop and R&B. A native of the East Coast, Collins’ musical adventure began with the experimental pop collages of Run DMT and Salvia Plath before evolving into the more melodic, refined songwriting heard in Drugdealer’s acclaimed albums ‘Raw Honey’ and ‘Hiding In Plain Sight’.  Natalie Mering, better known as Weyes Blood, has similarly forged a path of emotive, transcendental folk-pop that delves into themes of myth, love and existential longing.

Known for her ethereal voice and evocative lyrics, Mering’s latest works, ‘Titanic Rising’ and ‘And In The Darkness, Hearts Aglow’, are nothing short of modern classics, though also feel like just the start of this artist’s undeniable ascent.  “For both artists, this is their first song since their respective 2022 albums, and what a way to come back. ‘Real Thing’ feels like uncovering a forgotten ’70s disco duet” - PASTE  “A lush and insistent folk-pop jam” - Stereogum  For fans of Mac Demarco, Kate Bollinger, Men I Trust, Toro y Moi, TOPS, Alice Phoebe Lou, Tame Impala, Thee Sacred Souls, Vacations, Allah-Las, Kurt Vile, Beach Fossils, Slow Pulp, Foxygen, Unknown Mortal Orchestra, Hand Habits, Father John Misty, Oracle Sisters, Whitney, The Lemon Twigs, Mild High Club, Khruangbin, Angel Olsen.

"The Virgin Suicides", AIR's zweites Album und der unvergessliche Soundtrack zu Sofia Coppolas Regiedebüt wird zum 25. Jubiläum als "The Virgin Suicides Redux" neu aufgelegt. Ein brandneuer analoger Mix des Original-Albums verleiht den eindringlichen Klanglandschaften, die wie der dazugehörige Kultfilm über die Jahre an Bedeutung gewonnen haben, neue Tiefe. "The Virgin Suicide Redux" ist als analoges Vinyl-Album sowie in einem 2-CD/Blu-Ray Digipack erhältlich. Dieses Set enthält den neuen Analog-Mix von 2025, eine Blu-Ray mit dem Album in Dolby Atmos und eine Auswahl bisher unveröffentlichter Demos und Raritäten.

Comprising of sisters Eva and Grace Tedeschi, The Cords are the brightest new indiepop band from Scotland and this is theri debut. They started playing drums when they were little kids and later found that they liked 80s and 90s indie music more than their peers did, and so formed a band, just the two of them, with Grace on drums and Eva on guitar - and the songs started to flow. With only a cassette and a flexi single released so far (both of which sold out in a matter of hours), Eva and Grace honed their skills by playing a whole series of gigs with some of the biggest names in Scottish pop. Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded. Like all great pop bands, The Cords have taken familiar ingredients and created something utterly fresh. Older indie fans will hear echoes of The Shop Assistants, The Primitives, Tiger Trap and Talulah Gosh, but they will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places. Younger pop fans won't care about these old reference points: what they will hear is the sound of two young women doing something utterly exciting: playing loud guitar and loud drums, taking analogue instruments and hitting them hard in the service of immediate and infectious pop tunes, and not giving a second thought about the digital world that wants to own everything we do. The Cords sound free: they remind us that pop music, played right, is expressive, liberating, joyful and deeply personal. First single `Fabulist' is a sweet and catchy pop song that races along, so headlong and hooky that, on first listen, you could miss the fact that it's a wholehearted take-down of people who lie for a living. And the album is a fun rollercoaster ride from that point onwards, with the real stars of this record being Eva's sinuous guitar and silky vocals, and Grace's clattering, expressive sing-song drums. It's the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up. DIGIPAK CD, LP on BABY BLUE VINYL.

GOSPEL GREATEST HITS - Die Seele der Musik Mit Gospel Greatest Hits präsentiert Wagram eine außergewöhnliche Sammlung der kraftvollsten Stimmen und bewegendsten Songs der Gospelgeschichte - als Doppel-CD und Doppel-Vinyl. Diese Zusammenstellung vereint emotionale Tiefe, spirituelle Kraft und musikalische Exzellenz in einem einzigartigen Hörerlebnis. Zu hören sind Legenden wie Mahalia Jackson, The Edwin Hawkins Singers, Sister Rosetta Tharpe, Sam Cooke, Ella Fitzgerald, Louis Armstrong und das Golden Gate Quartet - Künstler:innen, die Gospel nicht nur geprägt, sondern weit über die Kirchenmauern hinausgetragen haben. Gospel war schon immer mehr als nur Musik: In den USA war er Stimme der Hoffnung, Ausdruck von Widerstand und Quelle spiritueller Kraft - und ist bis heute ein Fundament für Soul, R&B und Pop. Diese Sammlung bringt die Ursprünge zurück ins Rampenlicht - mit Songs, die unter die Haut gehen.

San Diego "squigglecore" pioneers release archived double live album recorded at Spasibar in Oslo nov 13th and 14th 2005. This live document musically spans their career from 1992"s "Of Thick Thum" through material on their 2010 release "O Zeta Zunis" on Asmathic Kitty. The band that NME said "Make Pavement sound like U2" have released some 13 studio albums over the years and fans include Beck, John Peel and Thurston Moore to name a few. The latter which contributed to their "Milktrain to Paydirt" album from 1995. Features John Sherman of Red Fang on drums.

Sugaring a Strawberry, the sophomore record from Julia, Julia, is a study in coming undone—on purpose. Recorded at COMA, Julia Kugel's home studio, and mixed through a custom Flickenger clone, the album drifts in and out of clarity like memory itself. It's emotionally retrospective, creatively unvarnished, and deeply human. You can hear it in the hiss, the warmth, in the vocals so raw they're like an open window. These songs weren't engineered for perfection. They were built to breathe. Her long-time collaborator and husband, Scott Montoya, mixes it all so loosely that you can hear the air between tracks— a space that makes the music feel inhabited rather than recorded.


"Bound" opens the album like a secret passed between sisters, solemn and unspeakably close. It begins with the softest of touches: hushed guitar, a near- whispered delivery that carries the intimacy of someone singing only for one other person. It's a love song, but not romantic, more ancestral in the way long bonds can be. All glow and undercurrent, "I Know," is like hearing someone hum through a wound. The track arrives as if it had been waiting, coiled and complete, to be sung. Its pulse is slow but insistent, anchored on a hypnotic loop and a vocal that's half-incantation, half-confession. One of the most outward-facing songs on the record, "Feeling Lucky," opens like a cigarette flicked in the dark– smoky and a little bit slick. Built on a skeletal beat and a nearly detached vocal, it leans into a sarcastic swagger that barely masks the ache beneath. The delivery is droll and glazed, the instrumentation is sparse and a little woozy, leaving space for her voice to sway—a shrug of a song, stylish in its sadness. "A Love That Hurts" drifts in on soft, fingerpicked guitar and a dry, close-mic vocal that feels both haunted and immediate. The mix is stripped down and analog-warm, letting tape hum and silence frame the emotion. Julia sings like she's remembering something she doesn't want to, each line a slight unraveling. Like the rest of the album, "A Love That Hurts" doesn't push toward resolution. It sits in the ache, sifts through it, makes it beautiful.

Sugaring a Strawberry doesn't seek catharsis so much as stumbles into it. There's a quiet volatility to these songs like they might fall apart if you press too hard. It moves in shadow and softness, asking questions it doesn't answer. It doesn’t end with closure. It ends with truth.

Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

Back in 2023, I picked up a record by Jacob Dwyer — I was completely captivated. His lyrics weren’t just words; they were portals. I had to track him down. After some digging, I made contact — and asked him if he would like to collaborate with me.

He said yes.

Fast forward through months of back-and-forth, and then it landed — in my inbox — Tom’s House: a one-hour audio-drama written and performed by the incomparable Jacob Dwyer. It’s a hypnotic, surreal journey through the mind of someone returning home after 15 years — disorienting, poetic, and fully immersive.

To accompany this masterwork, I put together my take on Canon HF10 — 12 minutes of deep, rolling tech grooves, bouncing acid basslines, freaked-out synths, and lyrical gold. (“He demanded a fried egg sandwich…”)

Flip to the B-side and things get wild with The Baby Legit Upside Down — a full-tilt burner packed with razor-sharp 808 electro/techno drums, squelchy 101 bass stabs, swirling pads, and an evolving sub that’ll shake the foundations. Dwyer’s voice threads through the chaos with uncanny flair — bizarre, brilliant, unforgettable. The title means what it says.

We close the EP with Red Flowers — slowing the tempo, diving into squelchy breaks and textural weirdness, as Jacob drops in snippets of conversation with his sister, alongside more sharp, off-kilter reflections on Tom’s House.

Check the full audio-drama: Jacob Dwyer – Tom’s House

Wenn Sie das ungute Gefühl hatten, dass 2025 irgendwie das Jahr von Thee Headcoatees werden würde, dann klatschen Sie sich selbst herzlich ab - denn überraschenderweise ist es tatsächlich so! Wir können indirekt den Tod unseres lieben verstorbenen Great Ribbon, Mr. Don Craine, dafür verantwortlich machen, dass Thee Headcoats 2022 ein Comeback feierten. Ursprünglich hatten sie geplant nur eine Tribute-EP als Thee Headcoats Sect aufzunehmen - zusammen mit Dons Downliner Sect-Kollegen Keith Grant Evans - aber dann stellten sie fest, dass sie noch ein paar Stunden Zeit im Studio hatten, und dachten sich, dass sie genauso gut auch ein neues Headcoats-Album aufnehmen könnten. Und warum auch nicht? Das Ergebnis war, ohne viel Aufhebens, das Album "Irregularis (The Great Hiatus)", das 2023 bei Damaged Goods erschien. Ende 2024, noch bevor man ein Deerstalker-Band entwirren konnte, waren die Jungs schon wieder am Werk, und eine weitere neue Headcoats-LP war ,im Kasten", deren Veröffentlichung ursprünglich für Anfang dieses Jahres geplant war. ABER dann kam irgendwo jemand auf die Idee: ,Warum sollten nur die Jungs den ganzen Spaß haben? Wie wäre es, wenn wir auch den Sisters of Suave, Thee Headcoatees, eine Chance geben?" Mit allen ihnen zur Verfügung stehender männlichen List und Tücke schalteten Thee Headcoats und Damaged Goods ihre Charmeoffensive ein. Mit purer Entschlossenheit und Hartnäckigkeit wurden Ludella Black, Kyra LaRubia, Bongo Debbie und Holly Golightly nacheinander aus ihren Verstecken gezerrt, wo sie sich lautstark wehrten (was sie am besten können), um die 14 Killer-Songs aufzunehmen, die auf ihrem neuesten Album mit dem raffinierten Titel ,Man-Trap" zu finden sind. Das war keine Kleinigkeit! Anfang 2025 wurde also eine Aufnahmesession in den renommierten Ranscombe Studios in Rochester gebucht, Gin und Snacks wurden vorbereitet, und im Handumdrehen waren die Backing Tracks im Kasten - Thee Headcoats wieder zurück als die beste Backing-Band und Thee Headcoatees zurück am Gesang. Billy Childish übernahm die Produktion. Unbeeindruckt von einigen geografischen Hindernissen auf dem Weg dorthin war Ende Mai das Ergebnis ein glänzendes neues Headcoatees-Album! UND WAS FÜR EIN ALBUM! Es ist mindestens genauso gut wie alle ihre Alben aus den Neunzigern und vielleicht sogar noch besser... (,Ja-a-a-a!", flüstert der Geist von Don Craine.) Diese Mischung aus großartigen Coverversionen und einigen fantastischen neuen Songs ergeben eine verdammt gute LP. Betreten Sie "Man-Trap" auf eigene Gefahr - Sie wissen, dass Sie es wollen! Und falls Sie sich fragen, wie die Mädchen ihre Zeit seit der Veröffentlichung von ,Here Comes Cessation" im Jahr 1999, also vor nur 26 Jahren (!), verbracht haben, lesen Sie weiter... LUDELLA BLACK hat drei Soloalben sowie Veröffentlichungen mit The Masonics vorzuweisen und gerade erst mit The 5,6,7,8's aufgenommen. Nebenbei sang sie auch mit The Shall-I-Say Quois, zusammen mit ihrer Freundin Kyra. KYRA LaRUBIA war Anfang der 2000er Jahre kurzzeitig bei The A-Lines neben Bongo Debbie & Nurse Julie (von Stuck-Ups / Buffets / CTMF) und arbeitete an einer Neuauflage ihres Albums ,Here I Am, I Always Am". Die Musik trat dann in den Hintergrund, während Kyra sich auf ihre Promotion in Sport- und Bewegungswissenschaften konzentrierte. Seit 2005 ist sie Dozentin an der University of Kent. BONGO DEBBIE hat weiterhin in einigen Bands getrommelt. Sie ist Mitglied von Ye Nuns (The Monks Tribute Band), The A-Lines, Dutronc und hat kürzlich unter anderem für die Sting-Rays ausgeholfen. HOLLY GOLIGHTLY hat seit 1999 neun Soloalben veröffentlicht, sechs davon mit Lawyer Dave in The Brokeoffs, sang ein Duett mit Jack White auf dem Album ,Elephant" von The White Stripes und tourte um die Welt.

Frank Turners „The Next Ten Years“ ist der Nachfolger des begehrten Box-Sets „The First Ten Years“ und
enthält seltenes Bonusmaterial aus den Studioalben des letzten Jahrzehnts in einer limitierten Auflage auf
3 LP-Transparent-Vinyls.
Ab dem 7. November erhältlich!

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series – NOW That's What I Call An Era - Disco: 1973-1980 – a dazzling celebration of the golden age of disco.



This stunning 3LP set, pressed on blue, violet and pink vinyl, showcases 48 essential tracks that lit up the dancefloors, charts, and airwaves at the height of disco fever — an era when glittering anthems, euphoric grooves, and iconic vocal performances defined nightlife around the world.



LP1 opens in iconic style with Chic’s monumental ‘Le Freak’ followed by Sister Sledge’s equally legendary ‘We Are Family’, and Gloria Gaynor’s empowering #1 ‘I Will Survive’. Anthems follow from Sylvester with ‘You Make Me Feel (Mighty Real)’ and Chaka Khan with ‘I’m Every Woman’, ahead of the timeless ‘Young Hearts Run Free’ by Candi Staton and the first side finishes with production by Chic’s Nile Rodgers and Bernard Edwards on massive hits for Diana Ross with ‘Upside Down’, and Sheila & B. Devotion with ‘Spacer’. Flip the LP over for Amii Stewart’s version of ‘Knock On Wood’ followed by The Three Degrees, Eruption and the first smash from Boney M., ‘Daddy Cool’. The Village People topped the chart with ‘YMCA’ which has become an enduring party favourite, which leads to the infectious ‘Let’s All Chant’ from the Michael Zager Band, Lipps Inc. with ‘Funkytown’ and to close the first LP, sci-fi disco from Dee D. Jackson with ‘Automatic Lover’.



LP2 begins with Donna Summer’s epic version of ‘MacArthur Park’, before Earth, Wind & Fire with The Emotions bring pure euphoria on ‘Boogie Wonderland’, and McFadden & Whitehead with the floor-filling ‘Ain’t No Stoppin’ Us Now’. Great vocals from Marvin Gaye and Harold Melvin & The Blue Notes come ahead of George McCrae’s ‘Rock Your Baby’, one of the collections’ earliest and inspirational moments. UK artist Tina Charles hit the top with ‘I Love To Love’, and Andrea True Connection complete the side with the ear-worm ‘More More More’ whilst over on the other side legends Frankie Valli & The Four Seasons hit dancefloor gold and the #1 spot with ‘December, 1963 (Oh, What A Night)’, ahead of The Trammps with their era-defining ‘Disco Inferno’. A Taste Of Honey, Grace Jones and a second appearance from Diana Ross are up next – before the LP closes with an enduring classic, ‘Follow Me’ from Amanda Lear, Patrick Juvet’s ‘I Love America’, and Frantique with ‘Strut Your Funky Stuff’.



LP3 bursts to life with the international smash and UK #1, ‘Yes Sir, I Can Boogie’ from Baccara, before a huge hit cover from Belle Epoque with ‘Black Is Black’. Next; Alicia Bridges, Rose Royce and UK chart toppers The Real Thing, ahead of funk-infused disco brilliance from Kool & The Gang and Barry White – whilst the side closer is Yvonne Elliman’s ‘If I Can’t Have You’, from the Saturday Night Fever soundtrack and over on the final side there’s a stellar run of Disco nuggets: kicking off with Elton John’s irresistible ‘Are You Ready For Love’, originally released in 1979 and a #1 in 2003 along with ‘Boogie Nights’ from Heatwave, The Emotions with ‘Best Of My Love’, and LaBelle’s influential ‘Lady Marmalade’. The anthemic ‘Got To Be Real’ from Cheryl Lynn is next ahead of the trio of closing tracks: Odyssey with the sublime ‘Native New Yorker’, Thelma Houston’s Grammy-winning ‘Don’t Leave Me This Way’, and fittingly, Donna Summer’s iconic ‘Last Dance’, ending the collection in perfect style.



An unforgettable journey through the songs that defined the dancefloor: NOW That’s What I Call An Era – Disco: 1973-1980 — the definitive celebration of disco’s golden age.

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

The Eves celebrate the first anniversary of their acclaimed EP Both Sides with
a special vinyl edition to be released in November 2025
Produced and co-written with Dan Gautreau (Alicia Keys, Paolo Nutini) Both Sides was
released only on CD and digital in 2024. The new vinyl edition of the EP features a
previously unreleased bonus track The Silence produced by Mark Morrow (wrest,
Swim School). Title track Both Sides features prolific drummer and percussionist Ash
Soan (Snow Patrol, Tori Amos, Del Amitri). The EP showcases the duo's distinctive
songwriting style that encompasses smooth vocal harmonies and thoughtful
production, culminating in a fresh yet timeless sound that delivers their signature
blend of melodic pop.
The Eves have been played across BBC Radio 2, BBC Radio Scotland, BBC Introducing.
Their song Brand New Day has over 137k streams on Spotify and spent 5 weeks on
the BBC Radio 2 playlist. It was also made 'Single of the Week' on BBC Radio Scotland,
played on Bauer Media's Forth 1 radio station, reached No. 6 and No. 15 in the iTunes
pop charts and iTunes main download chart respectively, charted in the Amazon 'New
Hot Releases' UK Chart, and made an impressive debut in the UK Official Charts
Company download and single charts in the top 65. The song also features on an
episode of 'The Kardashians' on Disney Plus and Hulu across America.
'Big Love' was adopted as the official anthem for Scottish Women's Football for the
2022/2023 League Season, and was the pair's first release as a co-write, written with
Jim Duguid (Paolo Nutini) and producer Lewis Gardiner (Ellie Goulding, Nick Jonas).
The track was also featured on BBC Scotland's most popular football show 'Off the
Ball' with Tam Cowan and Stuart Cosgrove.
The pair are seasoned performers having opened for major artists at sold out shows
including Belinda Carlisle, Sister Sledge and The Shires. They've toured extensively
with Skerryvore and Horse across the UK, opened for Callum Beattie, and have
performed at festivals including TRSNMT, Country to Country, Edge Fest, Tiree
Festival, Moonbeams and Fringe by the Sea, sharing stages with Wet Wet Wet, Sophie
Ellis-Bextor, Gabrielle, Tony Hadley and Heather Small.
Other highlights include performing at the Guinness Six Nations rugby for Scotland v
Wales at BT Murrayfield, recording a live session for BBC Scotland's 'The Quay
Sessions', and several TV appearances on BBC Scotland's 'The Edit' on national TV
and BBC i-Player and STV's 'What's On' and 'The Braw and the Brave' chat show.

Recital releases The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The album’s shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day.

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members. It is released in a limited edition vinyl pressing of 200 copies, accompanied by a booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

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

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

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

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

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Forming as teenagers in the late 70s, female vocal group Black Harmony was comprised of Diane Cape, Dup'e Odelade, and Denise Mansfield (sister of Ingrid Mansfield-Allman, lead vocalist on Freeez’s ‘Southern Freeez’).

Whilst their much-loved 1979 cover version debut ’Don’t Let It Go To Your Head’ (Jean Carn) was a hit on the UK reggae charts, gaining major label distribution, Black Harmony’s self-penned 'Let’s Be Lovers’ has arguably become the trio’s most coveted work amongst collectors.

Originally released in 1981 by Tony Owens’ Cyprian Records imprint and distributed from his shop, Seven Leaves Records in Kensal Rise, the single marks one of saxophonist and flautist Courtney Pine’s earliest appearances on record as a member of the backing band Inity Rockers.

Feiern Sie 30 Jahre „Pieces of You“ mit dieser limitierten Pressung auf violettfarbenem Vinyl. Jewels legendäres Debütalbum enthält Hits wie „Who Will Save Your Soul“, „You Were Meant for Me“ und „Foolish
Games“, die die Ära prägen. Das Album, das rohe Emotionen mit poetischer Lyrik verbindet, bleibt eines
der meistverkauften Debüts aller Zeiten und ein prägendes Werk der Singer-Songwriter-Ära der 1990er
Jahre.
Seit Jewel vor 25 Jahren international bekannt wurde, hat sie sich mit 13 Studioalben und vier GRAMMY®-
Nominierungen zu einer charismatischen Live-Performerin und angesehenen Songwriterin entwickelt.
Unter Vertrag genommen noch bevor sie 19 Jahre alt war, verdankt sie dies ihren großen Mentoren Bob
Dylan und Neil Young, die sich die Zeit nahmen, sie als junge Künstlerin zu fördern und zu unterstützen.
„Pieces of You“ wurde 1995 veröffentlicht, aufgenommen in einem Studio auf Neil Youngs Ranch und mit
Youngs Begleitband, The Stray Gators. Das Album hielt sich zwei Jahre lang in den Billboard 200 Charts
(bis auf Platz 4) und brachte Top-10-Hits hervor, darunter die mit Platin ausgezeichnete Single „You Were
Meant for Me“, „Who Will Save Your Soul“ und „Foolish Games“. Danach veröffentlichte sie 12 weitere
Studioalben, während sie sich auch mit dem Schreiben und der Schauspielerei beschäftigte.

Multi-platinum selling artist Ashnikko makes their hotly anticipated return with ‘Smoochies’, set for release on 17th October.

Equal parts sexy, playful, and feminine, ‘Smoochies’ toes the line between the grotesque and the absurd. Moving past the pressures of viral fame, Ashnikko fully embraces their maximalist pop persona, blending club, country and hip-hop influences. The album stands as the "older sister" to DEMIDEVIL and a liberated evolution from WEEDKILLER. It's their most personal and collaborative work, trading fantasy worlds for autobiographical themes through the lens of the "Smoochie Girl”: a messy, chaotic and authentic figure who rejects beauty standards and the male gaze in favour of personal autonomy and joyful whimsy.



With hits like 'Daisy', 'Stupid' and 'Slumber Party' and a global fanbase built through worldwide sold-out tours, 'Smoochies' marks the start of a bold new era.

After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

Rediscover some of the best Reggae tracks ever made in a double vinyl package.

Featuring : The Wailers – Errol Dunkley – Max Romeo – Horace Andy – Sly & Robbie – Tenor Saw – Chaka Demus & Pliers - Sean Paul – Sister Nancy – Yellowman – The Mighty Diamonds – Lee “Scratch” Perry & The Upsetters

The American gothic rock/post-punk band She Wants Revenge was founded in 2004 by Adam Bravin and Justin Warfield. Their self-titled debut studio album, released in 2006, featured the singles "These Things" and "Tear You Apart." Upon its release, the album reached #38 on the Billboard 200, #3 on Billboard's Top Dance/Electronic Albums chart, and #9 on the Top Rock Albums chart in the U.S._x000d__x000a_She Wants Revenge is available as a 2LP, and is packed in a gatefold sleeve.

Gong's Gang , a one-off project for the unique family of true musicians: Giuseppe, Lino, and Rossana Nicolosi; brothers and sisters who knew ''something'' about the Italo-boogie-funk of the early '80s, uncontaminated by the increasingly invasive electronic sound of a yet unappreciated Italo-Disco. Gimme Your Love is a gem, with Rosanna Nicolosi leading the way on vocals and cascading synths and bass blending into an intoxicating mix that should make any funk detective froth with approval. And investigating how it sounds, one discovers a certain similarity to a Charades track; strings sound a bit like Gimme The Funk (written and produced by poet Lotti Golden and Richard Sher both with Chuck Wansley and Kathrine Joyce on Warp 9), mixed in 1982 by John "Jellybean" Benitez, a very close friend of Tony Carrasco, who in 1983 produced, arranged, and mixed 'Gimme Your Love'. The two always kept an eye on each other, even from a distance, staying in touch. However, these assumptions do not detract from this stellar song: whether you prefer the vocal hit or the subtly voiced instrumental, that you can dance at any nighttime party and that absolutely deserves a second chance in the spotlight.

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie kann eine Band, die dafür bekannt ist, sich ständig zu verändern, noch etwas Neues bieten? Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI nun erneut am Beginn eines mutigen neuen Kapitels, nur dass sie es diesmal sogar geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Typischerweise begann die Band mit dem Schreiben eines Albums, indem sie sich sofort in das Schreiben stürzte und den kreativen Prozess einfach ihrer intuitiven musikalischen Sprache überließ. Für ,Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für ,Silver Bleeds the Black Sun_" haben AFI jedoch beschlossen, ihren kreativen Ansatz bewusst komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. ,Wir haben mit etwas angefangen, das nach Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produziert und aufgenommen hat. ,Aber schließlich sind wir bei dieser Mischung aus Death Rock und Postpunk gelandet - all diese Einflüsse aus den 80ern und 90ern." ,Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. ,Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. Silver Bleeds the Black Sun_ ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

Seit mehr als drei Jahrzehnten befindet sich AFI in einem nahezu ständigen Prozess der Neuerfindung. Die Band hat es sich zum Ziel gesetzt, sich mit jedem Album weiterzuentwickeln - manchmal sogar dramatisch - und sich niemals zu sehr in einem Genre einzurichten oder sich auf ihren beeindruckenden Erfolgen auszuruhen. Dieser Ansatz hat ihr Publikum vergrößert, aber auch herausgefordert mit einer klanglichen Identität, die sich in wilde, unerwartete Richtungen entwickeln kann. Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI erneut am Anfang eines mutigen neuen Kapitels, nur dass sie es diesmal geschafft haben, sich selbst zu überraschen. Wie kann eine Band, die dafür bekannt ist, sich ständig zu verändern, noch etwas Neues bieten? Mit ihrem zwölften Album ,Silver Bleeds the Black Sun_" stehen AFI nun erneut am Beginn eines mutigen neuen Kapitels, nur dass sie es diesmal sogar geschafft haben, sich selbst zu überraschen. Wie schafft es eine Band, die für kreative Umbrüche bekannt ist, immer wieder Wege zu finden, sich selbst aus ihrer Komfortzone herauszuziehen? Typischerweise begann die Band mit dem Schreiben eines Albums, indem sie sich sofort in das Schreiben stürzte und den kreativen Prozess einfach ihrer intuitiven musikalischen Sprache überließ. Für ,Silver Bleeds the Black Sun_" jedoch haben AFI sich bewusst dazu entschlossen, ihren kreativen Ansatz komplett zu ändern. Normalerweise beginnt die Band ein Album, indem sie sich sofort in das Schreiben stürzt und sich einfach von ihrer intuitiven musikalischen Sprache leiten lässt. Für ,Silver Bleeds the Black Sun_" haben AFI jedoch beschlossen, ihren kreativen Ansatz bewusst komplett zu ändern. Diesmal begann alles mit einer Frage: Wie könnten sie neue Wege beschreiten? Der Schlüssel zum Fortschritt lag letztendlich in der gemeinsamen Vergangenheit von AFI. ,Wir haben mit etwas angefangen, das nach Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produziert und aufgenommen hat. ,Aber schließlich sind wir bei dieser Mischung aus Death Rock und Postpunk gelandet - all diese Einflüsse aus den 80ern und 90ern." ,Wir begannen mit etwas, das wie Echo & the Bunnymen klang", erklärt Gitarrist Jade Puget, der das Album produzierte und abmischte. ,Aber schließlich landeten wir bei dieser Mischung aus Death Rock und Postpunk - all diesen Einflüssen aus den späten 70ern und frühen 80ern, mit denen wir aufgewachsen sind, wie Sisters of Mercy, Bauhaus und Siouxsie and the Banshees." Das Ziel war es, ein Album mit einer einzigartigen Stimmung zu schaffen, etwas Verträumtes und Ätherisches, und die Bandmitglieder tauchten kopfüber in Einflüsse ein, die schon immer tief in der Musik von AFI verwurzelt waren, jetzt aber in den Vordergrund rückten. Silver Bleeds the Black Sun_ ist düster und jenseitig, aber auch grandios und würdevoll, bissig und schön zugleich - mit anderen Worten: Es ist sehr AFI, aber doch anders als alles, was man bisher von der Band gehört hat.

Orange & Red Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Nun erscheint erstmals eine Deluxe-Edition des Soundtracks zu ,Halloween Ends" als 2xLP-Erweiterung bei Carpenters langjährigem Label Sacred Bones Records. ,Halloween" aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und war der erfolgreichste Film der ,Halloween"-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, aber er wollte nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie es um die Zeit und die finanziellen Interessen der Leute steht und all diese Dinge. Die Realitäten des Geschäfts und des Filmemachens laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal."Die erweiterte Version von Halloween Ends enthält 10 bisher unveröffentlichte Stücke und wird mit brandneuen Artworks von Chris Bilheimer und einem exklusiven 24 x 36"-Poster von Creepy Duck geliefert. Erweiterte Versionen der Soundtracks zu Halloween und Halloween Kills sowie eine Box mit allen drei erweiterten Editionen werden ebenfalls am selben Tag bei Sacred Bones erhältlich sein.

Orange & Green Splatter Vinyl! John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Nun erscheint zum ersten Mal eine Deluxe-Edition des Soundtracks zu ,Halloween Kills" als 2xLP-Erweiterung bei Carpenters langjährigem Label Sacred Bones Records. ,Halloween" aus dem Jahr 2018 war ein Erfolg, der alle Erwartungen der Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und war der erfolgreichste Film der ,Halloween"-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel wieder für die Filmmusik verantwortlich sein würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie es um die Zeit und die finanziellen Interessen der Leute steht und all diese Dinge. Die Realitäten des Geschäftslebens und des Filmemachens laufen nicht immer reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von ,Halloween Kills" enthält 25 bisher unveröffentlichte Stücke und wird mit brandneuen Artworks von Chris Bilheimer und einem exklusiven 24x36-Zoll-Poster von Creepy Duck geliefert. Erweiterte Versionen der Soundtracks zu ,Halloween" und ,Halloween Ends" sowie eine Box mit allen drei erweiterten Editionen werden ebenfalls am selben Tag bei Sacred Bones erhältlich sein.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

Die ersten fünf Jahre von Karate, verpackt im klassischen Numero-Stil und kommentiert von Frontmann Geoff Farina. Diese Collage aus DC-Posthardcore, De Stijl und Django Reinhardt umfasst auf fünf LPs ihr selbstbetiteltes Debütalbum, In Place of Real Insight", The Bed Is In The Ocean", 7"-Singles aus dieser Zeit und eine bisher unveröffentlichte Demoaufnahme aus dem Jahr 1993. Insgesamt 41 Geschichten aus dem späten Millennium über nächtliche Radtouren um 2 Uhr morgens, Punk-Hauspartys, Nacktbaden, unglückliche Tattoos und Pendeln auf der Interstate 95, allesamt remastered von den Originalbändern und verpackt in robusten Tip-On-Hüllen für den anspruchsvollen Karate-Fan.

The debut single from Soul Music nobility, The Womack Sisters, is a one-two punch of soulful excellence. "If You Want Me" displays uncompromising rawness with pop-sensible control in equal measure. Propelled by the percussive attack of the piano and the hard-hitting call and response vocals, the track has a satisfyingly feel-good swing, allowing the groove to accentuate the hook. Sure to be a universally filed disc for DJs looking to bring some life to the dancefloor. On "I Just Don't Want You" sisters Kujcha and Zeimani's plaintive background vocals and BG's powerful lead come together like a harmonic bouquet in full bloom. A deeply soulful ballad at its core, it tells a tale of someone coming to terms with the pain of being in love with Mr Wrong when you know you deserve Mr Right.

Brian Auger, Julie Driscoll and The Trinity are today best known for their hit recording of Dylan’s then-unreleased This Wheel’s On Fire which is included here, together with covers of songs by the Staple Sisters, Nina Simone, Donovan, Mose Allison and David Ackles. Add in some band-written originals and you have twelve cool tracks mixing jazz, r’n’b, psyche and pop. All songs were specially recorded for the BBC, sound quality is excellent throughout.
Comes with full sleevenotes.




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]

The latest by Andrew Clinco's acid punk alias VR SEX takes its title from an architectural phrase but more importantly refers to the warped, wicked underworld the songs both chronicle and condemn. Donning the moniker Noel Skum - an acerbic anagram of Elon Musk - Clinco vents his scorn for and fascination with the seedy, surreal margins of low-life Los Angeles, doomed to dead ends of vanity, lust, and technology. Although initially launched as an outlet for "heavier sounds" beyond Clinco's duties in new wave fantasists Drab Majesty, the project has ripened into a compelling exercise in world building, weaving themes of gritty city neofuturist sleaze within a framework of driving, distorted guitars and cathode-blasted synths. Echoes of Chrome, Wire, Minimal Man, and Sisters Of Mercy ripple through the collection but ultimately Rough Dimension charts its own twisted vision of "our unforgiving reality." Written and demoed across two weeks alone in a Marseille flat using his prized 1980's Gibson "Invader" and a laptop, Clinco then took the tracks to Strange Weather studios in Brooklyn to record with Ben Greenberg (Uniform, The Men) who helmed 2019's debut, Human Traffic Jam. The results are notably ripping, refined, and riveting. Riffs in alternate tunings chug and churn over mid-tempo drums punctuated by spikes of sci-fi electronics while the vocals swagger and spit venom ("where we walk is also where we shit / but if we bark at our reflections are we hypocrites? / impulses bleed right into our seed / where hate culminates the apple rotted on the tree"). It's a bristling mix of the melodic and the macabre, absurdist observations of fast living and desperate measures, the clock of youth ticking towards midnight as dreams unravel in Babylon. VR SEX's specialty is making these cautionary tales of psychic decay and tainted love a thrill rather than a drag. There's a sunglasses at night glamor to Clinco's choruses and solos, a wit to his black leather judgements ("what is the answer / to cancerous people / walking in my line of sight?"). The music's milieu tends towards parasites and predators but its mood skews refreshingly accelerated and amused, cruising the strip with a cigarette, watching goths and limousines crawl in gridlock beneath digital billboards. The Rough Dimension may be a cesspool, but it's home.

The album introduced a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Colour” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus. For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.” Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

Lucas Chantre, aka WORLD BRAIN, last graced us with a solo release half a decade ago, with 2019’s Peer 2 Peer. As its name suggests, that album explored the promise and perils of universal connectivity via quirked-up songwriting and instrumental psychedelia. His new release, Open Source, deepens this internal and external journey. Bursting beyond the four walls of ‘bedroom pop’ and reflecting a move from Berlin to Paris—where much of the album was recorded—and on to Brussels, the album has a jazzy, cinematic scope (as on the Brubeck-inspired march “Fromage collatéral,”) enveloping the listener in a cosmic-pastoral audiosphere.

There are still many tones that evoke the software sounds of decades past (the exemplar here is “cAPTCHA,” whose virtual marimba and vocalese suggest a breathless, Exotica-inspired introduction .mov for the information superhighway) but the palette has become richer and more organic, lead by the woodwinds which play a major role throughout, with flute provided by labelmate Martha Rose. (On the aforementioned “cAPTCHA” one also hears the world-class whistling talents of the incomparable Molly Lewis.)

Yet the single most noticeable new element may be the use of Chantre’s native French, sung by his sister on “Ville fleurie” and the gorgeous, fluttering “Minute papillion” (the title an idiomatic injunction to slow down!) Chantre initially wrote these lyrics in English, but felt something wasn’t quite right, only realizing what was off when he heard them sung in another language. That spirit of discovery – of finding a new spark in returning home – suffuses Open Source. It invites us to play, beckons us to relax, reminds us to find serenity amidst the churn of the present: minute papillon, dans le tourbillon.