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The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

200 copies only. 10 track LP....

GLOW WORLD is Rod Modell's new project resulting from his collaboration with Taka Noda. The duo delivers what could be an example of perfect elegance and musical refinement, but the resulting sounds are once again dirtied, ruined and ravaged by a noise capable of deafening us, sounds that come from afar, that seem to fade away but suddenly illuminate the world around us, which lands on us and which no longer belongs to us, leaving us lost in an infinite melancholy.

GLOW WORLD is a work characterized by buoyant ambient sounds from which delicate rhythmic textures emerge, and never speeding up they run along the routes of an electronic music that surely knows how to be as minimal and suffused as it is distressing. Touches of piano, slow pulsations of bass lines and constantly disturbed sounds that nevertheless almost lull the listener into listening to this timeless music, perfect for letting go, observing time inexorably slipping out of our hands forever.

Sounds that are timeless, it was said. Rod Modell and Taka Noda are visionaries, and GLOW WORLD is a rare gem. Simply another masterpiece.

"Whistle from Above" is David Grubbs" first Drag City release in over a decade and his first-ever instrumental album for the label. The suspiciously youthful Grubbs is four decades into his career, with former bands including Gastr del Sol, Squirrel Bait, and Bastro, along with a wild ride of collaborators including f.e. Bitch Magnet, Codeine, The Red Krayola, Royal Trux, Dirty Three, Will Oldham, The Underflow and The Wingdale Community Singers. "Whistle from Above" is the first solo collection David has released since 2017"s Creep Mission. During the 2020 shutdown, David played what he precisely quantified as "a shit-ton of guitar," more than he could recall playing ever previously. Reinvigorated by this period of enforced woodshedding, he produced a series of new pieces, mostly for guitar, but also a piano composition and an exceptionally eerie bit of musique concrète. Meanwhile, David was reconnecting with the Gastr del Sol archive, as a new collection of old performances was being prepared from extensive archival material. The duo magic of that storied collaboration (released in 2024 as We Have Dozens of Titles) left David hungry to play in this format again - as he had recently with Loren Connors, Alan Courtis, Manuel Mota, and Liam Keenan. These duo experiences showed David the path forward to complete this new solo material. Thus he sought out collaborations with folks he"s called "some of the musicians whom I adore most on the planet" - Rodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey - and their stunning contributions flesh out Grubbs" innate, deeply person brand of minimalism. "Whistle from Above" is a colourful, compulsive set of instrumental pieces in which David and his chosen collaborators interact amid the steady roll of an expansive landscape based in the hypnosis of David"s immediately recognizable guitar style.

Re-Issue
IN FLAMES repräsentieren das Beste aus Vergangenheit, Gegenwart und Zukunft des Metal. IN FLAMES sind heute genauso vital und sogar noch energiegeladener als in den vergangenen Jahrzehnten, als sie Klassiker wie Come Clarity und Clayman herausbrachten.

Die Band hat sich einen umwerfenden Ruf erspielt, indem sie auf der ganzen Welt bei jedem erdenklichen großen Rock- und Metal-Festival mitreißende und inspirierende Auftritte absolvierte, als Headliner auf mehreren Tourneen auftrat und mit Bands wie Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation und Lamb Of God tourte. Sie treten regelmäßig auf einigen der größten Bühnen und Festivals der Welt auf.

"Foregone", das furiose vierzehnte Studioalbum, verbindet die größten aggressiven, metallischen und melodischen Stärken ihrer bahnbrechenden Alben mit dem ausgereiften Songwriting ihrer postmodernen Ära. "Foregone" schafft es meisterhaft, wenn auch unwahrscheinlich, alle Seiten der IN FLAMES-Fangemeinde zu bedienen, und das mit großer Wucht.

Ein Gefühl des Stolzes, der Errungenschaft und der anhaltenden Vitalität ist jedes Mal, wenn die Band die Bühne betritt, und überall auf "Foregone" zu spüren. Als Pioniere des Melodic Death Metal und innovative Verfechter des Grooves sind die Kunst, der Einfluss, die Größe und die Zukunft von IN FLAMES so groß wie der Heavy Metal-Horizont selbst.

Ride guitarist and songwriter Andy Bell’s third solo album pinball wanderer is an otherworldly collection of intergalactic wizardry that mixes psychedelic melodies, Can-via-The Stone Roses grooves and Arthur Russell-style experimental textures. With guest appearances from Dot Allison and Neu! legend Michael Rother on a cover of The Passions’ peerless post-punk classic ‘I’m In Love With A German Film Star’, it is perfect for both deep-listening headphones moments and cutting across the coolest, most understated dancefloors. The loose-limbed rhythm tracks were the starting point and were laid down with the help of Andy’s old Oasis bandmate Gem Archer. The rest followed after an intense all-night session last summer, with the completed album being delivered the following morning. It’s Andy’s finest work to date; a quintessential nighttime record where you can slip through the gaps in the notes and revel in the moment.

im Gatefold mit Prägecover, 8-seitigem Booklet
Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

corrupt blood infusion - crimson red marbled Vinyl

Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

Standard weight white vinyl remastered from the original tapes, restoring the original album on vinyl for the first time since 1995, including its original artwork. Includes download code.

In 1991, four kids from the suburbs of Chicago, IL formed Cap’n Jazz, arguably one of the most influential rock bands of the last 30 years. Those kids, brothers Tim & Mike Kinsella, Victor Villarreal, and Sam Zurick, were joined by Davey von Bohlen in 1994 and recorded their only full-length album before calling it quits - Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped on, and Egg Shells We’ve Tippy Toed Over - often referred to as Shmap’n Shmazz. Originally released on the Man With Gun label, the album quickly fell out of print after the band’s breakup, with the songs eventually making their way to the Analphabetapolothology compilation, released in 1998 via Jade Tree Records.

As a testament to this legendary debut, Polyvinyl is thrilled to announce the vinyl reissue of Shmap’n Shmazz, which has been remastered from the original tapes - restoring the original album on vinyl for the first time since 1995, including its original artwork. With the unmatched intensity heard in the opening track, “Little League,” coupled with eccentrically poetic lyrics, this iconic album has influenced countless artists since its release and unintentionally sparked a new genre. Pitchfork calls the album “a touchstone of Midwestern emo,” while Vulture placed “Little League” at #3 on their 100 Greatest Emo Songs of All Time list. Musician Devendra Banhart has also expressed his love for the band in a 2017 Joan of Arc documentary, describing Tim’s powerfully striking vocals like "going to the zoo on quaaludes, but all the other animals are on speed."

In addition to the band’s influential legacy, Cap’n Jazz was the catalyst to the formation of other notable bands featuring the original members, including American Football, Joan of Arc, The Promise Ring, Owls, Owen, Make Believe, Ghosts and Vodka and many more.

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

As Jess Sylvester finished his Hardly Art debut as Marinero in the fall of 2020, he realized it was time for a change. Sylvester grew up in Marin County, on the doorstep of San Francisco. It was a nurturing community for a high-school punk with a pompadour and, later, for a sober songwriter with a proclivity for moody psychedelia. But he wanted to be challenged and inspired by a new setting and scenario around strangers who prompted him to approach his music in unexpected ways. So in September 2020, as the world continued to reel in lockdown, Sylvester headed several hours south to Los Angeles, a city that, despite the relative proximity, the film buff knew largely from classic and cult films situated there. When he arrived, he kept digging into that cinematic past-Robert Altman's The Long Goodbye, with John Williams' classic theme, or classic 90s movies about East LA, many featuring Edward James Olmos. They shaped his understanding of his new town just as it began to open. This is one pillar of the multivalent and endlessly lush La La La, Marinero's new album about sobriety, identity, and fantasy that is playfully named both for the city that helped shape it and the sophisticated pop it contains. Sylvester wrote about characters outside of himself, whether considering the heroine reckoning with her own version of keeping clean or the screenwriters whose work was deemed communist simply as a political convenience. He linked those songs with motivational anthems about self-acceptance and playful numbers about flirting through food, shaping a 12-song set rich with humor, empathy, and encouragement. Sure, La La La is a continuation of the slippery genre play Sylvester started with 2021's Hella Love, 2019's Trópico de Cáncer, or even before that. But it also feels like a fresh beginning for Marinero, as Sylvester realizes how boundless this project can be. He began to think about the music of his childhood, how his mother is from San Francisco with Mexican roots, and how he'd heard so much salsa growing up as an impetuous teenager. So he wrote "Taquero," a red-hot salsa tune that uses tacos and their trappings as a source of endless metaphors for come-ons. And then there was the Ray Barreto or Santana-inspired "Pocha Pachanga," with organ gliding and percussion pulsing beneath his yearning vocals, warped as if by desert winds. In Los Angeles, he found a wealth of players who spoke this music like language itself (including Chicano Batman's Eduardo Arenas), all ready to play with and push these familiar forms. Sylvester has also been sober for 21 years, since a cross-country sojourn to attend college in Boston ended in a chemical haze. Today, he sees friends facing the same decisions he made two decades ago, and he brings bits of that experience to bear in songs that feel like self-help anthems. Recorded with a musical hero (and labelmate) of his, Chris Cohen, "Sea Changes" feels like sunshine breaking through dark clouds, as Sylvester acknowledges the newfound confidence and clarity in a friend who has stepped away from destructive habits. In the past, Sylvester has been intractably linked to his identity as a Mexican-American, born to parents from Mexico and Irish- American descent who settled in San Francisco. That can be limiting, of course, tying him to notions of sound and style that aren't always correct. On La La La, he simultaneously steps into and out of those preconceptions, singing tracks above salsa in joyous Spanish or pondering the dynamics of the Hollywood Ten and blacklists above mysterious lap steel and teasing trumpet. His identity, then, should now be clear: He is a Californian, making music shaped by the diversity of encounters and experiences that are a central part of that state's fabric. Never before has he presented himself so fully and unabashedly on tape as with La La La, an album Sylvester built with new inspirations to deliver new charms.

Von Sonny Foderas Top-10-Hit "Angel" bis zu bahnbrechenden Momenten mit Chase & Status, David Guetta, The Blessed Madonna und Dom Dolla – die Leidenschaft, Ausgeglichenheit und pure Emotion des Stimmtalents von Clementine Douglas ist unverkennbar. Die Britin ist eine ebenso starke Songwriterin und tritt nun mit eigenen Singles hervor, die als 7"-Trilogie auf limitiertem, signiertem Farbvinyl erscheinen. Sie weisen subtile Veränderungen auf, wenn darke Momente der Clubkultur, D&B und 2Step in ihren Pop-R&B-Sound einfliessen. Dennoch sind sie genauso hymnisch wie ihre grössten Momente und zeigen, wie Clementine mit süss-gefühlvollen Vocals und warmer Live-Instrumentierung der Dancemusik eine belebende menschliche Note verleiht.

This release Subjects brings us more laid back jazzy vibes with "Pipe & Slippers" alongside the upfront bangers "Murder" and "I Need You"

Grateful Dead archivist Dick Latvala considered this show to be the finest outing on the entire Spring 1977 tour, and, as any Dead Head knows, that is high praise indeed! At the time this was released on CD, the Dead weren’t sure a market existed (ha!) for three and four-CD packages, so this four-LP set leaves off eight songs from the show, but consider what songs are here: a phenomenal “Help on the Way”/”Slipknot!”/”Franklin’s Tower” comes after one of the definitive renditions of “Sugaree” and a terrific “The Music Never Stopped,” with Phil Lesh’s slithering bass leading the way in recording engineer’s Betty Cantor-Jackson’s mix.

But sides E, F & G offer one of those sublime (and, in this case, never to be repeated) sequences of songs that only the Dead could pull off in concert; after the rarely-performed “Sunrise,” a medley of “Estimated Prophet”/”Eyes of the World”/”Wharf Rat”/”Terrapin Station” (a truncated version two months before its official release)/”Morning Dew” brings the show home, as Jerry Garcia’s soloing on “Morning Dew” reaches heights seldom attained even by him. This was a knockout release on its first very limited vinyl run (check out those resale prices), and we’ve improved on it with a fresh mastering job by Jeffrey Norman (in his own words, “the sound is better than the original heard on the Brookvale release”), and lacquer cutting by Clint Holley and Dave Polster at Well Made Music.

Pressed on 180-gram black vinyl at the plant we’ve been using to great acclaim for all of our Grateful Dead releases, Gotta Groove Records, and limited to 2000 hand-numbered copies!

After a rollercoaster ride through their debut album and COVID plagued campaigns, KAWALA are gearing up to release ‘KAWALA Collection’ a collection of tracks that the band recorded in early 2024.

The band saw themselves stripping away some of the grander studios in favour of their own small east London studio working with close friends Saint Raymond and Mathi Wang to create a collection of music that they would love to listen to in their own time. The release features singles, ‘American Adrenaline’ and ‘Time Slipping Away’ and now lead single ‘Make A Difference’. While the band didn’t set out for the KAWALA Collection to be their final release, it feels like a fitting end to an incredible 10-year career..

140g LP re-issue + original sleeve artwork, originally released 1979.
There can be little argument that CHIC was disco's greatest band. By the time CHIC appeared in the late '70s, disco was already slipping into the excess that eventually caused its downfall. CHIC bucked the trend by stripping disco's sound down to its basic elements. CHIC's distinctive approach not only resulted in some of the finest dance singles of their time, but also helped create a template for urban funk, dance-pop, and even hip-hop in the post-disco era. 'Les Plus Grands Succes de Chic' includes 'Le Freak', 'I Want Your Love', 'Everybody Dance' and 'Good Times'

Pinkman is proud to present the debut album of darkwave artist Skelesys. Across nine evocative tracks, "Fading Echoes" navigates the tension between nostalgia and self-discovery, weaving together a moody blend of synth-pop, post-punk, and goth influences. The result is an atmospheric exploration of memory, heartache, and resilience--a soundtrack for those moments when the past refuses to stay buried, and the future feels uncertain. From the cold, creeping synths to the mournful guitar lines that echo like distant whispers, Fading Echoes immerses the listener in a soundscape where shadows and light coexist. The album has a distinct cinematic quality, evoking the smoky allure of neon-lit cityscapes and rain-slicked streets, where every track feels like a chapter in a film noir tale of introspection and escape. There's a sense of longing that runs through the album, a desire to hold onto something beautiful, even as it slips through your fingers.

SeeYouSpaceCowboy... mit Frontfrau Connie Sgarbossa an der Spitze präsentieren auf ihrem dritten Album eine Mischung aus Sasscore, Punk,
Mathcore und Metalcore: ein tiefgründiger und erschütternder Hörgenuss.
Farbige Vinyl: Wine Marble

WRWTFWW Records is in a state of total bliss as it announces the release of the Pitstop Box compiling all 24 tracks from Japanese house music pioneer Shinichiro Yokota’s two acclaimed albums Do It Again and Again (2016) and I Know You Like It (2019). The collection, available on vinyl for the first time ever, is presented as six 45rpm-cut 12inches housed (!) in a superb slipcase box set created by Lopetz, designer, illustrator, typographer, and co-founder of Swiss graphic design studio Büro Destruct. Included as bonuses are two sticker sheets.

Previously only available on CD in Japan via cult electronic label Far East Recording, Shinichiro Yokota’s album discography finally gets a long overdue vinyl release in the form of a limited-edition box set housing (!) six 12inches and a total of 24 songs showcasing the house legend’s celebrated sound. With a production style drawing from a rich blend of funk, hip hop, electronic, and Japanese influences, Yokota’s music is loved for its simplicity, its hypnotic quality, and, most importantly, its SOUL – homegrown 90s soulful melodic club music…pure love!

The Pitstop Box, full of dancefloor treasures and sprinkled with downtempo gems, not only defines Yokota’s personal journey but also resonates as an essential contribution to the house genre and Japanese music in general. It includes his house hits (“Right Here Right Now”, “Night Drive” and the list goes on), a cover of “Simoon” by Haruomi Hosono’s Logic System, and a collaboration with his longtime partner and electronic music hero Soichi Terada.

Shinichiro Yokota began his musical history in Tokyo, inspired by electronic music giants such as Yellow Magic Orchestra and Kraftwerk. He co-founded Far East Recording with the great Soichi Terada (who also worked with WRWTFWW for the Omodaka compilation) in 1990. After releasing the now highly sought after Far East Recording album with Terada in 1992 (from which his viral hit “Do It Again” is from), he took a hiatus from music and, most notably, brought his passion for sports cars to the next level by launching Night Pager, a company he started with his wife, specializing in tuning sports cars and modifying limiters for competition racers. It’s this side of Yokota’s life which has inspired the design of the Pitstop Box. He triumphantly came back to music with the album Do It Again and Again in 2016, consisting of unreleased 90s recordings as well as new material, and followed it up with I Know You Like It in 2019. His work has influenced generations of producers, and has expanded Japanese house music's reach on the global stage. Experience it on vinyl now.

Full unadulterated pleasure forever - from night drives to dancefloors.

SAINT SINNER ist das Debüt der kenianisch-australischen Rapperin/Songwriterin Elsy Wameyo, einer chamäleonartigen Künstlerin, die Lektionen und Erfahrungen des Lebens in dynamische Kunstwerke verwandelt. Wohnhaft im Adelaide, Australien, gewann Elsy bereits Preiskategorien wie Young Kenyan Of The Year 2018 und People's Choice Best Hip Hop bei den South Australian Music Awards 2019. SAINT SINNER ist ein kraftvolles Dppelalbum zwischen Rap, R&B und Afrobeat mit Indie-Spirit und beschäftigt sich mit Themen wie Identität, Spiritualität und dem ständigen Kampf einer schwarzen Frau in der modernen Welt.

Eagles Their Greatest Hits Volumes 1 and 2 is brand new bundle of two of the best-selling albums of all times. The collection combines the Eagles Their Greatest Hits (1971 -1975) and Eagles Greatest Hits Volume 2. They are packaged in a slip case, showing the covers on the outside, with a sticker on the front explaining the contents and a backer card with the track listings. Greatest hits Volume 1 is one of the biggest selling records of all time with over 40million sales.

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.

Die 10 Tracks auf CHAOS, dem ersten LUCKYME® Release der Londoner R&B-Künstlerin TYSON (Tochter von Neneh Cherry und Cameron McVie) wurden von ihrem Jugendfreund Oscar Scheller (Lady Gaga, PinkPantheress, Shygirl) mitgeschrieben und produziert. Das symbiotische Songwriting der beiden am selben Tag Geborenen erweitert den düsteren R&B und modernen Soul ihrer Vorgänger, dringt tiefer in die UK Basskultur (Breakbeats, Street Soul, Trip-Hop) vor und inkludiert eisigen 80er Synthpop und weitläufigen 00er R&B. Der Leadtrack "Grunge" featuret Wu-Lu (Warp Records), das Vinylformat enthält 3 exklusive Instrumentals.

TYSON ist seit Jahren in der Londoner Musikszene unterwegs und die Tochter der legendären Künstlerin Neneh Cherry und des Produzenten Cameron McVey (Massive Attack, Portishead, All Saints, Sugababes), die Schwester der Sängerin Mabel und Grossnichte der Jazzlegende Don Cherry. Ihr verschwommener, melancholischer Gesangsstil brachte ihr Kollaborationen mit Undergroundgrössen wie Dean Blunt, Leon Vynehall, Ezra Collective, Coby Sey und rRoxymore ein, auch ist sie auf Joy Orbisons Album "Still Slipping Vol. 1" (2021) zu hören. TYSON wurde von The Guardian als "One To Watch" gefeiert und erhielt starken Radiosupport von Annie Mac, Benji B, Lauren Laverne, Mary Anne Hobbs, Jamz Supernova, u.v.a.

An Avrin returns to Scuffed Recordings with four new originals and a remix from Sonia Calico.

An Avrin has been a firm favourite of the UK label since his 2019 appearance on the Scuffed Presents Vol.3 compilation with the track ‘Cave People’, which saw heavy rotation from DJs like Ross From Friends and rRoxymore. Returning to Scuffed the following year with the ‘Clodhopper’ EP, the London-based producer further developed his wobbly, esoteric sound, which draws extensively from a range of electronic influences.

Since then, An Avrin’s catalogue has become a go-to for under-the-radar club heat, with a string of self-released EPs and an appearance on Bristol’s Slippery Sounds marking him out as a vital name to watch.

The ‘Parisian Pitstop’ EP is his second release on Scuffed, and sees An Avrin building on his previous work while also expanding his horizons into different tempos and styles.

The A-side opens with the one-two of the title track - which is as good a primer on An Avrin’s sound as it’s possible to have - and ‘Stumbler’, both high-impact tracks with raucous breaks bouncing off warped vocals and relentless bass.

On the B-side is ‘Plata’, which builds tension with more melodic elements, before crashing into thunderous kicks and glitchy grooves. An Avrin ups the ante on ‘Is It?’, the last of the four originals on the EP, and the highest tempo of the bunch.

Taiwan-based producer Sonia Calico rounds off the release with her remix of ‘Plata’, a rowdy rework that pits grimey bass up against intense, rolling percussion.

Early DJ support has come from Surgeon, Emerald, Naina, Ciel, and Louise Chen.

The Weeks Island project began in 2018 when, itching for something during a break from his gig playing guitar for the Grammy-winning Cajun group Lost Bayou Ramblers, Jonny Campos ventured to his bandmate's house and recorded a series of deep, amoebic, ambient pedal steel passages across two afternoons. It wasn't all heavy, though: he paid that bandmate, Kirkland Middleton, in Cane's chicken strips. The tracks on Droste are named for bodies of water that no longer exist, their names wiped from maps thanks to the disintegrating shorelines of Southern Louisiana. That feeling of impermanence hangs over this record - the tracks don't so much begin and end as slip in and out of your consciousness. It can be a serene passive listen or a deep one that marinates long after the runout. Droste originally appeared on Nouveau Electric Records, run by another Rambler, Louis Michot, in 2020, digitally and on cassette. DFA picked it up via an connection from LCD Soundsystem's Korey Richey, and began a years-long process to cut the record to vinyl, a task made difficult by the sharp pedal steel and waves of harmonic distortion that color the music. After more than a few tries and the addition of three brand new tracks, Bob Weston at Chicago Mastering Service nailed it, and it was pressed beautifully at Furnace Record Pressing in Alexandria, VA.