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Lisbon-based duo Garoa—formed by Brazilian musicians Raphael Soares (drums, percussion) and Henrique Dias (piano, synthesizer, guitar, percussion)—craft an evocative soundscape that merges Afro-Brazilian rhythms with ambient textures. Their latest release, recorded in May 2024 at Estúdio Fetra, presents a free-flowing exploration where harmonies and rhythms unfold organically, avoiding rigid structures and embracing improvisation full time.

The album’s compositions are anchored by the interplay between Soares’ fluid percussion and Dias’ expansive harmonic approach. Tracks like “A Sandália Quadrada de Lampião” and “Xaxado de Chicago” weave percussive patterns reminiscent of Brazil’s Nordeste, blending them seamlessly with atmospheric synthesizers. “Baião de 2” and “Farofa e Cachaça” carry the unmistakable swing of Brazilian traditional forms, reinterpreted through Garoa’s lens of modernity and free flowing spontaneity.

Produced and mixed by Kellzo, the album captures the spirit of a collaboration that thrives on fluidity and openness. Garoa doesn’t aim for definitive statements; instead, they invite the listener into an evolving sonic landscape, where tradition and experimentation walk hand in hand.

On her fourth full-length album as Shedir, Sardinian sound artist Martina Betti offers a profound meditation on what it means to be human on the threshold of uncertainty.

We Are All Strangers is a series of ambient tapes-tries shaped by duality and introspection, where sound becomes a space to explore the tension between identity and ambiguity, presence and disappearance, connection and solitude. Inspired by the idea that we are all strangers, however, first and foremost to ourselves, Betti crafts seven fluid, slow-burn compositions that inhabit a sociological liminal zone—what she comments as an “inner elsewhere.”

These aren’t songs in the traditional sense, but evolving sonic environments that feel like emotional states made audible. Environmental textures, submerged electronics, and deep low-end pulses coalesce into a dreamlike architecture of sound: immersive, fragile, and quietly transformative.

Rather than offering answers or closure, the album invites us to live in radical openness—to stop trying to define everything we see and feel, and instead bathe in what remains unnamed. In this sense, We Are All Strangers is an invitation: to sit with uncertainty, to embrace the unfinished, and to find resonance even in our collective disconnection.

For listeners drawn to the introspective frequencies of Rafael Anton Irisarri, Félicia Atkinson, or Lawrence English, Betti’s music offers a similarly haunting and immersive experience—one where strangeness is not a flaw, but a starting point. In her hands, ambient music becomes a kind of reflective shelter: a place to brush against each other in the dark and begin to learn, as she puts it, “the difficult art of closeness.”

Two albums from "SATELLITE LOVERS" are finally being reissued!

Two albums from the one-woman, two-man unit "SATELLITE LOVERS" are finally being reissued!
They debuted as an indie band in 1994, creating a buzz with their "Shibuya-kei folky acoustic soul sound." In 1995, they debuted on
Double O Records, a new label within the Sony Music Group. After releasing three albums, they went on hiatus (effectively, only for about a year).
SATELLITE LOVERS' music has been a hit in the US and Canada in recent years!
Following official subscription streaming in March and a CD release in July of this year, they're finally being released on LP!

Bait revisits Trois-Quarts Taxi System's 'Plexus' for its next outing. The label's first long-player was a benchmark in meditative experimentation that now comes as a new remix package which brings together pioneers and forward-thinking voices to reinterpret the album's deep, exploratory spirit. Label head Beatrice M. opens with 'Coma' a warm nod to old-school sensibilities, while Herbalistek submerges us in the shadowy textures of 'Spectre.' Pinch delivers a moody steppers twist on 'Sonar' and Katatonic Silentio sharpens 'Plexus 3' into abrasive and physical rhythm. Together, these reworks stretch the original visions further outward into new realms.

Luca Attanasio hails from Sydney, Australia but has made global moves with his grooves already on labels like Limousine Dreams. He brings his class to Pilot here - one of the very many labels in Burnski's orbit. Opener 'All 4s' amps you up with the insistent hi-hats, which bring air and dynamism to a warped low end and fresh tech drums. 'Pistol Pete' is another fulsome cut with a broad-stroke bassline and wub-wub effects on the synths to make for a wafty but driving vibe. 'Bust Up' taps into a dark garage low end with cosmic motifs up top and a perfect blend of headiness and physicality.

The single, strictly limited to 100 copies, feature songs that Narco Marco conjured up with his Korg synthesizers. All Italo, all licensed, all fresh! As with all of his releases, including his last and final production on his label, there will be no represses in the future. So hurry up and grab it!

Honouring Belgian dance acts, ALLSOUND proudly presents a special vinyl release dedicated to La Luna. It was 25 years ago when they stormed the charts, now it’s time to relive that magic on wax.

This collector’s edition brings you 4 extended versions plus 1 exclusive bonus track, guaranteed to spark pure nostalgia and take you straight back to the dancefloors of the late ’90s.

Don’t miss this chance to own a timeless piece of Belgian dance culture!

Shogun Audio are proud to present the tenth volume of the acclaimed Shuriken vinyl series - featuring four of the most popular tracks from the Shogun vaults that have never previously appeared on vinyl

Set on green vinyl, this is a strictly limited edition collector’s item so don’t miss your chance to assemble a set of weapons any warrior would be proud of, when they are gone they are gone…

Elations Recordings presents "Return of the Airpoets", an exploratory recording from longtime collaborators Reuben Lewis (I Hold The Lion's Paw) & Adam Halliwell (Mildlife, IHTLP), occupying a unique space between contemporary experimental music and avant jazz. Engineered and mixed by Reuben Lewis in 2023, and featuring guest appearances from acclaimed Australian drummer Ronny Ferella.

"Return of the Airpoets" continues a conversation begun with 'Cygon Dance', an extended duo between Lewis and Halliwell from Halliwell's 2023 LP "Freedom Lapse"; a dialogue that stems from a shared love and respect for Jon Hassell's Fourth World music. Sonic pioneer and adventurer, Hassell's futuristic vision advocated possible musics, stressing plurality and multiplicity. Faithful to his vision, Adam and Reuben, as trailblazers rather than imitators, delight in boundless musical possibilities, adopting Hassell's futurism as stock-in-trade, making it their own while augmented with neo noir hues and hints of the tilted electro-funk of Miles Davis' collaborations with Marcus Miller.

These nine tracks flow together as a unified suite, their shadowy presence stitched from fractured narratives: imaginary crimes, murders, dreams, the unspoken. At the same time, you can detect the artists' meticulous attention to sonic detail, feel the undercurrents, the complex layering. This music has been distilled, winnowed, from extended improv sessions, with the artists - as producers - zeroing in on offcuts, shards, and splinters, seamlessly patching together fragments in post-production to construct intricately layered sound collages, taking a leaf out of Tao Macero's book, building from the ground up.

Who are these airpoets? Their mystifying trial suggests the travails of Joseph K, sentenced for unspecified crimes. But I prefer to see them as fugitives escaped from Robert Bolaño's novel, "Savage Detectives". In Bolaño's book, poet Juan Garcia Madero is granted admission to the shadowy group of poets, the Visceral Realists, whose movement has no clear aims, and whose members "walked backward . . . gazing at a point in the distance, but moving away from it, walking straight toward the unknown." Like the visceral poets, these airpoets, Reuben Lewis and Adam Halliwell, set their sights on a point on the distant horizon, setting off without map or compass, drawing nearer and moving away, towards the unknown.

Sydney punks Party Dozen (Kirsty Tickle and Jonathan Boulet) return with new single "Mad Rooter', taken from their upcoming AA-single 7" 'Mad Rooter / Ghost Rider' out Dec 5th via City Slang. The duo will be touring throughout the UK this November with shows in London, Brighton, Leeds, Bristol, Manchester and Glasgow.



On the new track, the band said, "It doesn’t always happen, but sometimes it’s your night. You feel like the maddest rooter. Every step you take is a step closer to glory. No f*cks left to give, the charisma of Jon Hamm. 'Mad Rooter' is 10 feet tall and can walk through a wall. Stuck here with all you rookies eating fortune cookies."



They added, "We didn’t record it with a click, so it has this sort of off-grid pull and push that gives it swagger. There’s a sax solo that’s giving David Letterman opening sequence. We recorded the sample with Jon’s guitar, which is old and barely hanging on. The electronics are shot, it’s missing strings, and it’s been sort of half-modified then given up on."

French artist based in Brussels, Che Vuoi presents her first album Cinecittàx, a nod to the great Italian studio, and a tribute to false dreams.

A theatre at the back of a run-down piano bar, where surreal and intimate scenes unfold; words and stories drawn from disparate sources: Fellini, G. Réal, Diderot... or written by herself, spoken, shouted or barely whispered by an altered voice.


Noises, samples, a drum machine, a brush on a snare drum, a piano spinning round and round until it reaches delirium and its own abolition, leaving us suspended in a constant in-between or a time that never truly existed.



« This voice, gentle, mad, with lightning verve, tells between the lines and the echoes the presence of threatening shadows and ghosts. And it is Che Vuoi, her character, her world of images, that haunts us. It is a strange bewitchment that carries us beyond the words she has freed from "the stationery I stole from Bellavista the other night" ("le papier à lettre que j’ai chipé au Bellavista l’autre soir") into the lair of her universe, as whimsical as it is silky in which we let ourselves slip, as one would slip over the rock of an esoteric river, in the heart of a forest that makes music and has delirious things to tell us. »

Longstanding streetpunk resolutes, NOi!SE are set to release On and On, a full length collection of singles, B-sides, split 7" tracks, and a few completely unreleased songs, via Pirates Press Records, with whom the band share a long and productive history. On and On is a companion piece to the band's previous collection record, Pushing On, and like that album, it provides a bookend to a period in the band's career. This collection represents the final release from the band's lineup featuring Nate, Jesse, Kenny, and Matt, clearing the vaults and providing a fresh start for the band's upcoming recordings with their new lineup. Bringing together tracks from several rare or out-of-print releases in one place, this collection is essential to any fan of the band. Even those that have diligently collected every release will be excited by the presence of a few previously unreleased tracks, and the chance to listen to these individual songs as an extraordinarily thoughtful, unified body of work.

For the 34th split of the series, we invited two of the best french projects of the contemporary electronic underground scene. On the A-Side, Bloody Mary, resident at Tresor Berlin and responsible of strong releases on Ovum Recordings, U-TRAX and of course her own imprint Dame-Music. On the B-Side, the exciting duo Human Rebellion aka HR101, already known for some killer EPs on Discos Atonicos, Science Cult or Earwiggle. The result is a 4-tracks EP combining acid lines, rave synths, 90's voices, mental soundscapes and catchy techno !

Tripped teams up with Swiss Hardcore Techno legend Celsius.
This EP features glorious reworks of classic Celsius tracks such as MORG and An1x657,
the latter carefully mutilated by Tripped, while Drokz delivered an early rave gabber remix of Snotcake.
- A guaranteed dancefloor weapon.

All this accompanied by 2 brand new Tripped bangers to finish you off.

Hardcore Techno bliss in all its forms.

MADINCH009 comes in full colour artwork (painted by Tripped himself)

Lost Verses returns with "Voices From Beyond", its sixth release and for the first time, a Various Artists compilation showcasing four distinct approaches to the dance floor.

Christian Wunsch opens the record with a hypnotic and forceful trip, Oxygeno follows with intense energy and spatial atmospheres, Lakej brings his mesmerizing and more industrial signature sound, while Endplate closes with a driving track but with an emotional touch.

A VA that balances strength, depth, and elegance, reinforcing the distinctive sonic identity of Lost Verses.

10" Vinyl in Wolkenoptik Kein Wunder, ist "Wunder" ein Wunder. Diese Platte hat alles, was diese Welt jetzt braucht, um endlich wieder zu gesunden: Unfassbar intelligenten Saufpunk, gepaart mit subversiv-ironischen Stammtischweisheiten und einer etwas größer geratenen Brise (leider war der Deckel vom Streuer nicht richtig angeschraubt) Synthy-Glutamat - auf dass die Darmflora mal wieder resettet wird! Und so wird das Wunder wahr: Alle stimmen ein in die 7 frohlockenden Hits, alles Böse auf der Welt implodiert aus Gründen und selbst die coolen Fanzines werden zu offiziell akkreditierten Schmutzkifans. Denn es ist eben kein Wunder, dass "Wunder" ein Wunder ist!

GOD SAVE THE PONY. Limitiertes Format der zweiten BIG SPECIAL-LP auf Yellow Splatter On Clear Vinyl - im Gatefold mit Obi-Strip.

- " Von Assi-Punk-Rap bis Gothic-Country-Ballade, die einem das Blut in den Adern gefrieren lässt, gilt: Solange Big Special nicht irgendwann glücklich werden, könnten sie richtig groß werden." - Visions
- "Mit „National Average“ bekräftigen Big Special ihren Ruf als eine der aufregendsten und unberechenbarsten Bands der britischen Szene." - Popklub.de
- "Mal erinnern sie mehr an die Sleaford Mods, mal mehr an die IDLES. Das neue Big Special Album jedenfalls, “National Average”, macht da weiter, wo sie zuletzt aufgehört haben." - Bayern 2

Razorbats unleash their fifth studio album, "Anthems of a Lost Century" - a sonic blast that throws you straight into the golden age of rock, while pushing the genre forward with power and attitude. This is not just another record - it's a statement. Recorded at Velvet Recordings in Spydeberg with producer Eiliv Sagrusten, and released by the renowned label Voices of Wonder, "Anthems of a Lost Century" is a tribute to the era 1974-1994 - packed with massive production, unforgettable hooks, and a sound that demands attention.

This record is a tribute to one of the greatest funk and soul singers of all time: James Brown, also known as “The Godfather of Soul.” Undoubtedly, he was a true icon of African-American music in the 1960s and 70s.

As the leader of bands like The Famous Flames and The J.B.’s, Brown was renowned for his electrifying energy on stage.

This song moves between soul and reggae, keeping the pulse of both genres alive. It features a heavy groove full of rhythmic and melodic arrangements, with strings as the main source of color and a vocal performance charged with power and charisma.

Finally, the lyrics have been adapted to better reflect our current reality, while preserving the spirit of homage and renewal.

MUNA sind magisch. Welche andere Band hätte das verlorene Jahr 2021 mit Pailletten und Pompoms geprägt - und dich dabei ganz nebenbei zum Singen bringen können (und vielleicht sogar zu glauben), dass "Life's so fun, life's so fun" ist? All das während der vielleicht unruhigsten Phase deines Lebens? "Silk Chiffon", der Instant-Hit von MUNA mit Labelchefin Phoebe Bridgers, schlug wie ein doppelter Regenbogen in den grauen Himmel der anderthalbjährigen Pandemie ein. Pitchfork nannte es einen "Strudel von Schmetterlingen im Bauch", NPR einen "Queerwurm", der US-Rolling Stone "eine der süßesten Melodien des Jahres, die die Art von purer Pop-Seligkeit ausstrahlt, die so viele Bands anstreben, aber fast nie richtig hinbekommen." Für MUNAs Gitarristin und Produzentin Naomi McPherson war es ein "song for kids to have their first gay kiss to." Und so blühten mehrere Tausend verrückte Twitter- und TikTok-Memes auf. Seit Beginn ihrer Karriere haben MUNA den Schmerz als Fundament der Sehnsucht, als Zentrum der radikalen Wahrheit, als Teil des Erwachsenwerdens und als inhärenten Faktor der Erfahrung von Marginalität betrachtet - die Bandmitglieder gehören Queer- und Minderheitengemeinschaften an und spielen ihre Songs vor allem für diese. Gavin, McPherson und Josette Maskin - die Gitarristin von MUNA - verbindet eine bald zehnjährige Freundschaft. Sie begannen im College an der USC zusammen Musik zu machen und veröffentlichten 2017 mit der Single "I Know a Place" einen frühen Hit als eine aufgestaute Beschwörung zur LGBTQ-Zuflucht und Transzendenz. Jetzt, in ihren späten Zwanzigern, ist das Trio so etwas wie eine Familie geworden. Sie verbrachten einen Großteil der frühen Pandemie als eine Gruppe, die füreinander und für MUNA da war, selbst als sie sich über nix in Bezug auf Zukunft sicher sein konnten. Sie wurden von ihrem vorigen Label RCA gedroppt und es gab nur wenig Einkommen, kein Adrenalin, mit dem sie arbeiten konnten, keine Live-Shows mit Publikum, das sie an den Beistand erinnerte, den ihre Songs bieten können. "Muna", das selbstbetitelte dritte Album der Band, ist mehr als eine Rückkehr. Die Zeit der Unsicherheit und des offenen Hinterfragens der Band hat alles weggebrannt und ein Meisterwerk von einem Album hinterlassen - die kraftvolle, bewusste, dimensionale Leistung einer Band, die niemandem außer sich selbst etwas beweisen muss. Der Synth auf "What I Want" funkelt wie eine ROBYN-Tanzflächenhymne; "Anything But Me", das im 12/8-Takt galoppiert, erinnert an SHANIA TWAIN im Neonlicht der Achtziger; "Kind of Girl" mit seinem aufsteigenden, klagenden THE CHICKS-Refrain bittet darum, mit deinen besten Freund*innen bei maximaler Lautstärke gesungen zu werden. MUNA arbeiteten mit dem Quellcode des Pop, der das Herz berührt - das Album ist voller Sehnsucht und Offenbarung und hart erkämpfter Freiheit.

White Vinyl Repress

World Party was a musical group, predominantly the solo project of its sole consistent member, the songwriter, producer and multi-instrumentalist Karl Wallinger. Wallinger started the band in 1986 in London after leaving the Waterboys.

Featuring the #2 most downloaded/ streamed hit Is It Like Today?, small limited runs of each World Party album (5 total) will be pressed on white vinyl, with the run marketed as “The White Albums”, cheekily referring to Karl’s re-recording of The Beatles and his fans eternal quest to hear them.

Der Produzent von Girls Of The Internet experimentiert mit Synthesizern und Samplern – das Ergebnis ist ein bunter Mix aus Stilen und Einflüssen von UR, Aphex Twins ""Selected Ambient Works"", Andrew Wetheralls ""Bloodsugar"", streicherlastigem Detroit Techno, Drexciya, Microhouse, Underworld und ungewöhnlichen House-Sounds.

Nachpressung der 20th Anniversary Vinyl-Edition mit Bonustrack, 2025 ist die Vinylfarbe Gelb (Auflage weltweit 1500). CD (2005er-Auflage) auch wieder erhältlich. "The Illusion of Safety" ist das bahnbrechende Post-Hardcore-Album von Thrice, das eine furiose Mischung aus Punk und Metal mit außergewöhnlichen Texten und musikalischem Können verbindet. Die Band schrieb zwei Songs pro Monat, bevor sie im Juli 2001 mit dem Produzenten Brian McTernan (Converge, Cave In) in den Salad Days Studios aufnahm. Es ist ein unvergleichliches Album, das rohe Underground-Authentizität mit bahnbrechendem Ehrgeiz verbindet. Es wurde sofort zu einer tragenden Säule des Post-Hardcore des 21. Jahrhunderts und hat sich weit besser gehalten als seine vielen Nachahmer. Das Album fängt seine Zeit perfekt ein und bleibt dennoch zeitlos, sodass man bei jedem Hören neue Entdeckungen macht und nicht nur in Nostalgie schwelgt. Von Punk-/Hardcore-Clubs aller Altersgruppen in Orange County, Kalifornien, bis hin zum Headliner der größten Rockfestivals und Veranstaltungsorte der Welt - Das Album gilt als Katalysator für den großen Erfolg der Band. Auch 20 Jahre und zehn Alben später kann man bei jeder Thrice-Show unweigerlich die Aufforderung hören, »Deadbolt« zu spielen - ein Beweis für das Durchhaltevermögen eines Albums, das die Screamo / Post-Hardcore-Ära definiert hat. Auch mit der 2025er Pressung feiert die Band das Vermächtnis des Emo / Post-Hardcore-Klassikers, indem sie als Bonus die B-Seite »That Hideous Strength« wieder dem Vinyl hinzufügt.

The group's fourth album with songs written by Kris Kristofferson, Curtis Mayfield, Mickey Newbury, Janis Ian, and Emmylou Harris Featuring the single "No Regrets", that reached #7 in the UK Singles Chart and Dutch Top 40 50th anniversary edition on yellow, red & orange marbled vinyl

This year we celebrate the 50th anniversary of No Regrets, the fourth studio album by The Walker Brothers.

Following an eight-year hiatus Gary Leeds, Scott Engel, and John Maus finally reunited. This time the band drew stronger influences
from country and contemporary pop music. Most of the material on the album was written by renowned artists of its time such as
Curtis Mayfield, Emmylou Harris, Mickey Newbury, Kris Kristofferson, and Janis Ian.

The reunion was a success with the title song reaching the top 10 in the United Kingdom and Netherlands.

The album has now been reissued on LP for the first time in 50 years.

No Regrets is available as a limited edition on yellow, red and orange marbled vinyl and includes an insert.

Dead Bird is AK-Industry's very first EP for Industrial Propaganda's sub-label: Totentanz Recordings. This new EP explores the limits of the hard techno and techno hardcore genres.

AK-Industry, the founder of Nekrolog1k Recordings, has been a driving force in the Industrial Crossbreed and Hardcore Techno scene since 2008.

His signature sound blends breakbeats with hardcore and techno, resulting in a unique and powerful style that has garnered attention from major labels such as The Third Movement (NL), Industrial Strength (USA), Dark Descent (NL) Industrial Propaganda (CH) and Ad Noiseam (DE).

Having performed at some of the biggest hardcore events in Europe, including Dominator, Q-Base, Defqon, Army of Hardcore Festivals, Club r_AW, and PRSPCT XL, AK-Industry has cemented his place as a top-tier artist in the genre.

He has also collaborated with heavyweight artists such as Mindustries, I:gor, N-Vitral, Ophidian, The Teknoist, Bryan Fury, Switch Technique, Igneon System, Delta9 and Fiend.

With brand new releases on the horizon, AK-Industry shows no signs of slowing down and continues to push the boundaries of the Industrial Crossbreed & Hardcore Techno genres.

Adam Greens Musik ist so untrennbar mit dem Wesen New Yorks verbunden wie das Rumpeln der U-Bahn, der Schmutz der Lower East Side oder der barocke Glanz der Midtown-Blocks, in denen einst die Geisterjäger ihre Runden drehten. Seine Songs spiegeln die Stadt in ihrer zeitlosen Mischung aus Chaos, Energie und Sehnsucht wider. Sie durchdringen die dunklen Geschichten Manhattans ebenso wie die von Gentrifizierung gereinigten Straßen und fangen die widersprüchliche Erfahrung des Großstadtlebens ein - die Gleichzeitigkeit von Nähe und Einsamkeit, Abenteuer und Entfremdung, Gesellschaft und Isolation. Sein 2005 erschienenes Soloalbum Gemstones ist tief in dieser Welt verwurzelt - eine musikalische Antwort auf Bright Lights, Big City. Die rockabilly-getriebenen Rhythmen rütteln wie die L-Train, die Melodien wehen wie ein Windstoß zwischen den Häuserschluchten. Doch auch wer New York nie betreten hat, findet in diesen Stücken den universellen Nerv des Alleinseins inmitten der Menge. Getragen von Greens markanter Baritonstimme entfaltet sich Gemstones als bunte Klangreise: vom drehenden, von einer Wurlitzer angetriebenen Titelsong über das orgelnde Over The Sunrise und das unwiderstehliche Rock"n"Roll-Stück Emily bis hin zur bittersüßen Ballade Losing On A Tuesday. Fantasievolle Bilder, surreale Sprachspiele und charmante Melodien schaffen eine Welt. Doch unter all dem Witz und der Verspieltheit schlägt ein echtes, warmes Herz voller Gefühl. Gemstones ist zugleich berauschend und tröstlich - ein Album, das Leichtigkeit mit Tiefgang verbindet. Nach seiner Veröffentlichung machte es Adam Green vor allem in Deutschland zum Star: Das Publikum erkannte in diesem modernen "Two Cent Opera" die Schönheit kleiner Geschichten und großer Melodien. Zum 20-jährigen Jubiläum erscheint Gemstones nun neu auf Vinyl - ein perfekter Anlass, diesen musikalischen Edelstein erneut funkeln zu lassen.

With an internet-born sense of humor and an instinct for turning vulnerability into spectacle, Aldn has become one of the most distinct and enigmatic voices in alt-pop"s ever-mutating landscape. The Virginia-raised singer, songwriter, and producer first grabbed attention with his glitch-laced experiments and emotionally raw lyricism, but it was his 2024 viral smash "i cant believe i let you get away" that sent his profile into the stratosphere. The single - a pixelated cry of regret and romantic confusion - cemented his reputation as both a sonic innovator and a self-aware avatar for Gen Z"s wired melancholy. Now, Aldn announces his long-awaited debut album Strung Out Symphony

Braveheart ist zurück! Der mit einem Oscar ausgezeichnete Soundtrack von James Horner feiert in diesem
Jahr sein 30-jähriges Jubiläum. Aus diesem Anlass erscheint eine exklusive Jubiläums-Edition als limitierte
Blue Streak-Vinyl und als CD. Horners gewaltiger Soundtrack verbindet keltische und schottische Traditionen und entführt uns in das 13. Jahrhundert. Dudelsäcke, atmosphärische Flöten, Bodhrán-Trommeln
und ein großes Orchester verschmelzen zu einem Score, der auch nach drei Jahrzehnten nichts von seiner
Kraft verloren hat.

Eine der Perlen aus dem unvergleichlichen Opern-Katalog von Decca: Anlässlich des 200. Geburtstags von
Johann Strauß legt das Label Herbert von Karajans Einspielung der „Fledermaus” aus dem Jahr 1960 neu
auf – und zwar auf drei LPs und zwei SACDs. Eine Wiener Besetzung par excellence! Mit Hilde Gueden,
Erika Köth, Walter Berry, Erich Kunz und den Wiener Philharmonikern. Die Neuauflage wurde von den
originalen Stereobändern mit 24 Bit/192 kHz neu gemastert. Sie erscheint in einer Deluxe-Verpackung mit
einer Faksimile-Ausgabe des Originalbooklets sowie der Galaleinlage mit Gastkünstlern wie Renata Tebaldi,
Jussi Björling und Joan Sutherland.

Das zweite Werk eines Künstlers hat in der öffentlichen Kritik meist einen besonders schweren Stand. Die
Vorschusslorbeeren, die beim Debüt noch großzügig verteilt werden, sind schnell aufgebraucht. So erging
es auch der zweiten Fehlfarben-LP bei ihrer Veröffentlichung im Herbst 1981. Zu sehr wurde „33 Tage in
Ketten“ an dem Überalbum „Monarchie und Alltag“ gemessen.
Bei „33 Tage in Ketten“ war der charismatische Shouter Peter Hein nicht mehr dabei. Kurz vor einer
geplanten Deutschlandtour im Frühjahr 1981 hatte er der Band den Rücken gekehrt, weil er mit dem Erfolgsdruck nicht fertig wurde. Gitarrist Thomas Schwebel, der bei „Monarchie und Alltag“ noch die Texte mit
Peter Hein zusammen schrieb, übernahm schließlich das schwere Amt des Frontmanns. Das im Sommer
1981 in den Kölner EMI-Studios eingespielte Album ist wesentlich härter und aufwühlender als „Monarchie
und Alltag“. Beim wuchtigen Opener „Tanz mit dem Herzen“ trommelt der 2023 verstorbene Uwe Bauer,
der ohnehin nie ein Freund leiser Töne war, wie ein junger Gott, während Bass (Michael Kemner) und
Gitarre (Uwe Jahnke) marschieren.
Für die strikt limitierte 2LP-Reissue in braunem Vinyl konnte neben raren B-Seiten auch das komplett
unveröffentlichte Stück „Warten auf“ sowie bislang ebenfalls noch nie gehörte Live-Aufnahmen von einem
81er-Gig bei Radio Bremen gesichert werden. Feuilleton-Autor Marc Hairapetian steuert zudem aktualisierte und exklusive Linernotes bei.
Ein absolutes Must-Have!

Sometimes, the most beautiful stories begin simply between friends, over laughter, late nights and shared music. That’s how the collaboration between Oscar and the Wolf and Roméo Elvis was born. What started as an unexpected jam session after dinner soon evolved into something much greater: a modern-day Romeo and Juliet where two distinct worlds, North and South, pop and rap, light and shadow, meet and merge effortlessly.

Their first collaboration, “Ceiling”, captures that magic: the perfect balance between intimacy and grandeur, where contrast becomes harmony. Premiered live before 100,000 people during Belgium’s National Day celebrations, the single immediately resonated, becoming a radio hit and surpassing one million streams within weeks.

Now, the duo present JARDIN, an eight-track EP arriving this December. Here, Oscar and the Wolf and Roméo Elvis push each other beyond their comfort zones, exploring new sonic landscapes and blending their unique identities into one sound. From the pulsating energy of “Crocodila” and “Je M’en Balec”, to the tender alternative rock ballad “Lose My Baby”, and the groove-driven “Chargé (Monet)” or the club-ready “Bon Sense”, JARDIN unfolds like a living garden, a vibrant space where every track blossoms into something new.

To celebrate the release, the duo will perform together for the first time on December 15 and 16 at Ancienne Belgique in Brussels. Both shows sold out within hours, a testament to the excitement surrounding this groundbreaking collaboration.

With JARDIN, Oscar and the Wolf and Roméo Elvis don’t just unite genres and languages; they build a bridge between regions, emotions and artistic worlds, a celebration of sound, connection and friendship.

flipturn started the year strong national television debut on Jimmy Kimmel Live and seemingly didn't stop. Their Spring tour dates across the United States saw them play their largest headline show to date and sell out iconic venues like Chicago's Salt Shed and New York's Terminal 5. Ultimately, the band's 2025 tour dates have seen them increase their venue sizes seven-fold or more in most cities across the country, since touring their 2022 debut album Shadowglow

Working with elite keys player Ross Stanley (steadily making ripples on the world stage through his work with legends like Maceo Parker, and more recently with Robben Ford), guitarist Nigel Price says: "I've never heard Ross play a bad note, and he absolutely played out of his skin on this record." Joel Barford is one of the most exciting and vibrant young drummers on the scene today. He relishes the space and freedom of the organ trio format, which is totally evident on this new recording.

Six of the nine pieces are original Price compositions, confirming his strength as a writer, especially for this tight, powerful unit. A relaxed recording session brought out the best in these three master musicians, and the result is an exciting collection of captivating music. Nigel Price is acknowledged as one of the foremost UK exponents of jazz guitar. He has played on more than 60 albums including eight as a leader, spent 10 years with acid jazz outfit The Filthy Six, was a member of James Taylor's band, JTQ, for three years (with whom he recorded five albums) and performed with the legendary David Axelrod. Price has worked tirelessly to organise his own tours, with epic tours he's organised for the Nigel Price Organ Trio becoming the stuff of legend.

The iconic voice of Nouvelle Vague for 20 years, Mélanie Pain continues her unique solo career, blendingpop, folk, and intimate poetry.After three albums acclaimed for their delicacy, she returns with How and Why, a luminous and stripped-down fourth opus. Raw folk music centered on acoustic guitar, without artifice-and that unique voice: soft, deep, elegant. Recorded live with her long-time musicians, the album draws inspiration from Kings of Convenience, Iron & Wine, and Emilíana Torrini. Nine tracks in English, ranging from emotion to melancholy to rebirth, featuring a hypnotic duet with Brian Lopez (Calexico) and a sensual cover of Duman in Turkish. A sunny and peaceful album, the perfect showcase for Mélanie"s voice and words.

Following his bold 1983 solo debut 'Walk Into Light', Ian Anderson - the legendary flautist, songwriter & frontman of Jethro Tull - returned in 1995 with 'Divinities: Twelve Dances With God', a richly textured & wholly instrumental work that showcased a different side of his musical imagination. A sweeping, genre- defying suite in twelve parts, 'Divinities' draws deeply on Anderson's lifelong love of classical music, world traditions & pastoral folk. Conceived as a continuous orchestral journey, the album weaves influences from Celtic airs & Middle Eastern motifs to Indian ragas & Baroque counterpoint, all anchored by Anderson's unmistakable flute.

The result is one of his most ambitious & evocative projects - a spiritual, cinematic exploration of faith, nature & the divine. Now 'Divinities: Twelve Dances With God' returns to vinyl in a stunning half- speed remastered edition, expertly mastered by Grammy-winning engineer John Webber at London's AIR Studios using audio sourced from the original tapes. Pressed on black vinyl & housed in a faithful reproduction of the original artwork, this new edition stands as the most detailed & dynamic presentation of the album to date. Originally premiered live in its entirety with orchestral accompaniment before its release, 'Divinities' remains a singular work within Anderson's catalogue - a testament to his restless creativity & compositional range beyond the bounds of progressive rock.

TWINS from Dresden, Leipzig, and Berlin present their second album in a particularly antiquated format: the LP in the truest sense of the word. Eight songs that are actually one. Without noticeable boundaries. Musically fragmentary, yet consistent and coherent. An album from which no song can be easily extracted; at least not without partially losing its actual effect in the process of separation. All components of the album need each other in a certain way, and it is precisely this peculiarity that gives rise to its musically emancipated strength. "it"s_complicated" is an album like a strange, brittle radio play amidst idiosyncratic post-hardcore, math rock, screamo, noise, and indie elements. A journey of musical possibilities.

Purple-Black-Smoke Vinyl, limitiert auf 200 Exemplare. Texas Toast Chainsaw Massacre ist eine explosive Band des Crossover-Thrash-Metals aus der pulsierenden Musikszene von Chicago, Illinois. Seit ihrer Gründung im Jahr 2011 haben sie sich schnell einen Namen gemacht, dank ihrer mitreißenden Auftritte und humorvollen Texte, die das Publikum begeistern. Die Band besteht aus den erfahrenen Mitgliedern Josh "Macho Frost" Kandich am Gesang und Jordan Miller an der Leadgitarre, ergänzt durch den talentierten Bassisten Viaj D Crum und den dynamischen Schlagzeuger Tony Strissel. Ihr unabhängiger Status ermöglicht es ihnen, kreativ zu bleiben und Musik zu kreieren, die unverfälscht und originell ist.