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Icelandic composer Högni"s score for the much-acclaimed Netflix"s series Katla will see its full release on July 28. The series takes place in Iceland, after the subglacial volcano Katla has been erupting constantly for a whole year, Gríma is still looking for her missing sister who disappeared the day the eruption started. As her hope of ever finding her body is fading, the residents of the surrounding area start to have visits from unexpected guests. There might be something hidden under the glacier no one could ever have foreseen. Speaking about the score, Högni says: "when I was asked by Baltasar Kormákur - the director and show creator - I started writing so when the filming was finished, I had already written a number of pieces for the show. As relatively in-experienced in the field I imagined that my work was finished and the rest was a matter of post-production and music editing. However it immediately became clear that my ambitions and the nature of the project called for second, third and fourth wind in order to fulfil the auditory architecture that needed to be built". Realising it was a monumental task, Högni kept a strict schedule every day, starting by writing and arranging in the morning, recording and mixing in the afternoon and presenting to the producer each evening. The score was recorded in Högni"s own studio, where him and his collaborators consisting of Tóti Gudnason, Inga Magnes, Petter Ekman, _órunn Osk and Sigurgeir found themselves working in a completely different way than they"ve done before, due to the nature of the project - "we worked the music out of my studio in Reykjavik, where a healthy number of musicians rotated through at the pace of an average ice cream parlour on a long summers evening in Reykjavik. The urgency of delivering cues and material left one in the state of instinctual execution at all hours without hesitation".

Icelandic composer Högni"s score for the much-acclaimed Netflix"s series Katla will see its full release on July 28. The series takes place in Iceland, after the subglacial volcano Katla has been erupting constantly for a whole year, Gríma is still looking for her missing sister who disappeared the day the eruption started. As her hope of ever finding her body is fading, the residents of the surrounding area start to have visits from unexpected guests. There might be something hidden under the glacier no one could ever have foreseen. Speaking about the score, Högni says: "when I was asked by Baltasar Kormákur - the director and show creator - I started writing so when the filming was finished, I had already written a number of pieces for the show. As relatively in-experienced in the field I imagined that my work was finished and the rest was a matter of post-production and music editing. However it immediately became clear that my ambitions and the nature of the project called for second, third and fourth wind in order to fulfil the auditory architecture that needed to be built". Realising it was a monumental task, Högni kept a strict schedule every day, starting by writing and arranging in the morning, recording and mixing in the afternoon and presenting to the producer each evening. The score was recorded in Högni"s own studio, where him and his collaborators consisting of Tóti Gudnason, Inga Magnes, Petter Ekman, _órunn Osk and Sigurgeir found themselves working in a completely different way than they"ve done before, due to the nature of the project - "we worked the music out of my studio in Reykjavik, where a healthy number of musicians rotated through at the pace of an average ice cream parlour on a long summers evening in Reykjavik. The urgency of delivering cues and material left one in the state of instinctual execution at all hours without hesitation".

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


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

Ltd Coloured Vinyl - Indies Only!

Die Punkrock- und Metal-Superhelden MUTOID MAN - bestehend aus CAVE IN-Sänger/Gitarrist Steven Brodsky, CONVERGE-Schlagzeuger Ben Koller und dem neu hinzugekommenen HIGH ON FIRE-Bassisten Jeff Matz - haben ihr neues Album angekündigt: "Mutants", erscheint am 28. Juli via Sargent House! Brodsky und Koller, die eine fast telepathische Chemie besitzen, haben sich schon immer dadurch ausgezeichnet, dass sie ihre eigene, einzigartige Art von rasendem, hyperfokussiertem, dynamischem und exzessivem Griffbrett-versiertem Metal kreieren. Wenn man zwei Musiker nimmt, die in der Hardcore-Welt aufgewachsen sind und schnell die technischen Anforderungen übertrafen, um selbst die anspruchsvolleren Varianten dieses Sounds zu spielen, und sie dann dazu bringt, sich gegenseitig spielerisch in unverschämte und eingängige Gefilde zu drängen, erhält man eine grobe Annäherung an den MUTOID MAN-Sound. Aber mit dem neuen Bassisten Jeff Matz im Schlepptau hat man nun ein Dreiergespann von Prog-Level-Spielern, die sich dem Metal mit punkiger Respektlosigkeit nähern, auf "Mutants", einem Album, das ihre bisher gelungenste und verblüffendste Leistung darstellt. Nach dem Erfolg ihrer Debüt-EP "Helium Head" (2013) legte die Band in den nächsten vier Jahren eine manische Arbeitsmoral an den Tag, brachte die beiden Alben "Bleeder" (2015) und "War Moans" (2017) heraus, tourte unermüdlich durch die USA und Europa und wurde nebenbei so etwas wie eine De-facto-Hausband des angesagten New Yorker Metal-Clubs Saint Vitus. Mit Tourdaten im Vorprogramm von Acts wie MASTODON und DANZIG schien es, als sei MUTOID MANs Eintritt in die Oberliga der Heavy Metal-Helden unvermeidlich. Doch zwischen Besetzungswechseln, einem Exodus aus Brooklyn, einer Reihe anderer musikalischer Projekte und einer Pandemie wurde die Band inmitten ihres Aufstiegs auf Eis gelegt. Aber nach einer sechsjährigen Aufnahmepause sind MUTOID MAN zurück, um mit "Mutants" ihren Thron zurückzuerobern

Rare Detroit Jazz-Funk Fusion Album from 1988.

Wendell delivers a unique and different sound compared to his earlier body of work.

First ever vinyl reissue. Mastered on 45 RPM for an optimal audiophile experience.

Featuring an all-star line-up including Tribe alumni Marcus Belgrave & Duke Billingslea.

180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBErecord label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHArecord label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).

In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.

It is on REBIRTH that Harrison released the opus: THE CARNIVOROUS LADY (1988), which we are proudly presenting you today.

‘The Carnivorous Lady’ is a monster of an album featuring an all-star line-up that includes Marcus Belgrave (Ray Charles, Houston Person, Charlie Mingus) on guitar, Duke Billingslea (Martha Reeves) & Pamela Wise (Tribe) on keyboards, Larry Fratangelo (Fred Wesley, Dennis Coffey) on percussion and Shirley Hayden (Parliament/Funkadelic) on vocals.

On this fantastic sounding album (produced by the maestro himself) the listener is invited to experience a synthesis of what has been and what is now. The record shows Wendell’s trademark proficiency on saxophone, flute and clarinet. Although you can hear the 80ies creeping in with a smoother fusion sound, infectious boogie synths, R&B vocals and a lot of mind-blowing Jazz-Funk percussions…this album remains a very spiritual (and soulful) hard bop jazz record. From the first to the last note you get an irresistible blend of so

The Waterboys’ ninth studio album is made available on vinyl for the first time, in limited edition ‘sunrise’ yellow. Originally released in 2007, ‘Book Of Lightning’ was mostly recorded at the former Island Studios in West London. Alongside Mike Scott and Steve Wickham, the album features contributions from pianist Richard Naiff, keyboard mystic Thighpaulsaandra, guitar ace Leo Abrahams and two killer drummers, Jeremy Stacey and Brady Blade. Selections include the understated country rock epic She Tried To Hold Me, the beautiful Sustain, recorded with members of Canadian band Great Aunt Ida, and two songs written for but not recorded during the classic Fisherman's Blues album sessions: Everybody Takes A Tumble and The Man With The Wind At His Heels. Reviewing the album in The Guardian, Dave Simpson said that Scott's songs, “feel like they have been handed to him from a crack in the clouds”. The vinyl format is 180g Sunrise yellow coloured vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

2023 Repress

Gedacht als Community-Projekt, schafft The Silhouettes Project eine Plattform für aufstrebende Hip-Hop, Soul und Jazz Künstler aus UK. Im Total Refreshment Centre in Hackney, London bietet The Silhouettes Projekt mit Tonstudio und Live-Venue einen Open Space für MCs, Sänger, Musiker und Produzenten sich zu vernetzen und Musik zu machen. The Silhouettes Project wurde 2019 von den beiden Initiatoren/Künstlern Asher Korner (aka Kosher) und Jaden Osei-Bonsu (aka Eerf Evil) gegründet. Als die beiden uns das Projekt vorstellten und die erste Musik zeigten, waren wir sofort begeistert und beteiligen uns seither als Label Partner an dem Projekt. Für die gesamte Art Direction des Projekts ist der Designer und Illustrator Sergio “SagaUno” Alférez aus Medellín, Kolumbien verantworlich. Seit September veröffentlichen wir wöchentlich Donnerstags einen neuen Song aus dem Projekt von Künstlern wie Kofi Stone, Summers Sons, Enny, KeepVibesNear, Manik MC, Lex Amor, Louis The Hippie, Summer Pearl, Joe Beard und vielen mehr.

Morbider Death Metal aus den Tiefen der Erde!
Nach ihrem selbstbetitelten Debüt-Mini-Album 2022 freuen wir uns, das erste Full-Length-Album mit dem Namen 'Sublimis Ignotum Omni' ankündigen zu können, das aus Italien stammt. Die neuen Songs sind etwas schneller, ohne das vom Debüt bekannte morbide Gefühl zu verlieren.
Dieses Stück morbiden Female Fronted Death Metal ist für Fans von MALIGNANT ALTAR, UNDERGANG oder CORPSESSED sehr zu empfehlen.

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert. In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968. It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke. The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation. He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs. The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

The Jolisa EP marks a significant shift in Luca dell’Orso’s sound. Although the electric hooks and rolling rhythms that characterise the dutchman’s signature style are still present, new avenues are explored. One notable change is the addition of vocals, care of the EP’s namesake: Jolisa. The opening, “Sixteen”, smoulders with a palpable intensity. Steady beats and textured pads support synth stabs as impassioned vocals recant a tale of past lessons. “Reach Out”, on the flip, is a different animal. Big and daring, chords chug next slicing snares while lyrics brim with hope. Two instrumental works balance the four tracker. “Nighttime” is perfectly sculpted with a soulful melody and clean percussion, vocoder lyrics giving a sorrowful slant to track. A true epic closes: “Tomorrow’s Already Here.” Bold keys and racing rhythms collide in this 80s steeped extravaganza, electro-disco and car chases in this incredible end. A defining EP from Luca dell’Orso.

A central figure in Seattle’s fading disco scene, radio DJ, producer, engineer, writer and multi-instrumentalist…Tony Benton was the driving force behind the Seattle soul-funk sound during the late 70s & 80s. Starting off his career at the age of ten he learned how to play the piano and then finally got to take a music class in the 7th grade. Having access to an electric piano made him fall in love with the thought that he could make his own music. At the age of 16 Tony and his friends already formed their first band called ‘Crystal Clear’ and were making up songs in his basement.
Things would really start off when Tony Benton teamed up with his group to form the avant-boogie group Teleclere who went on to release their first single in 1982 (Fantasy Love / Ultra Groove). That’s when Tony started playing all of the other instruments and thus earning him the title ‘multi-instrumentalist’. Teleclere was all about creating and performing original music, there was no music scene in Seattle at that time for a black artist or group who played original compositions. Rap-music was also emerging and clubs slowly started to switch from live performances to deejays.
Through the success of their independent EP release, Teleclere followed up a year later with their Affection/Defection album which created a serious hype. This gave them the chance to regularly open at concerts for national artists in halls and clubs. They played at nightclubs, bars, festivals, private parties and did mini tours in the Washington State cities & Canada…including opening for Grammy-award winning soul-star Peabo Bryson (performing for a crowd of 3,000 in their hometown Seattle)
Sadly, radio would not play their music so folks never really had the chance to hear it unless they saw them perform live (they always won the crowd over). To add insult to injury, venues and the likes started to mainly book cover bands playing top 40 music. Disappointed by this Tony Benton became a radio personality but would continue to record and perform under the name ‘Teleclere’ with various players and vocalists for many years to come. Only a handful of his tracks recorded were released in the end.
Thankfully we are left with the unique audio-document that is the Affection/Defection LP. The album took the scene by storm in 1983 and sounds like a sci-fi space odyssey unfolding on an intergalactic dance floor…a chopped and slapped slice of 80ies electro-funk, sensual soulful serenades, pulses of Innervisions-worthy bass, top of the line vocals and a plethora of vocoder magic. Also included is the hit ‘Steal Your Love’ that was featured on the acclaimed 2014 Light In The Attic compilation ‘Wheedle’s Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987’.
Tidal Waves Music (in collaboration with the Numero Group) now proudly presents the first ever vinyl reissue of this fantastic private pressed Seattle electronic soul/funk album (originally released in 1983 on Telemusic Productions). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and obi strip.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Wildfire was a household name in Tropical Island music circles due to their excellent albums and performances throughout Trinidad, Tobago, the Caribbean & US Virgin Islands and French Guadeloupe. In 1962 they started off as ‘The Sparks’ (a well-respected Calypso outfit who released a bunch of successful singles) but with the release of their hit single ‘Come On Down’ from 1975, they exploded into Wildfire.

Wildfire had a very fruitful career and released four top full-length albums and a vast amount of singles before calling it quits. Led by bandleader Oliver Chapman (bass & guitar player, vocalist, arranger, producer and co-writer for the majority of the bands’ songs) and comprised out of high talented musicians, Wildfire was out there with the big boys in the niche they carved out for themselves.

On the album we are presenting you today (Time Is The Answer from 1980) you’ll find the perfect mix of funk, soul and disco, basically the popular sounds of the day, and all tracks are originals. The album is FUNKY and the production quality can rival with any of their peers and records produced/recorded in the US. The performance of Wildfire on this album is beyond excellent. This release was also the first time the group took control over production and getting their album out in the world. Also included is the hit single ‘Say A Little Prayer For The Children’ which is just one of those songs that will be stuck in your head forever.

Besides virtuoso Oliver Chapman: the talent that was featured on ‘Time Is The Answer’ is exceptional. Anstey Hamilton carries around a rich noticeable tenor voice. Arthur Byron who also did vocals on the album, has a beautiful rasping tone that can knock you out anytime he gets into his act. Fitzroy Isaac on keyboards and Donald Leid on drums are the guys that were responsible for keeping the groove tight. Clifford Wilson like Oliver had been with band since the start. He is calm in his approach, he played the bass guitar and sung background vocals, he also chipped in with Oliver whenever they wrote songs together. Finally we have Cyllan Charles, who was known as the Wildfire voice. Cyllan had been doing most of the lead vocals since he joined the group in 1972, he was the most experienced of all the members, and can really take you to higher heights anytime he gets into doing his thing both on stage and on wax.

“Time is the Answer" by Wildfire is a scarce and increasingly sought-after LP. Filled with hit-bound songs it comes as no surprise that the album has now become a much-wanted item due to its addictive and original-sounding nature. This is a must-have for any self-respecting record digger!

I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

I Am Not There Anymore folgt auf das 2017 erschienene Music For The Age Of Miracles (das nach einer siebenjährigen Pause der Band erschien), wobei die neuen Aufnahmen 2019 begannen und stückweise bis 2022 fortgesetzt wurden - zum Teil wegen der Pandemie, aber auch, weil die Band den Raum für Experimente haben wollte. "Wir haben uns schon immer für andere Musik als Gitarrenmusik interessiert", sagt Sänger, Texter und Gitarrist Alasdair MacLean. Diesmal hat er - zusammen mit dem Bassisten James Hornsey und dem Schlagzeuger Mark Keen - Elemente des Post-Bop-Jazz, der zeitgenössischen Klassik und der elektronischen Musik einbezogen. MacLean meint: "Nichts von alledem war in der Lage, seinen Weg in unseren Sound zu finden, außer auf die beiläufigste Art und Weise, in der schwächsten Ausprägung." I Am Not There Anymore bestätigt die Stellung von The Clientele unter den großen Stilisten der Popmusik, indem es geschickt von Bild zu Bild, von Stimmung zu Stimmung wechselt, und zwar auf eine Weise, die sich sowohl neu als auch klassisch anfühlt, während The Clientele als Band in neue klangliche Gefilde vorstoßen. Im Laufe der 32-jährigen Karriere von The Clientele haben Kritiker und Fans ihre Lieder mit Worten wie "ätherisch", "schimmernd", "dunstig", "hübsch" und "zerbrechlich" beschrieben. Alasdair MacLean, hat seine eigene Interpretation der Wirkung, die seine Musik erzeugt. "Es ist das Gefühl, nicht da zu sein", sagt er. "Was wirklich in allen Clientele-Platten steckt, ist das Gefühl, nicht in dem Moment zu sein, in dem man sich befindet." I Am Not There Anymore evoziert regelmäßig das, was MacLean "das Gefühl, nicht real zu sein" nennt. Viele der Songs wurden von MacLeans Erinnerungen an den Frühsommer 1997 inspiriert, als seine Mutter starb.

New Future City Radio is the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek. In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people. It"s a deep avant-garde echo of the legendary Bomb Squad (Locks even sounding a bit like a tape-delayed Check D on the vox), with beat artifacts spanning the whole gamut from pre to post golden era hip-hop - mixing OG Brooklyn boombox sound with the sci-fi boom-bap of late 90s Def Jux and/or Dan The Automator"s 75 Ark.

New Future City Radio is the first duo collaboration of longtime creative partners Damon Locks & Rob Mazurek. In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people. It"s a deep avant-garde echo of the legendary Bomb Squad (Locks even sounding a bit like a tape-delayed Check D on the vox), with beat artifacts spanning the whole gamut from pre to post golden era hip-hop - mixing OG Brooklyn boombox sound with the sci-fi boom-bap of late 90s Def Jux and/or Dan The Automator"s 75 Ark.

Reissue des dritten Albums der revolutionären DIY-Indierocker Ffa Coffi Pawb mit den jungen Gruff Rhys und Rhodri Puw, zu denen später Gruffs Super Furry Animals-Kollegen Dafydd Ieuan und Dewi Emlyn dazu kamen. Hei Vidal! destilliert die Besessenheit der Band mit Früh-1970er Power-Pop (Bowie, Bolan, Big Star) sowie Neu! und My Bloody Valentine zu einem Sound, der Oasis' verzogene Rückkehr zum Glamour einige Jahre später vorweg nahm. Motorische Grooves über sattem Shoegaze-Fuzz verbinden sich mit impressionistischen Studiomanipulationen, Orchester-Synth-Arrangements und brutalen, aber dennoch surrealen Bildern und Wortspielen in walisischer Sprache. Hei Vidal! erschien 1992 in kleinen MC-/CD-Auflagen, das (Clear) Vinyl wird erstmals erhältlich.

Eine Frau verschwindet nach einem Erdbeben plötzlich spurlos. Was ist mit ihr geschehen? Die drei ??? begeben sich auf eine gefährliche Suche. Die junge Schneiderin Maya erscheint nicht zur Arbeit am Camelot Theatre. Justus, Peter und Bob haben den Verdacht, dass das Rätsel, das die Theaterleitung veranstaltet, etwas damit zu tun hat. Denn ein hohes Preisgeld ist zu gewinnen. Ist des Rätsels Lösung auch die Spur zu Maya? Die drei Detektive ermitteln, während erneut die Erde bebt ... Sprecher:innen und MitwirkendeErzähler Axel Milberg Justus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichTante Mathilda Karin LienewegOnkel Titus Erik SchäfflerTrenton Marco SteegerBuzzy Merete Brettschneider Harold Leonhard MahlichGeorge Robin Brosch Roberta Pamela Punti Evander Prettyman Nicolas BöllLiam Stefan BrönnekeLincoln Hans Peter Korff Maya Manuela EifrigHaylie Barbara SchipperProduktionshinweise:Buch und Effekte: André MinningerRegie und Produktion: Heikedine KörtingRedaktion: Maike MüllerTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Betty George und Constantin StahlbergCover-Illustration: Silvia ChristophDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Marco Sonnleitner, erschienen im Kosmos Verlag, Stuttgart. Based on characters created by Robert Arthur.Mit freundlicher Genehmigung der Universität Michigan.

By 1994, Prince had changed his name to Love Symbol, and his relationship with lifelong label Warner Bros. Records was under great strain, and Come was just one of several albums that Prince delivered in quick succession to release himself from his contractual commitments. Despite a lack of support from The Artist, the album reached Number One in the UK.

Downset. (originally called Social Justice) is an American rap metal band from Los Angeles, California. The band's music blends hip hop, funk, hardcore punk, and heavy metal with 'socially aware lyrics'.

In 1994 Downset. began gaining popularity in Europe after touring there with Biohazard and Dog Eat Dog, followed by a tour with Pantera and The Almighty later that year. They released their self-titled effort in the same year. A year later, Downset. returned to Europe with Sullen for a massive headlining tour. In 1995 they also appeared at some major rock festivals throughout the continent including Roskilde and Dynamo.

The band is still regarded as a noteworthy influence on the then-nascent nu metal and rap metal subgenres. In addition to headlining the second stage at Ozzfest in 1997, Downset. toured with prominent bands such as Linkin Park, Pantera, Slayer, Metallica, Red Hot Chili Peppers, Korn, Snoop Dogg, Testament and Anthrax.

Next up in Veyl’s ever-evolving and diverse catalog comes of an experimental sonic experience from Llimbs.

The project of Hagen Ebejer, he began making music in the early 2000’s and started Llimbs in 2016, which allowed him to officially release music and perform live, making his debut at Berlin’s legendary Tresor. Now he arrives on Veyl with Midnight Amber, an 8-track album which fully realizes the Llimbs sound and vision. Inspired by dark and experimental sounds, Midnight Amber is a tour de force of genre-bending compositions, conjured using downtempo and dreamlike sounds which explore both the organic and digital.

The result is an undefinable affair which is both haunting and infectious at once. 'Unfold' commences the album with a soft yet powerful piece of melodic melancholy, inviting the listener through the gates and into the world of Llimbs. 'Divergent' picks things up with a ritual work of stirring chants which leads us to the evocative chords on 'Origin'. Finishing off side A is 'Absent', a slow burning rhythmic piece which encapsulates the listener, creating an almost nostalgic atmosphere for a time unknown.

'Phase' begins the B side with cinematic flair, creating a palpable tension which then evaporates into the ether. 'Eclipse' returns to a familiar dreamworld, traversing the skies which feel both familiar yet mysteriousbefore 'Fragment' dives deeper into a hidden universe of emotion, fusing ancient works with modern technology. Concluding the album is 'Midnight', a perfect end to a journey which exists at the intersection of the natural and mechanical, reality and surreality, marking a tremendous finale which can only lead to a new beginning.

Acclaimed producer, songwriter, and vocalist Shafiq Husayn has been a vital force on the Los Angeles music scene for decades. A member of trendsetting trio Sa-Ra Creative Partners, Shafiq has produced tracks for a staggering spectrum of talent, including Erykah Badu, Ty Dolla $ign, Pharoahe Monch, Robert Glasper, Ice T, Bilal, Jurassic 5, and many more. Over the last few years, the Grammy winner has also become the leader of The Dove Society, an expansive L.A. musical collective. Now, Shafiq Husayn and The Dove Society are debuting the new album So Gold, an eclectic masterpiece emerging from sessions Shafiq describes as “pure love, magic, inspiration!” A worthy follow-up to Shafiq’s acclaimed 2018 opus The Loop, the album features contributions from Anderson .Paak, Syd (of The Internet), Peyton, Thurz, Jimetta Rose, Speed Walton, and many more. Bursting with the kinetic energy of vibrant creative collaboration, the album synthesizes disparate styles into a cohesive tapestry of lush cosmic soul. “It’s new age everything and above,” Shafiq explains. “Focused and direct in the songwriting and production, but still adventurous and refreshing.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.

Besucher:innen des Newport Folk Festivals wurden im vergangenen Sommer Zeugen eines ganz besonderen Momentes: Joni Mitchell kehrte am 24. Juli 2023 nach 20 Jahren auf die Bühne zurück und spielte ein eindringliches Set, das einige ihrer großartigsten Songs
beinhaltete.

Es war das triumphale Bühnen-Comeback der Frau, die nicht wenige für die größte Singer-Songwriterin aller Zeiten halten.

Erhältlich ab 28. Juli als CD-, 2-LP, außerdem gibt es eine Version in durchsichtigem Vinyl im Indie-Handel ++ Produziert von Brandi Carlile und Joni Mitchell (mit Linernotes von Cameron Crowe )

Gym Class Heroes
2005-11 Studioalben werden auf Vinyl neu aufgelegt. LOS ANGELES - Diesen Sommer veröffentlicht Rhino Vinyl-Versionen aller vier Studioalben Gym Class Heroes, die zwischen 2005 und 2011 aufgenommen wurden, sowie McCoys Solodebüt Lazarus. As Cruel as School Children (2006), Lazarus (2010) und The Papercut Chronicles II (2011) werden als Einzel-LPs für jeweils erhältlich sein. The Papercut Chronicles (2005) und The Quilt (2008) werden als Doppel-LPs veröffentlicht. Alle fünf Alben können ab sofort vorbestellt werden.
Für Gym Class Heroes braut sich dieses Jahr etwas zusammen. Die Band wird beim When We Were Young Fest zum ersten Mal seit 2018 wieder auf der Bühne stehen.

"Ich könnte nicht enthusiastischer sein für dieses nächste Kapitel im Buch der Gym Class Heroes. Wenn ihr uns so sehr vermisst habt wie wir euch, dann könnt ihr euch auf eine gute Lektüre freuen, ruhig in der Bibliothek, aber verdammt wild in der Gym Class" - Travie McCoy.

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.

Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia.

Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.

These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Che Belew gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

NOW That's What I Call Music Vol. 420, a split release between Mom Jeans, Prince Daddy & The Hyena, and Pictures of Vernon, captures each band at a moment in time where they, along with Counter Intuitive Records itself, were in the midst of creating a new wave of emo infused pop punk. Originally released in 2017, the EP sees each band growing in new directions following now-classic releases and hinting at the great heights each would go on to reach in the following years.

The Waterboys’ eighth studio album is made available on vinyl for the first time, in ‘Seville’ orange. Originally released in 2003, ‘Universal Hall’ was recorded in the basement studio of the titular hall, a theatre and concert venue in Findhorn, Scotland. It is the most nakedly spiritual of the band's records, all the more so for having been mostly written and entirely made in the spiritual community at Findhorn. At the time of release, band leader Mike Scott described ‘Universal Hall’ as "a record containing eleven spiritual songs that articulate - to the best of my ability - the vision that drives, challenges, sustains and transforms me.” This vision is explored in now-classic Waterboys numbers such as Peace Of Iona, The Christ In You and Universal Hall itself, One track, the celtic-flavoured I've Lived Here Before, was written with Liam O'Maonlai of Hothouse Flowers. The album also saw the return of the band's fiddler Steve Wickham, his first appearance on a Waterboys’ record since ‘Room To Roam’ in 1990. The vinyl format is 180g Orange vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

'The Devil, The Heart & The Fight' is Skinny Lister's third studio album and is repressed here on yellow vinyl. The band are currently supporting Flogging Molly across the US, have summer festivals confirmed and will be touring across UK and Europe by the end of the year. 'The Devil, The Heart & The Fight' was recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash. It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’. A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction. • The Devil, The Heart & The Fight hit the UK Top 40 in the two independent album charts (#38 ‘Breakers’ chart, and #11 Independent Album Chart). • Has received over 2.5million streams on Spotify and the videos have reached over 400K views on YouTube. • Global radio support from 6Music, Radio X in UK Radio Eins, Flux FM, Star FM in Germany and WBSD, WRFL, WYCE, KSJS, WAWL, KPNT, WRIF, KXRN, Indie.FM, WVMO, and WCSF in USA. PRESS QUOTES: “…considerably upped their game.” 4/5 Q Magazine album review “…a deafening and visceral experience.” 5/5 Independent live review from London Garage. "This album has a wholesome kind of dirtiness woven deep into the tapestry of each of the songs." Subba Cultcha "The Devil, The Heart & The Fight’ sees them break their own mould, in places amplifying the popular influences on their sound yet retaining their fundamental roots." Punktastic “(a) kaleidoscope of high octane folk punk via Dexy’s and The Pogues” Louder Than War

"First solo record from Bethany after a 10+ year stint fronting Best Coast. Produced by Butch Walker (Taylor Swift, Jewel, Panic! At The Disco, Weezer, Andrew McMahon). Co-writes with Ruston Kelly, Madi Diaz, Suzy Shinn, Morgan Nagler (Bleached, The Breeders, Jenny Lewis), among others. Press support from: DIY, Dork, HERO, record Collector, Guardian, Upset, Line of Best Fit, NME, Fader, Clash, Stereoboard.
“Natural Disaster was born out of a bit of an identity crisis. I was feeling really stagnant both in my life and in my creativity - the world around me was seemingly falling apart - and I felt like I had two choices; give up entirely or challenge myself to push through and see what was on the other side. This record is the story of a personal journey, one that led me to finding a new side of myself that I didn’t even know was there. It is a snapshot of what it’s like to allow yourself to soften, to take down some of your walls, and really lean into the magic of life.”"

Originally released in 1957 Mal Waldron’s Mal/2 album features some of jazz music’s biggest names. Joining Mal Waldron (piano) are John Coltrane (tenor sax), Idrees Sulieman (trumpet) and Ed Thigpen (drums) amongst others. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket.

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

Available for the first time on vinyl - a 20th anniversary release of The Mystic Chords Of Memory's seminal, unique DIY psych-folk debut. By Beachwood Sparks singer/songwriter Chris Gunst & Aislers Set's Jen Cohen. Mastered at Abbey Road. The seeds of this exquisite album are scattered among the tracks of Make The Cowboy Robots Cry - the LP Beachwood Sparks hung their hats on before a ten year break. A further step forward from west coast country psych towards something with folkier roots but new, mysterious and above all free. Chris and Jen's conjuring of magical, unforced, domestic spirituality. Recorded in a little wood cabin amongst the redwoods overlooking a running creek with a range of collected musical toys. Just give it 5 minutes once you’ve dropped the needle & you’ll be right there. Here’s Amanda Petrussich’s brilliant write up in Pitchfork - “With its soft melodies, sweet vocals, and scratchy DIY production, Mystic Chords of Memory is also an overwhelmingly intimate record, focused and domestic - much closer to Elliott Smith than former-benchmarks the Byrds and Buffalo Springfield…. The duo's wordy moniker was lifted from Abraham Lincoln's first inaugural address, a lecture delivered in the spring of 1861 and boldly eternalised at the base of Mount Rushmore... Appropriately, the band's sound is just as archaic as a truly striking political speech: Gunst and Cohen blend tinkling bells, melodica, harp, keyboards, bits of samples, tinny drums, and strummy guitars, presenting a vaguely contemporary update on the British folk phenomenon of the late 1960s with more blips. Mystic Chords of Memory is a surprisingly coherent re-introduction to Gunst, and his professional coupling with Jen Cohen has proven both a freeing and inspired move.” Two decades later it’s obvious how seminal a record they conjured up. They forged a path that came to define the wave of US indie that followed for a while. In our opinion, the original has a natural, guileless, effortless beauty that trumps them all. Without a whiff of Starbucks. "Mystic chords of memory speech I interpreted the meaning as the underlying psyche fabric we are all creating on this land together. Jen and I thought it would be a great name to inspire our music together. This was really close to post 9/11 times and we were thinking about all of this and also wanting to improve our own contribution to the psychological fabric of the world.” Chis Gunst.

On The Deep and the Dirty, Eric Johanson is a roots-rock innovator and
modern-day guitar hero who uses blues as a springboard for an edgier,
broader sound
The Louisiana native teams up with Producer Jesse Dayton (Rob Zombie,
Supersuckers) and a taut power trio, firing twin barrels of sharp songwriting and
fiery fretwork along the way. The album arrives on the heels of four solo records
that all reached the Top 10 on the Billboard blues chart. Johanson fills The Deep
and the Dirty with revelatory anthems about embracing the modern moment and
the raw, honest sounds of a band performing together live. Offering everything
from roadhouse roots-rock to dark, bluesy Americana, it's a diverse album glued
together by a musician who's never been afraid of the grey area between
traditional genres.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.