Cerca:we in music

FOR FANS OF: Black Label Society, AC/DC, Ozzy Osbourne, Black Sabbath, Torus, Pearl Jam, Candlebox, Alice In Chains
Featuring Dario Larina von Black Label Society
Dario Larina ist vor allem durch seine Arbeit an der Seite des legendären Gitarristen Zakk Wylde bei Black Label Society bekannt. Neben den
Tausenden von Kilometern, die er mit der Band unterwegs war, schredderte Dario neben Zakk Wylde auf dem 2021 erschienenen Album Doom Crew
Inc. und begleitete den Black Label Society-Mastermind und die Sechssaiten-Legende auf das Cover von Guitar World. Bei letzterem brachte Wylde
den Grund, warum er den aufstrebenden Gitarristen an Bord holte, auf den Punkt: „Weil Dario großartig ist.“ Nebenbei brachte er auch zwei
Soloalben heraus, nämlich Dario Lorina und Death Grip Tribulations. Im Laufe des Jahres 2024 stellte er sorgfältig zusammen, was Spirit in the Glass
werden sollte. Er vervollständigte das Lineup mit Brody DeRozie, Mike Gunn und Luis Silva und schrieb und nahm in seinem Heimstudio in Las Vegas
auf, auch bekannt als „Dark Chapel“.

"Dear music lovers, this album represents the truest and purest essence of myself in a 'now state' at the end of my thirties. I really don't care about aging, but I care about these ten songs. They make me happy, sad, aware, they make me laugh, cry and confident - hopefully, they make you feel the same or make you feel at all, too. For me, they shatter the rising coldness in this world. This wholesome musical powerhouse is about 'people in white cars' - it's a weird metaphor. Learn all about it on this album." - Rico

As one of the brightest and most prolific new songwriters to emerge from the Birmingham music scene over the past few years, Will Stewart has made a name for himself as both an imaginative storyteller and six string gunslinger whose detailed accounts of life around the Deep South seem to capture the essence of not just the humid, kudzu-covered environs they come out of, but also the creative cultural milieu that makes such narratives possible in the first place. Taking cues from everyone from Big Star and R.E.M., to Phosphorescent and the Drive-By Truckers, and even classic Southern literary figures like Eudora Welty and Barry Hannah, Stewart has managed to carve out a place for himself as a conjurer of time, place and characters— and the stories that swirl around them— in a way that’s simultaneously reflective, empathetic and unapologetic in their presentation.

Now on his fourth solo LP, over his past three studio efforts Stewart has shown a deft touch for not just engaging character arcs and succinct studies in the human condition, but also a range of musical modes that span everything from quiet dissertations on love and loss, to brash rockers and moody explorations of the complicated nature of modern Southern living. As someone who also wears the hat of a highly sought after sideman who lends his talents to friends and fellow travelers like Birmingham locals The Blips, Terry Ohms and Sarah Lee Langford, there are few sonic spaces that Stewart’s hands haven’t touched in some way.

Stewart’s newest offering sees him poised to deliver his most ambitious project yet, with a 10-track song cycle centered around the iconic, and now defunct, Moon Winx Lodge in Tuscaloosa, AL, and some of the characters and scenarios that have played themselves out there over the years.

After a quarter century Filmmaker are finally willing to admit they were/are an emo band. Formed in 1999 on the Great Plains of Saskatchewan, the group released an EP, an LP, and a smattering of singles and demos before quietly stepping away from the project.

During their brief tenure Filmmaker crisscrossed the country dozens of times without a phone, credit card, map, or clue. “We were just kids figuring out how to be a band in real time.” They shared the stage with the likes of Samiam, SNFU, Kevin Divine, and Propagandhi and spent countless nights sleeping in vans, on floors, and occasionally in hospitals.

Their lone album, An Invitation To An Accident, is now being released by the for the first time ever on vinyl and streaming services via Record Record Label.

The album was made at the legendary Factory Studios in Vancouver, BC with Blair Callibaba (Odds, By A Thread, Gob, Nomeansno). An Invitation To An Accident was recorded to 2” tape and contains only one edit, which was performed surgically with a razor blade. The album was originally released on July 2, 2002 by Farway Records and later in Germany on April 14, 2003 by TFR Music.

Orange-farbenes Vinyl mit DLC sowie Digisleeve-CD! Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus.

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

Speckman D.J. & Producer hailing from Hamburg. Co-founder of the tastemaking partyseries Dreamteam and resident at the legendary Golden Pudel Club is finally presenting his new Album titled „NOISEMAKER“ on Public Possession. His eclectic style as a D.J. is perfectly represented in the Music on this record, sitting comfortably between techhouse, indie, new rave and electronica it could probably be best described as a pretty epic take on electroclash in a fully updated, reloaded 2025 version. Fu**in seriously, unserious party music with a nod to the past yet fully in the present. The mellow, deeper episodes are the topping on the bright, pink cake. Speckman is going to jump out of it and right at you. Find him soon in a D.J. booth close to you, no matter if he is supporting „The Dare“ on his EU Tour or holding controls at the Golden Pudel Club. It’s going to be wild and full of surprises.

2022 Repress

Tapper Zukie's 'Black Man' album originally came out in 1978 as a Jamaican only release on Tapper's' Stars imprint. Long deleted it has become a classic in Mr Zukie's vast cannon of musical biscuits and is well overdue this worldwide release for the first time.
Tapper Zukie (b1956. David Sinclair, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica, between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, the youths including the young Tapper had no choice but to fall into the hands of the Political Parties that controlled various ghetto areas of the town. Music seemed like the only way out of a life of crime and gang culture. A path that Tapper Zukie found by the mid 1970's was establishing himself as a named star on the DJ Roots circuit. Back home in Jamaica he was also getting a name for his production work for other local singers such as Prince Allah and the group Knowledge. To release these productions and his own material in Jamaica, Tapper started up his own label called Stars. It's this label that saw the initial release of this album 'Black Man'. A great collection of Tapper tunes such as his biblical cut 'My God Is Real', 'Revolution' and the tile track of this collection 'Black Man' and some work overs of some of his felloe Jamaican Artists like 'Poor Man Problem' a work over of Johnny Clarke's ' Blood Dunza' and also Mr Clarke's Leggo Violence'. 'Yaga Yaga' re working Horace Andy's and Tapper's big hit 'Natty Dread ah She Want'. 'Gather Them' a reworking of Knowledge's tune of the same name with the help from bands like Jah Wisdom and Delroy Fielding. A great collection of tunes and reworkings that we hope will find a wider audience with this release.
For the CD issue of this release we had added Tapper's 'Liberation Struggle', 'Get Ready', 'Prophesy' and 'Fire Bun' tracks from Tapper Zukie's back catalogue that seem to sit well and follow the theme and meanings of the 'Black Man' album.

Low Fidelity was commissioned by Anna Koch / Weld with support from the Swedish Arts Council for the performance Insisting On. Sneak premiere for Issue Project Room, Saint Vitus Bar, Brooklyn, USA in December 2015. First performance at Weld, Stockholm, Sweden in February 2016.

Invocation I is an excerpt from a live recording at Inter Arts Center, Malmö, Sweden, January 2017 based on Lindström’s ‘giant electronic feedback set-up. The True Laptop Quartet is named after a set of instruments built on electromagnetic feedback principles. Both the instruments and the piece were commissioned by Bergen Assembly 2016 for Tarek Atoui’s Within project. Track recorded at Sentralbadet, Bergen, Norway, June 2016 with September 1st 2016 with Tarek Atoui, Espen Sommer Eide, Mats Lindström and Kaya Molsen as the musicians. Light Vessel 21 was a collaboration with Anna Koch and presented as an A/V installation on board the historic LV21 vessel. LV21 saw most of her service off the Kent coast on the Varne and East Goodwin stations. The piece was commissioned by Töne Festival, Kent, England. World premiere: June 20th 2014. Sotto il Ponte was recorded live, with Alba G. Corall on live video, at Huset Under Bron, Stockholm, Sweden in February 2014. Shadow of the Dutchman was an overture to the Wagner opera in a version for three pianos and live electronics. The piece was commissioned by Folkoperan, Stockholm, Sweden. Its debut performance was in February 2013.

“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month

“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire

Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.

Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.

Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.

Portland-based ambient architect and far afield sound technician Graintable, aka James Cooke returns with his debut outing on Music To Watch Seeds Grow By and his fourth in the R$N stable; 'Blue Flax'. Following his acclaimed and sold out cassette releases 'Herons', 'Universal Ash' and ‘The Rain In The Trees’ on Ransom Note Records, this new collection sees Cooke delving deeper into the intersection of natural processes and liminal organic electronics.

'Blue Flax', the resilient flowering plant celebrated for its delicate blue blooms and medicinal applications, is native to the Pacific Northwest - the region Cooke calls home. This plant has long grown on the ancestral lands of the Wasco, Klickitat, Warm Springs, Cayuse, and Umatilla tribes. Its connection to this landscape underscores the album’s themes, weaving together ten intricate ambient pieces that reflect the plant's dual nature of part healer, part object of wonder. Recorded during the transitional hours of dawn and dusk in his Portland studio, Cooke’s soundscapes capture both the meditative aspects of watching plants grow and the gradual transformation of organic matter into usable forms. The centrepiece of the album Cerulian FIelds, reminds of the early morning light, those inspiring hours before the rest of the world wakes and the first shoots break through the soil into the new dawn. It’s a beautiful crystallisation of what is Cooke’s most comprehensive collection of meditative compositions to date.

For fans of: Steve Roach, Alessandro Cortini, Suzanne Ciani, Davis Galvin

Early support including: Courtesy, Laurent Garnier, Massimiliano Pagliara, DJ Harvey, Domenic Capello

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

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

El Dorado ist ein Meilenstein der guten Laune und der wohltemperierten Gesinnung. Das Album hat sich seit der Erstveröffentlichung (2016) zu einem digitalen Dauerbrenner entwickelt. Mehr als 50 Millionen Streams im Jahr, über 5 Millionen pro Monat, 1 Million Listener im Monat, davon mit 250000 die meisten in Deutschland. 60% Zuwachs in 2023. Dies ist eine Erfolgsgeschichte, die noch lange nicht zu Ende erzählt ist. Im Herbst 2024 erscheint das neue Album. Seine Frühjahrstour war innerhalb von 4 Wochen ausverkauft. Im Herbst folgen weitere Termine. Aber vorher gibt es ein besonderes Schmankerl - Sein in farbenfrohem Maya-meets-Pop-Art auftauchendes Debütalbum „El Dorado“ erscheint endlich als Vinyl und wie könnte es, angesichts des Titels, anders sein - in El Dorado Gold !

Eine Ella-Entdeckung sondergleichen: die „First Lady of Jazz“ singt und swingt ein dynamisches Konzert mit Top-Musikern der Ellington-Band. Dass dieses Traum-Konzert von 1967 in Stereo mitgeschnitten
wurde, war bislang unbekannt. Im Nachlass ihres Managers Norman Granz fanden sich jetzt die von Wally
Heider hervorragend aufgenommenen 4-Spur-Bänder, und die haben es in sich! Ella war in phänomenaler
Form und wurde vom Trio aus Jimmy Jones, Bob Cranshaw und Sam Woodyard sowie Ellington-Legenden
wie Paul Gonsalves, Jimmy Hamilton und Johnny Hodges zusätzlich beflügelt.
Vom swingenden Opener “The Moment Of Truth” und dem lässigen Klassiker „Let’s Do It“ bis zum
Fitzgerald-Evergreen „Mack The Knife“ ist alles dabei, was man als Fan liebt. Zwei zusätzliche Pop-Songs
der Sixties transponiert Ella meisterhaft in die Jazz-Welt: die bittersüße Ballade „Alfie“ von Burt Bacharach
und den Ohrwurm „Music To Watch Girls By”. Beide Songs waren bislang noch nie von Ella interpretiert
zu hören!
Ausstattung LP: 140g, Gatefold-Sleeve mit ausführlichen Linernotes von Will Friedwald
Ausstattung CD: Mintpack, Booklet mit ausführlichen Linernotes von Will Friedwald

Before they were Alligators, They were Ladies.

Ben Avgay (Silvi Jan) and Eden Atiya (Rasco) met in 2020, both working on their own musical projects and bands. In 2021 love has sprung and it was inevitable that the two would start their own musical project. Thus came Alligator Ladies to the world, a love-child of two people who share excitement for the same genres and aesthetics. Influenced from garage, freak folk and mystical creatures such as Ramases & Selket, Thee oh Sees, Ty Segall, MGMT and more, Ben and Eden begun writing songs and recording Demos in their home studio. Eden's song writing qualities and Ben's production, sound engineering and orchestrations mesh together to form the two-headed monster we call - Alligator Ladies.

"It was only natural for us to make this album the way that it is - short, funny and emotional"

Le Mot De Passe is the fifth studio album by the successful French singer Patricia Kaas, released in 1999. Following the success of Dans Ma Chair, this album was once again a huge success throughout Europe. The album went platinum in France and gold in Belgium. The album was made with the help of French singer-songwriter Pascal Obispo. The album is accompanied by an orchestra, giving it a great sound experience. The singles Ma Liberté Contre La Tienne and Une Femme Comme Une Autre became some of her biggest hits. La Mot De Passe is a limited edition of 1000 numbered copies on translucent yellow vinyl.

Mike Montgomery’s lifelong fascination with music began as a solitary endeavor. After secretly mining his dad’s record collection of golden 60s and 70s icons and tumbling headlong into 80s skateboard culture and its thrilling soundtrack, Mike learned guitar and started amassing songs on his Tascam Porta-Studio, chronicling hushed bedroom melodies with each new chord he discovered. Soon, he founded thistle, a wonderfully self-sufficient power trio that served as a rich opportunity to tinker with every stage of the music-making process. Through four LPs and two EPs between 1992-2013 and countless thistle shows criss-crossing North America, Mike discovered how to book a tour, repair equipment, run live sound, manage a label, build a studio, and foster a community of collaborators.

Inspired by R.Ring’s looseness and a growing confidence in spartan songwriting, Montgomery’s latest project - under the Nervous Verbs moniker - further peels back the layers of production and fussiness that might accompany access to a fully appointed studio. Instead of ensconcing himself in Candyland with limitless options, Montgomery treated his latest batch of songs as field recordings, often using phone memos to document melodies and entire performances at their inception, where and whenever they might materialize. He realized “there was something about the idea of noticing I had captured something of myself that I couldn’t recreate on subsequent attempts.” As he collected these home sketches, he shared them with friends (including Kelley Deal, Lori Goldston, Devin Ocampo, Joe Suer, Kate Wakefield, Rick McCarty, Adam Nurre, Matt Hart, Dan Dorff Jr., and Alexis Marsh) who responded with supportive contributions, fostering the initial sparks. “All of the extra tracks people sent me that I dressed the songs up with showed me that these were sturdy enough to hold those layers.”

"The, multi-platinum, 3x GRAMMY® Award-nominated, and Emmy® Award-winning rapper Cordae has releases his highly acclaimed third studio album, The Crossroads on 12"" LP.

The new album features production from Executive Producer Smoko Ono, as well as production from multi-platinum and award-winning hitmakers Bongo ByTheWay, Dem Jointz, Camper, BoogzDaBeast, FNZ, and more. Listen HERE.

The Crossroads arrives on the heels of “Syrup Sandwiches” (feat. Joey Bada$$), the fourth lead single released by Cordae ahead of today’s official album release. Previously, “Saturday Mornings” (feat. Lil Wayne), “Summer Drop” (feat. Anderson . Paak), and “Mad As Fuck” were released along with accompanying music videos. An official album trailer was also previously shared on Cordae’s YouTube channel last month. The Crossroads integrates the four lead singles into a cohesive 16-track album containing even more stellar collaborations from Juicy J, Ty Dolla $ign, Jordan Ward, Ravyn Lenae, and Kanye West.


Cordae’s inspiration for The Crossroads comes from his feelings of quite literally finding himself at a crossroads in his own life. Through the album, he conveys his conviction that one single decision doesn’t have the power to change everything, and that while there may be hard decisions to make, there is never truly a “wrong” choice.

The album has already had a viral moment online in the UK with the features being tagged on to the iconic Abbey Road crossing during release week. "

Wewantsounds is delighted to reissue Roy Haynes' 1971 LP 'Hip Ensemble,' recorded in New York for Bob Shad's Mainstream Records and featuring Hannibal Marvin Peterson, George Adams, Teruo Nakamura and Lawrence Killian. Together the musicians create a superb mix of jazz funk and spiritual Jazz showcasing Haynes powerful drumming and creativity. "Hip Ensemble" is reissued here for the first time on vinyl since 1971, in its original gatefold artwork with first generation photos and includes the bonus track "Roy's Tune." It comes with newly remastered audio and a 2-page insert featuring new liner notes by Kevin Le Gendre.

"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

Once again, Decca Records have been shining a light into the recesses of their vast archive to bring you 'The Decca Years 1963', a newly compiled collection of hits and rarities from the pioneers of British Pop music, available as a 45-song 2CD set, or a 22-song 'highlights' LP. Alongside big hits and familiar favourites from Brian Poole And The Tremeloes, Billie Davis, Kathy Kirby, Jet Harris and Tony Meehan, The Tornados, and Tommy Steele, we are excited to bring you some tracks that are being made available again for the first time in more than 60 years, and a few that have never been on CD before. Both formats come in eye-catching, retro style packaging that references Decca releases from the early '60s, and feature informative track-by-track sleeve notes.

BANKS' neueste Singles "Best Friends" und "I Hate Your Ex-Girlfriend" werden auf BANKS' kommendem fünften Studioalbum mit dem Titel "Off With Her Head" enthalten sein. Dazu erklärt sie: "In vielerlei Hinsicht ist es ein Schwesteralbum zu 'Goddess'. Nach einem Jahrzehnt der Trennung habe ich mich wieder mit den Kernmusikern und Produzenten vereint, die mein Debüt geprägt haben. Gleichzeitig ist es etwas völlig anderes – ich bin als Künstlerin und Mensch so sehr gewachsen, und diese Reise ist in all diesen Klängen dokumentiert." "Off With Her Head" wird am 28. Februar 2025 veröffentlicht - als CD und Vinyl.

Building on the acclaim of the band"s earlier work, Needlepoint"s newest offering Remnants Of Light skillfully weaves together proto-prog, British folk, soft rock, and jazz-rock influences, resonating with the sounds of the late 1960s and early 1970s that defined this vibrant musical era. Despite the departure of David and Olaf since their last studio album Walking Up That Valley (2021), Needlepoint"s spirit remains undiminished. They have crafted what they regard as a child of love. Bjorn Klakegg, the band"s wordsmith, is responsible for the evocative lyrics as well as the melodic and harmonic structures, while Nikolai Hængsle (Elephant9, BigBang) continues to steer the project as the producer and musical director, shaping the sound and arrangements. The inclusion of fresh talents like Erlend Slettevoll - who made his debut with Needlepoint on In Concert (2023) and is known for his work with the acclaimed post-bop ensemble The Core - along with the dynamic Ola Overby from Norway"s celebrated funk-soul ensemble Fieh, promises an inspiring new chapter for the band. Their contributions on Remnants Of Light are refreshing and palatable.

Jam on from Key West to the floating island of Manhattan!

This is the fourth release in a series of shellacious Turtles tunes that Limited Run Games has released. This music kicks shell!

Enjoy The Ride Records Exclusive variant is Pizza Pie Color in Color with Splatter, Limited to 500

To mark Black History Month and celebrate the 60th anniversary of Martin Luther King’s Nobel Peace Prize, a special edition picture-disc vinyl will be released. This unique, limited-edition record pays tribute to the historic March for Civil Rights with meticulously restored recordings, including the iconic “I Have a Dream” speech and inspiring music. More than just a musical piece, this vinyl serves as a time capsule—a bridge between generations to carry forward the universal message of justice and equality.

2025 Repress

AFAR is a Berlin based music duo consisting of Elena on vocals and guitar, and Joseph on synthesizers and live hardware. Their forthcoming album stems from the misty heights of the pyrenees, hidden and sheltered within thick, old walls. The whole album was written and recorded in four winter weeks. An intense and demanding period, yet liberating and empowering. »The Refuge« is the collection of stories, the process of it is a story on its own. All tracks are touching, drifting, driving. Soft and raw voices meet between rough synthesizer lines. The result ranges from powerful breakouts to fragile moments. Honest and vulnerable, bold and brave: A true journey, a real refuge.

Neuauflage 2024, Purple Vinyl! Die Destroy Boys aus Sacramento kombinieren Garage-Punk, Pop, Hardcore und Indie-Rock zu einem rohen, zukunftsweisenden kalifornischen Punk-Sound auf ihrem 2021er Album! Die Band wurde 2015 als Akustik-Duo von Alexia Roditis (Gitarre/Gesang) und Violet Mayugba (Gitarre/Gesang) gegründet, die eine breite Palette von Einflüssen anführen, darunter Misfits, Siouxsie and the Banshees, Dog Party, The Who, Lady Gaga und Bikini Kill. Nach der Veröffentlichung ihrer Debüt-EP Mom Jeans wurden die beiden von Schlagzeuger Ethan Knight kontaktiert, der sich der Band anschloss, bevor 2016 die Grimester-EP und das Album Sorry, Mom veröffentlicht wurden. Die Band erhielt mehrere Nominierungen bei den Sacramento Area Music Awards 2017. Sie nutzten diesen Schwung für eien ganze Reihe an energiegeladenen Singles und Auftritten mit wechselnden Bandmitgliedern, immer voran Roditis und Mayugba. Schon bald teilten sich Destroy Boys die Bühnen mit Bands wie Mannequin Pussy, Face to Face und Lagwagon und tourten durch UK. 2018 wurde Hopeless Records auf ihren zweiten Longplayer Make Room aufmerksam und nahm die vielbeachtete Band in ihr Roster auf. Mit Open Mouth, Open Heart, das ursprünglich 2021 veröffentlicht wurde, lieferte die Gruppe eine Reihe aggressiver und selbstbewusster Songs, die sich den Themen emotionalem und physischem Missbrauchs, Mobbing und Sucht annehmen. Die Band besteht aktuell als Quartett mit Roditis und Mayugba sowie dem Schlagzeuger Narsai Malik und dem Bassisten David Orozco.

Musical powerhouse Jitwam invites listeners back into his colourful world with the Deluxe Edition of his hit album Honeycomb, marking five years since its release. Featuring a fresh art direction and behind-the-scenes photography taken from the Mumbai-filmed music video to "busstop", the Deluxe Edition is a true collectible item. Inside the vinyl cover, a download code gives fans access to all 20 digital titles, including a remix package by Max Graef and Glenn Astro and three new ambient versions of HONEYCOMB tracks by jitwam himself.

2026 Repress

MOLA's music is the unadorned antithesis to a rosy world. She celebrates herself to death, pulls you into her inner chaos and does without the usual romanticising transfiguration of the merciless disorientation that catches up with you on the way home after the last cigarette.

MOLA knows better than anyone that she is a border commuter - and she has never made a secret of it. Perhaps it was fate that the course of events abandoned her shortly after her birth in Erba, Italy, in Germany's most austere metropolis. In Munich, where flying free and falling free are a little more complicated than in the cesspit of Berlin, where one would naturally place Isabella Streifeneder and her music if one didn't know better.

Temporarily reduced to intimacy, then escalating into iconic 80s "Purpel Rain" pathos, MOLA illustrates the emotional chaos that the inner dialogue of left and right brain triggers in her. Unconventional pop music that bundles the nonchalance of great soul anthems, the grace of the Italo-disco of the eighties and the ingenuousness of lascivious hip-hop bangers instead of trying to sound modern by force.

MOLA celebrates defeat, exposes life lies, criticises adulthood, documents radical mood swings. She balances along the abyss in her ball gown, jokes about things you don't joke about, praises and curses intoxication and love - "Vino Bianco no longer tastes like dolce vita, it only tastes like losing".

You can now see MOLA supporting Fatoni, Roy Bianco & the Abbrunzati Boys, Mayberg and Kaffkiez in a flurry of strobe lights after sold-out "nothing breaks me" shows in Munich, Cologne, Berlin & Hamburg. In addition to a festival season that couldn't have been more beautiful, they finally have a big tour of their own coming up for their next album, which will see the light of day in September.

After more than 40 festivals "Snow in Summer" on well-known stages like Lollapalooza Berlin, Rocken am Brocken, Puls Open Air, but also as support for Udo Lindenberg at the Hermann-Hesse-Festival, "Life is Beautiful", the darned second record, sounds almost cynical, ironic or simply naive? In the end, it doesn't matter, because when you are overcome by this spontaneous feeling that is far removed from any rationality, you don't ask any questions. It tastes like the melancholy of a summer in its last breaths, like the last drink of an uncompromisingly insane night.

There is sweating, pogoing and feeling together. Even where it hurts.
You are not just an onlooker or a silent spectator, but part of this empowering feeling of "we".

Powerful works of art have traditionally sprung from some source deep within an artist and, if they strike the right tone, resonate with an audience to leave a lasting mark. But what if that equation were reversed: what if an artist were to draw their inspiration from deep within their audience, and use that to reflect those ideas, emotions, hopes, fears, pains and aspirations back to us?

Over a two year journey, audio-visual artist and electronic innovator Max Cooper has inverted the creative process by collecting hundreds of anonymous quotes, posing deep but open questions such as "What would you like to express which you cannot in everyday life?" and "What is it like to exist inside your head?"

The goal: to understand what it is truly like to be human right now. The result: his new album On Being, to be released in February 2025 with the first single "Sun In A Box" coming this September 4th.

With On Being, Cooper aimed to probe under the synthetic surface of social media to "create a snapshot of our minds these days," as he puts it by asking people to share anonymously what they dare not ever say publicly. The result is an emotionally raw and shockingly honest kaleidoscope of confessions, ranging from suicide contemplations to miserable marriages to simple pure loneliness, contrasting with hundreds of anonymous confessions of love and longing.

"I was interested in the way I interact with people for my writing process, which usually involves a one-way communication of feelings and ideas that I later find out whether they resonate with others or not," says Cooper.

"With this I could start instead with people's thoughts and feelings, what resonates for them, and make my own interpretations of those musically and visually, and then send those back out to everyone. It's more of a collaborative approach to making an album, and more intense."

Grief, hope, regret, joy, hurt and love form the basis for each track, taking Cooper's ever-evolving creative process in a completely new direction - with profoundly intense results.

"Rendering the experience of being is at the core of what I do musically - but I hadn't realised the impact that other people's words on being would have on me until I started reading the database of thoughts," he says.

"It was like finding a secret window into everyone's minds, and discovering amongst the chaos, pleasure and pain, the experiences that we all share at different times of our lives, and overwhelming emotions and connections that call out to be explored."

Despite what we see in the maelstrom of rage in the echo chambers of society ‘On Being’ reveals that humans still have an innate need to trust one another and express communal generosity - more easily done from the safety of an anonymous portal.

"The quotes carried so much weight for me - I interpreted them with my usual musical tools, but as you can hear in the music, everything got more extreme as I dove into the depths of what everyone had to say later in the record," says Cooper.

The result is a unique work of art that demonstrates unequivocally not only the power of using music without words to express emotions, but the power of words to express what seemed to be inexpressible.

On Being will continue to evolve as Cooper gathers more confessions to feed into this ecosystem of emotions and to create a new range of art projects and other accompanying works which hopefully will speak truthfully to humanity today - and of who we are and who we can become.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

Marilyn Manson"s ninth studio album, "The Pale Emperor", is available as a White 2LP housed in a Gatefold Sleeve and a 12" photo art print. This iconic record marked Manson"s return to the forefront of the music scene with its highest opening week sales since "Eat Me, Drink Me" (2007). Topping Billboard"s Hard Rock Albums chart and achieving chart-topping success throughout Europe, "The Pale Emperor" solidified Manson"s status as a rock icon. Featuring hit singles like "Third Day Of A Seven Day Binge" and "Deep Six," the vinyl edition of "The Pale Emperor" offers a tangible glimpse into Manson"s monumental achievement. This is a must-have for collectors and music enthusiasts alike. Experience the electrifying resurgence of Marilyn Manson"s commercial dominance and relive the unparalleled success of "The Pale Emperor".

Released for the first time on vinyl, ‘Brat and it’s completely different’ is the reworked version of ‘BRAT’ which reached number 1 on the UK’s official album chart, and includes the number 1 single ‘Guess featuring Billie Eillish’.



Avant-pop and electronic superstar Charli xcx has become an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output.



Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

She released her sixth studio album ‘BRAT’ in June which stands as the most critically acclaimed album of the year and landed at Number 1 on the UK Official Album Chart in October.



‘BRAT’ has well and truly made its mark on the cultural zeitgeist this year; the audacious campaign has seen Charli cause roadblocks around the world with her pop-up ‘PARTYGIRL’ DJ sets, break the internet with viral videos and surprise collaborations with the likes of Billie Eilish, Lorde, Addison Rae, Robyn, Yung Lean, Julia Fox, Chloë Sevigny, and Rachel Sennott and introduce a new tone of green to the social lexicon.



The album was nominated for the Mercury Prize 2024 while ‘Guess featuring Billie Eilish’ debuted at Number 1 on the UK Official Singles Chart, making Charli the first British artist to land at the top of the charts this year.



In October, Charli followed it up with ‘Brat and it's completely different but also still brat’ - a brand-new version of the critically acclaimed album featuring reimagined takes and innovative reworks of tracks from ‘BRAT’ featuring the likes of Julian Casablancas, Bon Iver, The 1975, Shygirl, Ariana Grande, Caroline Polachek and more.



Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in March, the ASCAP Global Impact Award in May and Wall Street Journal’s Music Innovator Award in October.

X or Size deftly frays and soothes the ‘floor with a 3rd LP of craftily textured ambient house scuzz for Good Morning Tapes in a vein shared by Huerco S, NWAQ, Actress, Michael J.Blood and Madteo, but pushed farther into groggy and loosey-goose limbed abstraction.

Formerly known as part of ambient drone duo The Geese with Recital’s Sean McCann, and member of psychedelic mutators Regal Degal; Josiah Wolfson has, in recent years, come into his own as X Or Size, whilst retaining the trippy sense of play and experiment that coloured and defined earlier works. His 3rd outing as X Or Size continues a tradition of punning titles and subtly psyched-out, edge-of-the-‘floor dance music with six bits of submersed trippiness idealised for bobbing bodies with eyelids at halfmast, on a slow arc to other dimensions.

Blessed with the finest grasp of heady equilibrium, X Or Size pull strings like a gently psychoactive puppeteer on the 10-minute opener of dreamlike physics, and aching psych-soul downstroke of ‘Anonymous AD'. ’B O M H’ follows with thee gauziest breeze of filtered vox and harmonised textures rolled out in sun-dazed motion that makes us hanker for warmer times, and ‘Ceremonism’ sustains that flow with sloshing beatdown drums paced like an offcut of NWAQ’s ‘The Dead Bears’ marinaded with special ingredients by Madteo.

With minds/bodies well massaged and acclimated to his vibe, ‘oSSo’ screws off into even trippier zones with a nervy offbeat swing and parry spangled by wettest spring reverb, before bringing up for air in the 11 minute title piece of astral planing bliss, ready to roll another one or go head first into the pillow.

Free-floating. Inspired. Multi-layered. Al Pagoda’s debut Lucky Veil for Bigamo certainly was many different things, but, above all, a highly impressive sleeper album that offered something new with each and every listening. It also felt a bit dizzy and lonely, but maybe that’s what’s happening when you relocate yourself to Berlin as an artist during the cold season.

Four years later, many of these characteristics still remain intact, but the sonic identity of Al Pagoda has evolved: the feeling of solitude made room for something way bigger, precise, and ambitious sounding. This transformation is shaped by the creative partnership with German producer Berend Intelmann, whose rhythmic expertise has become integral to their shared musical vision.