Cerca:winter son

Max Schreiber is the more introspective guise of Mule Driver, reserved for drifting into fragile and haunted sonic territories. Variations on Memory Vol.2 deepens Schreiber’s exploration of collective sound and personal distortion.

This time, fragments of lullabies and children’s songs resurface along side memorial songs—distorted by time, memory, and a quiet sense of unease. Schreiber treats these melodies not as sacred relics, but as raw material: vulnerable to noise, decay, and reinterpretation.

Recorded in intuitive, often single-take sessions, the album challenges the listener’s sense of nostalgia. Sentimentality collapses into abstraction, and familiar tunes unravel into drifting soundscapes—like half-remembered scenes from a film that never existed.

Variations on Memory Vol. 2 is less about what these songs once meant, and more about what they might conceal.

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Originally released on seven-inch by the tiny PRM label in 1986, ‘Witches’ was the product of a sister-brother song writing team whose music was mostly recorded in the front room of a terraced house in Nanpean, a small industrial village in Cornwall, England’s most south-westerly county. While the single was infectious and dancefloor-ready, it sold in limited quantities at the time.

Zenana’s story can be traced back to the early 1980s, when singer-songwriter Anita Tedder founded the all-female trio as a vehicle for her socially conscious and politically charged songs, with a burning desire to put strong depictions of women front and centre. To bring Zenana to life, she joined forces with her brother Mike, an early adopter of electronic music who had built a small studio in his Cornish home, and recruited two fellow bandmembers, Penny Griffiths and Ruth Elder.

This specific release is a limited reissue that the band created in 2023 and holds three more songs ; The Final Winter, The Touch Of Woman & When The Comet Comes. This issue comes with an 8 page booklet including background stories as well as historical photographs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

DO call it a comeback! Nach nicht weniger als 22 Jahren veröffentlichen die Wiener Beat-Maestros Urbs & Cutex wie aus heiterem Himmel ihr drittes Album namens "On Our Way". Die beiden Veteranen zeigen sich bestens aufgelegt und schaffen es auf diesem Überraschungspaket mühelos dort anzuschließen, wo sie vor zwei Jahrzehnten aufgehört haben. Sie bleiben sich selbst treu, finden aber auch neue Wege ihren sehr persönlichen Stil weiterzuentwickeln und HipHop und Downtempo auf eigenständige Weise zu verschmelzen. Urbs & Cutex (der auch unter Cut Ex firmiert) sind ein Produzenten-Duo aus Wien, das sich auf entspannte Instrumentalmusik spezialisiert und klassischen East Coast HipHop mit Elementen von Triphop und Downtempo verbindet. Beide begannen Anfang der 90er Jahre als DJs und machten ihre ersten Schritte als Produzenten unabhängig voneinander, um später eine der interessantesten Gruppen der florierenden Wiener Elektronik-Szene zu formen. Zwei gefeierte Alben wurden damals veröffentlicht und noch heute werden ihre Songs von immer neuen Generationen entdeckt, was zu Millionen Aufrufen auf den bekannten Streaming-Plattformen führt. Nach 22 Jahren, diversen Solo-Alben (u.a. Urbs' "Toujours Le Meme Film" und "Geheimland"), unzähligen Singles, Remixes und Kollaborationen, haben sie also beschlossen, wieder zusammenzuarbeiten und dabei ihr Mojo sofort wiedergefunden. Mit charmanter Sturheit produzieren Urbs & Cutex weiterhin Musik, die manche als retro, andere als zeitlos bezeichnen werden. "Wir suchen nach immerwährenden Wahrheiten" bemerken sie dazu achselzuckend. Das Album beginnt daher ganz im Stil ihres letzten Albums "Peace Talks!". Soul- und Jazz-Loops werden mit dopen Beats kombiniert und man wird sogar mit dem ersten Rap-Part überrascht, der es jemals auf ihre Alben geschafft hat: T.R.A.C. aus New York, bekannt als MC von Marc Macs Visioneers, unzähligen Drum&Bass Releases und nicht zuletzt Urbs´ Solo-Alben, glänzt auf der ersten Single "Wherever You Are". Nach einigen Songs lässt sich feststellen, daß Urbs & Cutex ihren Sound aber sehr wohl subtil weiterentwickelt haben. Durch gefinkelte Arrangements und gekonntes Übereinanderschichten von Samples wird eine dichte Atmosphäre geschaffen, die weit über das hinausgeht, was Boombap üblicherweise bietet. Urbs & Cutex schaffen es auf diesen 14 Songs die Fadesse von Chillout, Lofi und Boombap zu umgehen und bauen einen Spannungsbogen, der von uplifting bis deep und hypnotisch reicht.

Blues Rock aus Irlands tiefem Süden: Dieses Power-Trio verbindet nach wie vor Elemente des Hard Rock mit dem Blues von Bands wie Gov't Mule, Lynyrd Skynyrd und Led Zeppelin. Jetzt sind die Jungs mit ihrem vierten Studioalbum zurück, zwei außergewöhnliche Live-Alben gibt's ebenfalls. Die Band wurde 2009 in Cork City gegründet, als Leadsängerin Christy O'Hanlon die ehemalige Rhythmusgruppe der Clonmel Punk Rock Band Aural Ammunition, Stephen McGrath (Bass) und Gev Barrett (Schlagzeug) traf. Allmusic über das Debüt des Trios: "Electric Soup" ist nicht nur ein vielversprechendes Debüt, sondern ein wildes Biest von einem Album: dreckig, mager, gemein und gefühlvoll." Classic Rock Blues Mag über das zweite Album: ,Ich liebe das Album, "Rumble Shake" ist umwerfend". Classic Rock Blues Magazine. In CBCs eigenen Worten: ,Wir haben "Ghost dance" genau so gemacht, wie wir es immer machen wollten. Wir haben unser Lager in den Gaf Studios in Co Tipperary aufgeschlagen, nur wir und der Produzent Philip Magee. Wir haben die Tracks so aufgenommen, dass sie unsere berühmte Live-Energie einfangen, und dann hat Philip die Tracks in den nächsten Monaten in seinem eigenen Studio fertig produziert. Wir sind unheimlich stolz auf dieses, unser neues Album. Das gesamte Werk führt direkt zurück in die 70er Jahre, als Bands wie Ten Years After, George Thorogood, Johnny Winter, Allman Brothers, Cream, Rory Gallagher und viele andere an der Spitze ihres Könnens standen. Und da stehen Crow Black Chicken jetzt auch. Die CD ist ein Digpak, die LP ist rot mit einem schwarzen Marmor-Effekt versehen.

Der finnische Komponist Lauri Porra lädt dich auf eine Reise durch die "Seasons in Moominvalley" ein. Pünktlich zum 80-jährigen Jubiläum der Veröffentlichung der ersten Mumin-Geschichte von Tove Jansson, komponierte Porra 21 atmosphärische Stücke für Klavier, Streichensemble oder eine Kombination aus beidem (manchmal sogar mit Naturgeräuschen), die dich die Jahreszeiten, Strände und Wälder des Mumintals ganz neu erleben lassen.Jedes Stück bezieht sich auf eine bestimmte Szene aus den Büchern - zum Beispiel ist "A Song for the Sea" inspiriert von Muminpapa, der am Wasser steht und über die Launen des Meeres philosophiert, während "A Song for Winter" eine Szene aufgreift, in der ein Charakter erkennt, dass der Winter die Jahreszeit ist, in der schüchterne und zurückhaltende Tiere und Menschen aufblühen. Dieses Album ist eine liebevolle Hommage an Tove Janssons zeitlose Geschichten.Veröffentlicht von Sony Classical, ist "Seasons in Moominvalley" sowohl physisch als auch in digital erhältlich. Die CD-Edition enthält ein wunderschön gestaltetes Booklet, das die Auszüge aus den Geschichten zeigt, die mit den einzelnen Liedern verknüpft sind. Für Vinyl-Liebhaber ist die limitierte 180g Picture Vinyl Edition ein echtes Sammlerstück, das vier exklusive Postkarten und zwei hochwertige Lithografien als Beigaben beinhaltet. Zudem besticht das LP-Design mit einem faszinierenden Zoetrope-Effekt, der die Illusion einer Animation erzeugt, wenn die Schallplatte auf einem Plattenspieler dreht.

The cassette format SPCS1680 features "With Trampled by Turtles" on the A Side and last years 'White Roses, My God' SP1655 on the B Side! No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

Jones hat mit "Piano Solos For Friends And Loved Ones" (2003) und "Vol. 2" (2007) bereits zwei Solo Piano-Alben veröffentlicht, die es physisch nur bei Konzerten oder über den eigenen Webshop gab. Das vorliegende neue Werk – auf CD und LP jeweils auf unterschiedlichen Instrumenten eingespielt – erscheint in beiden Versionen mit einem Poster mit Sleevenotes vom Künstler. Ein QR-Code auf dem Poster gewährt Zugriff auf ein 36-Seiten Booklet und Notenblätter zu 5 der Songs.

UK death metal gods Cancer burst onto the UK extreme metal scene over thirty five years ago, & quickly amassed a strong global following over the course of their early careers which later resulted in a stint with major label EastWest under Warner Music. After a period of inactivity, Cancer returned for 2018's Peaceville debut, 'Shadow Gripped', followed up by 2025's new opus, 'Inverted World'. 'To The Gory End' was Cancer's debut studio album & was released in 1990. Along with sophomore opus 'Death Shall Rise', 'To The Gory End' became a firm genre classic with its influential display of sonic savagery containing fittingly shocking topics to match.

The album swiftly established Cancer as one of the highlights of the rising UK death metal scene alongside such bands as Bolt Thrower & Carcass. 'To The Gory End' was recorded at Loco Studios in the winter of 1989, with legendary producer Scott Burns (Death, Obituary, Sepultura) overseeing the recording & also mixing duties, which subsequently took place at Morrisound in Florida, itself synonymous with the creation of many classics of the genre. The album also notably features a guest appearance by John Tardy of Obituary on the track 'Die Die'. This edition of 'To The Gory End' marks the album's 35th anniversary & is presented on limited red galaxy vinyl.

The 1968 debut album from Norwegian guitar legend Terje Rypdal stands as a significant entry in the late 1960s jazz landscape, exemplifying the transition from psychedelic rock to a more intricate, freeform blend of jazz elements. Collaborating with legendary musicians like Jan Garbarek, Rypdal's work on this album showcases his innovative talent.

Recorded during three sessions in Oslo in 1968, Bleak House marks Rypdal’s departure from the psychedelic group The Dream as he ventured into new musical territories. He would go on to become one of the most recognizable instrumentalists in European jazz, with releases on the ECM label filled with his searing, evocative guitar sounds that evoke a future tundra.

Though only 21 at the time, Rypdal was already creating music that was incredibly mature, smooth, and sophisticated. While it undeniably captures the essence of the 60s, it remains enjoyable today. The album, originally released on Polydor, features slight Latin and blues influences, along with big-band arrangements that are both well-crafted and enchantingly loose.

The reissue of Bleak House offers much to unpack. Historically, it represents a bridge in the European transition from jazz-rock to a unique avant-garde/free jazz hybrid. Even at this early point in his career, Rypdal's ability to incorporate post-bop, fusion, and avant-garde elements into a cohesive album was an impressive feat of imagination. Rypdal has always been a bold composer, capable of weaving intoxicatingly discordant melodies, as exemplified in tracks like "Winter Serenade", or evoking an unearthly sadness in his more reflective pieces.
Bleak House is a timeless and important recording, and it is a pleasure to hear it in this 180g virgin vinyl format.
A must-listen for anyone interested in the evolution of modern jazz.

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

The Modbirds kombinieren souligen Ska und mitreißenden Punk. Obwohl sie erst 2023 gegründet wurden, bringen sie mit Mitgliedern von Los Placebos und The Porters einen reichen Schatz an Bühnenerfahrung mit. Ihr Live-Debüt bei "Ska im Westend" in Dortmund hat sofort gezeigt, dass sie gekommen sind, um zu bleiben. Jeden Frühling kehren die Zugvögel aus ihren Winterquartieren zurück! Also aufgepasst, denn auch die Modbirds sind im Anflug mit ihrer ersten Mini-LP "Spin it to win it". (Release Date 25.04.25) Mit ihrem musikalischen Mix aus Ska, Reggae und Punk feiert die Band in fünf Songs verteilt auf zwei Seiten ihre Liebe zum Vinyl, lässt vergangene Jugendlieben aufleben und schwelgt in den Erinnerungen an unbeschwerte Zeiten. Getrieben von druckvollen Bläsern, eingängigen Melodien und dem tanzbaren Offbeat werden aber auch gesellschaftliche Missstände oder das Thema mentale Gesundheit besungen. Also nicht den Arm am einarmigen Banditen ziehen, sondern den Tonarm auf den Plattenteller legen mit 45RPM im 12-Inch Format für den bestmöglichen Vinyl-Sound:, eben "Spin it to win it" - hier sind The Modbirds! Ska, Reaggae, Soulpunk, klassisch schwarzes oder farbige 12"-Vinyl erhältlich.

"Water Season" is a collaborative EP between the lo-fi duo Hooky and shoegaze artist Winter. They first met online as fans of each other's music and soon started corresponding with ideas, the first of which was writing "horseshoe." After relocating from Los Angeles to New York, Winter took a trip over to Philadelphia in the summer of 2024 where they all became good friends and spent the whole day writing songs together. They coalesced in their love for lo-fi, indie, electronica pairing beautiful melodies with experimentation, sampling, and guitar. In their own way they created a sonic snapshot of that intersection of time and feeling- the bittersweet and fleeting sensation of the end of summer fading into fall. Both bands will be playing shows together this year as well as touring to promote the EP.

Heated compilation of 81-1990 rarities.

"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.

Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.

Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

Luke Titus is a Chicago-born drummer, songwriter, producer, and multi-instrumentalist known for his remarkable versatility and genre-spanning artistry. With deep roots in jazz and a knack for blending it seamlessly with experimental music, drum & bass, and beyond, Titus has earned a reputation as a world-class drummer and a dynamic force across the national musical landscape. Growing up in Chicago's vibrant music scene, Titus flourished alongside fellow young artists in the early 2010s. His work quickly positioned him as a key figure in the city's jazz, hip-hop, and R&B communities, leading to collaborations that propelled him to national recognition. Continue to follow the thread of Luke Titus' many contributions to jazz and alternative scenes across America, and what emerges is a singular weave between his roots in Chicago, LA and New York communities. From What Was Will Grow A Flower is the second LP from the prolific young songwriter and producer, codifying his many musical leanings into an emergent, nearly clairvoyant statement of musical intent. Blooming and innovative songwriting, effervescent vocal hooks, virtuosic instrumental passages, and meticulously studied production techniques abound. About the album, Titus says "This album is about spirituality and connectivity, both with the universe and the self, as told through my personal journey. It questions reality as a way to deepen one's connection to it. I dedicate this album not only to anyone who has been through hard times, but to anyone who relates to the cyclical nature of the human experience. And more than that, I dedicate this album to my mom." As a producer and songwriter, Titus' fingerprints can be found on numerous acclaimed projects, including Noname's Room 25, Luke Titus & Cisco Swank's Some Things Take Time, Orion Sun's Orion, and Ravyn Lenae's Hypnos. His co-production credits span across a roster of innovative talents like Steve Lacy, Monte Booker, Brian Sanborn, Teo Halm, Phoelix, Cisco Swank, Saba, Kiefer, Elijah Fox, and Itai Shapira. Titus has taken his talents to the global stage, performing at high-profile festivals and venues such as Lollapalooza, Coachella, Pitchfork, Blue Note NYC, North Sea Jazz Fest, Smoking Grooves, Fuji Rock Festival, Blue Note Tokyo, and NYC Winter Jazz Fest, amongst many others.

"Dances With Wolves is the original soundtrack to the 1990 seven-time Academy Award and three-time Golden Globe Award-winning film of the same name. It is produced and directed by Kevin Costner, who also stars in the film himself. The original score and songs were composed and conducted by John Barry. Barry won the 1991 Academy Award for Best Original Score and the 1992 Grammy Award for ""Best Instrumental Composition Written for a Motion Picture or for Television."" John Barry's fifth Oscar-winning score is a profoundly moving body of music. Dances With Wolves is available as a 35th anniversary edition of 1000 individually numbered copies on translucent yellow coloured vinyl and comes in a deluxe sleeve finished with linen laminate."

The Modbirds kombinieren souligen Ska und mitreißenden Punk. Obwohl sie erst 2023 gegründet wurden, bringen sie mit Mitgliedern von Los Placebos und The Porters einen reichen Schatz an Bühnenerfahrung mit. Ihr Live-Debüt bei "Ska im Westend" in Dortmund hat sofort gezeigt, dass sie gekommen sind, um zu bleiben. Jeden Frühling kehren die Zugvögel aus ihren Winterquartieren zurück! Also aufgepasst, denn auch die Modbirds sind im Anflug mit ihrer ersten Mini-LP "Spin it to win it". (Release Date 25.04.25) Mit ihrem musikalischen Mix aus Ska, Reggae und Punk feiert die Band in fünf Songs verteilt auf zwei Seiten ihre Liebe zum Vinyl, lässt vergangene Jugendlieben aufleben und schwelgt in den Erinnerungen an unbeschwerte Zeiten. Getrieben von druckvollen Bläsern, eingängigen Melodien und dem tanzbaren Offbeat werden aber auch gesellschaftliche Missstände oder das Thema mentale Gesundheit besungen. Also nicht den Arm am einarmigen Banditen ziehen, sondern den Tonarm auf den Plattenteller legen mit 45RPM im 12-Inch Format für den bestmöglichen Vinyl-Sound:, eben "Spin it to win it" - hier sind The Modbirds! Ska, Reaggae, Soulpunk, klassisch schwarzes oder farbige 12"-Vinyl erhältlich.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

In the winter of 2022, Holy Wave had a week off after a short tour that ended with a show in Los Angeles. The band found particular glee in playing those shows at that time, as they weren't sure they'd ever be doing that again just a few months prior_this batch of songs results from hanging out with some very good friends at Studio 22. "The band have fashioned themselves into mainstays in the world of gauzy psychedelia, infusing dream pop soundscapes with colorful instrumentation, lush melodies, and weighty pathos." - Under the Radar Magazine"_narcotic neo-psych with synthed-out bedroom-pop undertones." - Shindig Magazine"_lush-yet-tempered instrumentation that's undeniably pleasant, if not downright attractive." - Flood Magazine"The sound of Austin's Holy Wave has been getting progressively dreamier with each successive release, their music lush and immaculately arranged." - Post-Trash"Wonderful aural tones, meandering genteelly." - Narc Magazine

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

The needle drops, and with it, a fresh chapter in the world of re-edits comes to life. This electrifying

new EP offers four masterfully crafted tracks, each one a gateway into a distinct musical world.



From epic anthems to intimate grooves, these cuts promise to leave a lasting imprint on the dancefloor.



Vinyl-only, limited edition—this is not one to miss.



A1 - Rewind The Drill Step back in time with an epic late 80’s anthem that channels the power and

raw energy of a golden era. With thunderous beats and soaring melodies, "Rewind The Drill" is an

instant classic that bridges past and present with finesse and force.



A2 - Pizzichella An ode to Tokyo’s iconic 90’s Shibuya Kei movement, "Pizzichella" is a vibrant

tribute to a beloved scene. Melding playful nostalgia with modern production, it’s a kaleidoscope of

sound that’s as colorful as the streets of Shibuya themselves. A must-listen for fans of cross-cultural sonic adventures.



B1 - Jara Sevo Immerse yourself in the haunting beauty of "Jara Sevo." With a Balkan-inspired feel, this melodramatic anthem evokes the chill of a winter’s night and the warmth of love’s glow.

Poignant strings and cinematic swells make it a standout moment of emotional resonance.



B2 - Come Vanno i Grøøvöni Closing out the EP is "Come Vanno i Grøøvöni," a sweet, romantic

groovy house cut that’s as gentle as it is infectious. Smooth, soulful, and effortlessly cool, it’s the

sound of a perfect night in motion. With lush pads and subtle swing, it’s the kind of groove that’s

impossible to resist.



Limited Edition, Vinyl Only As always, exclusivity is key. This EP is a one-time pressing, and once

it’s gone, it’s gone for good.



Collectors and DJs, take note: this is a sonic treasure you’ll want in your arsenal.



Stay tuned for release details and grab your copy before it’s too late. Four tracks, four journeys—and one unforgettable record.

Posthumous record releases are always charged with emotion but when the release comes from a 17 year-old artist that was just getting started it is heartbreaking Anxious is a mesmerizing selection of songs that explore the highs, lows and uncertainty of teenage life through the eyes of Nell and is the follow-up to Where The Viaduct Looms, her debut collaboration with The Flaming Lips that explored the works of Nick Cave.

Guided by the talented Jack and Lily Wolter of Penelope Isles, who helped shape Nell's songs, some of which had been in the works since she was twelve years old, the result is an album brimming with emotion, playful melodies and a depth that hints at what Nell's future may have held. Nell's record includes three songs which were written in partnership with Canadian folk band Shred Kelly with whom she spent winter evenings writing in her hometown of Fernie, British Columbia, huddled round the fre in 2022. Jack and Lily Wolter subsequently completed these songs and the rest of the works in Brighton in 2023.

Nell's frst and only studio recording session at Bella Union's studio in Brighton at the tender age of 15 was an intense mix of long days with Jack and Lily expertly teasing out what was really going on in Smith's mind with the help of Doritos, Fizzy sweets, Coca Cola and inspiration gained by sneaking her into venues to see local bands play.

A lot of Nell's creative drive was rooted in raw teenage emotions; apprehension; love; travel; gratefulness; ambition; and grief. These moods are visited throughout the tracks on the album with an instrumental approach that brings joy into even the darkest of songs.

ADRIAN YOUNGE PRESENTS SOMETHING ABOUT APRIL II synthesizes the boundaries between Black American soul and classic European cinema. The album features an array of entrancing vocalists: Laetitia Sadier (Stereolab), Bilal, Raphael Saadiq, Loren Oden and Israeli star, Karolina, who delivers haunting chants over concertos. Younge is the experimental spirit of the modernist vanguard, looking into the past to create the future. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

*180g virgin leaded vinyl in a deluxe textured heavy gatefold cover, with paste-on artwork and special anti-static innersleeve.* Note: The pressing is absolute on point!!!!

Vincent Gallo and Harper Simon with a beautifully recorded suite of songs and instrumentals.

" More than two decades since he blew minds with a suite of brilliant releases on Warp, Vincent Gallo returns to the world of music at long last in Butterfly, his duo with Harper Simon, with the project’s full-length debut, “The Music of Butterfly”. A gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, while interweaving fascinating flirtations with minimalism and experimentalism, it’s a truly captivating piece of work that’s hard to get off the turntable after the first needle drop.

In the arts, the lines between genius and madness, as well as fact and fiction, often blur. Such, it seems, has always been the life of the artist, filmmaker, actor, musician, and composer Vincent Gallo. A cult figure and a member of various creative undergrounds for the better part of half a century, Gallo has courted controversy, ruffled feathers, and made some of the most singular statements to flirt at the outer edges of popular culture that can be called to mind. Arguably most well known for his work in film, during the late '90s and early 2000s - notably with his soundtrack for “Buffalo 66” and a suite of releases on Warp - Gallo became something of a sensation in the world of independent music for a visionary, incredibly unique and sensitive approach to sonority. For a time, the world was abuzz, waiting on bated breath for more, and yet time passed. Bar a few fragments, appearing here and there, almost nothing has been heard from Gallo, within the world of music, for more than 20 years. That is, until now, with the release of “The Music of Butterfly”, the debut full-length of Butterfly, his duo with Harper Simon: beautifully produced and issued by Family Friend Records - Gallo’s own label, founded in 1981 - in a deluxe edition that simply left us speechless: 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve. More or less picking up from where we last encountered him, spinning captivating melodies and gentle song-craft within the quieter temperaments of DIY, left-field pop, once again, and at long last, Vincent Gallo, encountered in an incredibly successful collaboration with Harper Simon as Butterfly, reminds us that he’s as much a force within the realm of music as he is within film. Not to be missed. This one isn’t going to sit around for long.

Vincent Gallo’s biography reads like the stuff of blaring beauty: a figure of moderate fame in his own right, who has remained at the centre of cultural ferment as the decades have rolled by. Born in 1961, in Buffalo, New York, as the story goes he ran away to New York City at the age of 16 and fell into the brewing counterculture of the Downtown scene, William Burroughs and John Giorno, in addition to the cream of his own peers, and began making paintings, music, and experimenting with film. In addition to being a member of the now legendary band Gray, with the artist, Jean-Michel Basquiat, and the filmmaker, Michael Holman, Gallo appeared in the cult 1981 film “Downtown 81”, before slowly beginning a career as an actor and catching the eye of Claire Denis, who brought his talents into the broader cultural gaze. Catapulted into the public by his own subsequent career as a filmmaker with “Buffalo '66” (1998) and “The Brown Bunny” (2003), both of which were marked by controversy and praise, Gallo further captivated the public with a partially brilliant, if not relatively brief, flurry of activity in the realms of music.

While Gallo had already been making music for roughly two decades at the time of his release of the “Brown Bunny” soundtrack, and the four release issued by Warp in rapid succession between 2001 and 2002 - “When”, “Honey Bunny”, “So Sad”, and “Recordings of Music for Film” - the almost fanatical fandom reached a fever pitch at the moment, allowing him, for some, to be regarded as much, if not more, as a musical artist than an actor and filmmaker. Anyway you cut it, in a few short years, he proved himself to be a polymath of rare talent. Somewhere along the way, while both were working as members of Yoko Ono's Plastic One Band, Gallo met the New York based, highly regarded singer-songwriter, guitarist, and producer, Harper Simon, who also happens to be the son of Paul Simon. The pair fell into an incredibly fruitful duo collaboration, which came to be called Butterfly, and “The Music of Butterfly” being their debut full-length release.

Written, performed, and recorded by Vincent Gallo and Harper Simon in New York City between the winter of 2018 and the spring of 2019, the ten tracks comprising “The Music of Butterfly” are cumulatively a gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, making one feel like barely a moment had passed since we’d encountered his graceful hand at song-craft. Stripped back and raw, while retaining a sense of warmth and intimacy, across the length of “The Music of Butterfly” the duo of Gallo and Simon weave something completely captivating at the juncture of minimalism, experimentalism, and pop: meandering moments of texture and tone, slowly forming toward flirtations of melody that flower into song and back again. Somehow playful and light, while also remarkably emotive and personal, it’s almost as though each of these tracks crystallised out the air, unlabored and exactly as they should be without a note or beat more.

An engrossing immersion into both Gallo and Simon’s remarkably accomplished minds, having followed the path toward one another after radically different experiences and careers, “The Music of Butterfly” is one of those records that’ll be hard to get off the turntable after that first needle drop, and rarely leave the listening pile for some time to come. Issued by Family Friend Records in a beautiful deluxe edition that is unmatched even among the most stunning recent productions we can call to mind - 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve - it’s lovely to have Gallo back in the musical mix after so many years. "

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007. The New York Times called it "irresistible" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms. It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.

*REPRESS* 2x12"

Poland's finest reggae dubstep export is back to guide us through the long dark winter with his highly anticipated second studio
album, Subconcious. Mat Miller solidified his position as one of the most exciting global ambassadors for the sound with his 2011
debut album and he returns to the mighty Moonshine Recordings with another killer full length selection of thick dread bassweight
and proper roots vibes. Matt's influences have always been varied, and his music's rich diversity is in full effect across the LP as he
adeptly shifts between tempos and moods, utilising his ear for melody and rhythm to create an absorbing collection of timeless
sounds. The ground shaking sub-frequencies central to each track are built to challenge soundsystems and ignite dancefloors,
whether it's on the livewire rhythms of his jungle indebted track 'Wicked Dub', the driving sonic force of the drum and bass styled
'Different Dub' or the dubbed out, skank-ready movements of tracks like 'Earthwalker' and 'Indra'. As well as the all-powerful bass
pressure, Radikal Guru works with a colourful array of instrumentation, and brings in characterful vocalists YT, Danman and Echo
Ranks to provide melodic lead and reggae lyricism on 'Stay Calm', 'Know Yourself' and 'Warning!' respectively. The final result is
shining example of modern roots/ reggae-centred music in 2013, executed brilliantly and certain to last the test of time.

The Doors Californian kings of psychedelic-blues rock not only stood heads and shoulders above the peace and love hippy explosion of the sixties, but they were also proud to wear their influences on their sleeves by forwarding to the future by reconstructing the past.
The early live shows of the band performed in 1967 at the likes of the legendary Matrix Club in San Francisco would feature the group playing two sets, both featuring a mix of band originals and Blues covers done The Doors way.
Material such as 'I'm a King Bee' by Slim Harpo,'Who do you Love' by Bo Diddley,'Money (Thats what I want)' by Barrett Strong (a song that would stay in the live set for the duration of the bands life) and at The Winterland Ballroom over the Christmas festivites'Mannish Boy' by Muddy Waters were rolled out to an adoring local fanbase.
The classic 'Backdoor Man' by Howlin Wolf would also find a place on the group's debut album.
With all of the members of The Doors being long time blues fans more material was being worked up during rehearsals and added to the live shows along with new songs from The Doors forthcoming albums.
The Doors walked it like they talked it and sadly we will never see the likes of them again...a wonderful mixture of Blues and Psychedelic rock,they proved that in order to meet the future you must never forget the past..NO LIMITS,NO LAWS.................

Yukimi, die gefeierte Sängerin und Mitbegründerin der Grammy-nominierten Band, Little Dragon, veröffentlicht ihr Debütalbum „For You“ am 28. März 2025 bei Ninja Tune.

Mit ihrem Debüt-Soloalbum löst sie sich von einer Band und schafft einige ihrer schönsten und intimsten Werke, die es bisher gab: sehr persönlich und brillant nachvollziehbar. Auf „For You“ verwebt Yukimi auf elegante Weise Musikstile von Jazz über Soul und elektronischen Pop bis hin zu Hiphop, Folk und Psychedelic, aber die Themen ihrer Solosongs gehen tiefer als je zuvor und umfassen Liebe, Verlust, weibliche Energie und angeborene Widerstandsfähigkeit. Die Zusammenarbeit mit Erik Bodin (Schlagzeug bei Little Dragon) und Lianne La Havas war für Yukimi das erste Mal, dass sie mit einer anderen Frau Musik schreibt und kreiert, was ihr erlaubt, ihre weibliche Energie auf eine befreite und persönliche Weise auszudrücken. Passenderweise geht es in den Texten des Songs um die Erforschung ihrer inneren Stärke während herausfordernder Lebenserfahrungen. Es ist ein bemerkenswertes Statement einer Künstlerin, die eine neue Phase ihrer Karriere als Solokünstlerin einleitet, jedoch mit der Gelassenheit und Intuition einer „alten Häsin“ mit jahrelanger Erfahrung im Musikbusiness. Yukimis markante und anmutige Stimme hat seit der Gründung von Little Dragon ihre Fans in ihren Bann gezogen. Der Erfolg der Band führte dazu, dass sie auf einigen der größten (und kleinsten) Bühnen der Welt auftrat - von Coachella bis zu NPRs Tiny Desk - und mit Künstler:innen wie u.a. KAYTRANADA, Killer Mike, Gorillaz, Tinashe, Mac Miller, De La Soul, BADBADNOTGOOD, DJ Shadow, ODESZA, Kali Uchis, Faith Evans, Dave Sitek, Big Boi, Flume und JID zusammenarbeitete.

- Format: 140G schwarzes Eco Vinyl mit bedruckter Innenhülle und Downloadcode-Sticker

Das Duo Sacred Paws aus Glasgow/London ist nach fünfjähriger Pause zurück mit 'Jump Into Life', ihrem neuen Album.

Als die Band mit ihrem Debütalbum 'Six Songs EP' den Durchbruch schaffte, tat sie dies mit Entschlossenheit und großem Erfolg. Das Duo Ray Aggs (Trash Kit, Shopping) und Eilidh Rodgers (Golden Grrrls) hat seine Wurzeln im Punk, den sie mit einer Vielzahl von Einflüssen von Afrobeat über Pop bis hin zu Post-Punk zu einer glorreichen und einzigartigen Mischung verwoben haben.

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.