Suche:yours

On his latest album as The Drums, New York-based indie pop artist Jonny
Pierce plunges into the work of healing from childhood trauma and the
long shadow it casts over adulthood
The sparkling, eponymous Jonny unfurls a love letter to a galaxy of younger
selves, all hungry to be nourished, all rejoicing now that they finally get to belong.
Playful, heartbreaking, raucous, and serene all in turn, Jonny embraces the mess
of life in all its facets. It renders the magic that happens when you fall in love with
yourself down to the marrow.
Soaring to alt- pop prestige on arrival, The Drums have released studio albums
that deftly walk the line of aching melancholy and irresistible pop sensibilities,
presented through a kaleidoscope of pastel guitars, reverb, modular synthesizers
and drum machines. It's a sound that's wholly unique, and unmistakably The
Drums.
The Drums' music remains timeless, as evidenced by the recent explosion of their
RIAA Gold- certified song Money, which first appeared on their breakout
sophomore album Portamento, reaching #1 on the Alternative Global Shazam
Chart and #2 on the TikTok Global Hashtag Chart

Caleb Nichols put himself on the map with Ramon, a critically acclaimed
queer Beatles rock opera
Now, he's tackling something of a more radical proposition -- just 11 great songs,
full stop.
Nichols is out with his new album, Let's Look Back -- his second full-length album
on the hallowed indie label Kill Rock Stars.
"It's about the idea that you have to look back and confront stuff before you can
move forward," Nichols says. "It's about vindication, and reintegration, and
trusting yourself."
Produced by Zach Rogue, Let's Look Back's highlights are everywhere -- from the
unstoppable power-pop rocket that is "Demon Twink" to the luminous pop of "J'ai
Vu La Lune!" to the bold and brassy "Wicked."
"I'm not the good witch/ I'm the bad one!" goes Nichols' infectiously catchy
refrain. But Let's Look Back is most definitely a good one -- one that will send fans
of early 2000s indie rock, from the Shins to the Decemberists to Belle and
Sebastian, to heaven.

The songwriter that helped kick off indie rock as we know it" NPR… // Remixed and remastered under the supervision of Martin Phillipps, this expanded edition of The Chills’ debut album is reissued for the first time in over 35 years. The newly mixed edition features additional rarities and unreleased tracks from The Chills vaults, along with brand new reimagined artwork by Martin Phillipps and a host of additional liner notes. Originally produced by Mayo Thompson (Pere Ubu/Red Krayola) and featuring standout tracks ‘Wet Blanket’, ‘Night Of Chills Blue’, this extended 18-track edition includes much-lauded tracks from the era, such as ‘House With A Hundred Rooms’ and the awesome ‘Party In My Heart’. Part of the 80s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Brave Words is a shining example of their unique sound and has been praised as a masterpiece by critics and fans alike. “‘Brave Words’ may well be The Chills' finest album

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.

Emerging from 6 years of sonic exploration, SBTRKT (pronounced 'subtract'), is an electronic music artist based in London, UK known for his synaesthesiac production and early collaborations with, and championing of, Sampha and Jessie Ware, alongside Little Dragon, The Dream, A$AP Ferg, Ezra Koenig and Drake.

Largely anonymous, SBTRKT (real name Aaron Jerome) has established a reputation for iconic visuals and creative, an incredible live show and a sound that effectively defined electronic music in the early 2010s'The Rat Road' sees SBTRKT redefine UK electronic music (again)' according to GQ, bringing together his iconic, synaesthesiac production with an incredible lineup of collaborators including Toro Y Moi, Teezo Touchdown, D Double E, Anna Of The North, Kai Isaiah Jamal, Sampha, Little Dragon and others.

So This Is Christmas is a compilation of Coloured Vinyl, Limited Edition 13 christmas tracks released as LP on 26 Nov 2021. So This Is Christmas includes a.o. the following tracks: “De Staat - Let It Snow”, “Miss Montreal - Being Alone At Christmas”, “Elske De Wall - Last Christmas, One Last Time”, “Pete Philly - Have Yourself A Merry Little Christmas” and more.

BMG are delighted to announce the Double LP release of Uriah Heep's, Your Turn To Remember: The Definitive Anthology 1970-1990 pressed on limited edition yellow vinyl. Evoking an era when prog, hard rock and heavy metal co-existed in an era of glorious, boundary-breaking music, the songs trace the evolution of Heep from inexperienced studio musicians with everything to prove to bona fide, limo inhabiting rock stars. The Anthology cherry picks tracks from some of Heep's most celebrated albums including Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest and The Magician's Birthday.

To commemorate the untimely death of the first ‘multimedia’ star of all time, Bing Crosby, the 14th October sees his lifelong record label, Decca, together with his widow and daughter, Kathryn and Mary Crosby, announce the release of the brand new album ‘Bing at Christmas’, to be released on 22nd November. The voice that is completely synonymous with Christmas, here Bing’s utterly distinctive original vocals are set to newly-recorded orchestral arrangements, performed by the London Symphony Orchestra, breathing new life into the best Christmas songs in existence. 'Fourteen classic Bing Crosby Christmas songs including: White Christmas, Little Drummer Boy (feat. David Bowie), Winter Wonderland, Have Yourself A Merry Little Christmas. New orchestration by the London Symphony Orchestra. White Christmas by Bing Crosby is still the top selling Christmas single of all time. Over 50 million copies sold worldwide. White Christmas is the most-recorded song of all time!! Big TV spend over the Xmas period!

BMG freut sich, die Veröffentlichung der Doppel-LP von Uriah Heep's Your Turn To Remember: The Definitive Anthology 1970-1990 auf gelbem Vinyl in limitierter Auflage zu veröffentlichen. Die Songs erinnern an eine Ära, in der Prog, Hard Rock und Heavy Metal nebeneinander existierten, und zeigen die Entwicklung von Heep von unerfahrenen Studiomusikern, die noch alles zu beweisen hatten, bis hin zu echten, in Limousinen lebenden Rockstars. Die Anthology enthält eine Auswahl von Titeln aus einigen der berühmtesten Alben von Heep, darunter Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest und The Magician's Birthday.

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❅ Winter Wonderland 26 Classic Christmas Songs across 4 Sides of Vinyl.

❅ Festive Favourites including: White Christmas (Bing Crosby) Winter Wonderland (Connie Francis) Rockin'
Around The Christmas Tree (Brenda Lee) Jingle Bell Rock (Bobby Helms) Jingle Bells (Frank Sinatra)

❅ Winter Wonderland is available Exclusively On Vinyl.

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On his latest album as The Drums, New York-based indie pop artist Jonny Pierce plunges into the work of healing from childhood trauma and the long shadow it casts over adulthood. The sparkling, eponymous Jonny unfurls a love letter to a galaxy of younger selves, all hungry to be nourished, all rejoicing now that they finally get to belong. Playful, heartbreaking, raucous, and serene all in turn, Jonny embraces the mess of life in all its facets. It renders the magic that happens when you fall in love with yourself down to the marrow. Soaring to alt-pop prestige on arrival, The Drums have released studio albums that deftly walk the line of aching melancholy and irresistible pop sensibilities, presented through a kaleidoscope of pastel guitars, reverb, modular synthesizers and drum machines. It"s a sound that"s wholly unique, and unmistakably The Drums. The Drums" music remains timeless, as evidenced by the recent explosion of their RIAA Gold-certified song Money, which first appeared on their breakout sophomore album Portamento, reaching #1 on the Alternative Global Shazam Chart and #2 on the TikTok Global Hashtag Chart.

The Backstreet Boys with a deluxe version of their first ever holiday album “A Very Backstreet Christmas”! It features 15 tracks including classics like “I’ll Be Home For Christmas”, “Last Christmas”, “Silent Night” and new future holiday mainstays like “Christmas In New York,” “Together,” and “Happy Days.”

This deluxe special edition is pressed on emerald green vinyl and includes two bonus tracks: “Feliz Navidad” and “Christmas Time Again”.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Thirteen tracks of searing blues, soulful R&B and high-energy rock & roll include ten originals, five co-written by Coco, and include guest appearances by Lee Roy Parnell, and Ronnie Baker Brooks. Co produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and Jeff Paris (Keb' Mo', Bill Withers).

Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

Second Second Coming', Mary Vision’s sophomore LP, is a pastiche of many of Alex Fippinger’s influences, from Lou Reed to Spacemen 3. It is an effort to maximalize the minimal, and to create sound that is at once layered and clear. With that, the lyrics also touch on many subjects with an overarching general thesis: the exploration of self and culture under duress. The album allows you to tune into these explorations via different sonic sounds. You’ll find the pop sound in the first single, 'Fantasy (Ba Ba Ba)', for instance, right before you find yourself indulged in the psychedelic swirl of 'Love Drone'.
The writing experience was one initially based in home recordings. Alex Fippinger would manifest these recordings in his Brooklyn apartment and show them to the 7-piece band who always added a flavor not imagined by Alex himself. Yukary Morishima, who played bass on the record, is very prominent throughout. Aaron Peart found himself to be an integral piece to the writing as well, providing a specific flavor to the songs via lead guitar. Jack Dawson played keys for the first time on a Mary Vision record, adding a playful vibe that Mary Vision fans haven’t heard before. Guido Colzani added drums that are full, yet simple, giving the simple song structures a meaningful foundation. Max Braun held it down on the rhythm guitar, the crux of the songs. Mark Perro was a utility man, adding major guitar licks throughout as well as playing harmonium and providing next level backup vocals. Paul Blackwell engineered and produced this record to where it is now. From the opening chords of 'Window Pane' all the way to the come down of 'Riding Into the Sun', the album is a novel, an unforgettable night out on the town that you won’t forget. If a record could have a character-arc, 'Second Second Coming' would be the textbook example.

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

Their notoriously fierce live performances are only going from strength to strength, with Wolf Alice inviting her on their extensive 2021 UK tour having witnessed the energy of their show.

Her stagecraft also caught the eyes of legendary fashion house Alexander McQueen, becoming creative director Sarah Burton's recent muse. Having recently closed their flagship runway show at London Fashion Week, the band also partnered with McQueen for a campaign this summer which captured them taking to the stage in Glasgow's legendary and glitzy Barrowland Ballroom.

Oozing confidence and ready for what lies ahead, 2023 feels like a defining year for Lucia & The Best Boys.

It's a pertinent start-point because, in many ways, God Is Luck exists firmly within that realm, many of the songs pulled directly from improvisation before being twisted into the mysterious shapes we find here on the finished record.

Recorded between the summer of 2020 and the summer of 2022, God Is Luck is an exercise in artistic freedom. The songs came quickly and easily by design, the whole point of the record and the approach to simply let go.

The third Bad History Month LP - following the Pitchfork-championed Old Blues (2020) - where aspects of the new album mirror the shape of Sprecher's previous work, its creation was an altogether different experience for the Philadelphia-viaBoston songwriter. He describes it as a collaboration with 'luck', the freeform nature of the recording resulting in a process that felt "fun and easy and fearless in a way that recording had never been."

"God is Luck means you can control reality by choosing your perspective to always see the luck, which makes you the god of your own reality," Sean Sprecher says of his latest record. With that notion at its core, Bad History Month's latest adventure finds twisted new ways to tell age-old tales. Even in its most fearless compositions, buried within dense fog, it strives for goodness; freedom from fear, love for friends, surrounding yourself with those who inspire.

The Backstreet Boys with a deluxe version of their first ever holiday album “A Very Backstreet Christmas”! It features 15 tracks including classics like “I’ll Be Home For Christmas”, “Last Christmas”, “Silent Night” and new future holiday mainstays like “Christmas In New York,” “Together,” and “Happy Days.”

This deluxe special edition is pressed on emerald green vinyl and includes two bonus tracks: “Feliz Navidad” and “Christmas Time Again”.

With four pacey club tracks, Luise makes a strong debut on I'm in Love Records. The EP takes you on an irresistible journey: On the A-side, brace yourself for timeless, dreamy house cuts, full of groove and warm synths. On the flip, watch out for "Inspiration" - a super-danceable, funky jam with appealing vocals. Bottom line: Stunning production, which we are very happy to welcome to the label!

High-octane tour-de-force by legendary post-punk group, INU. Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! remains shockingly unknown to the rest of the world. Led by literate but unhinged Machida Machizo, a magnetic stage presence who sang in a thick Osaka dialect that sounded like nothing else at the time, INU took Japan by storm in the late '70s with their powerful and often belligerent live show. Their membership changed frequently but INU's final lineup -- the group that recorded Don't Eat Food! -- was sharp as a knife, and the band's airtight debut still wows forty years later.

It's hard to describe INU's unique sound in comparison to other bands, but maybe imagine a more fidgety Richard Hell & The Voidoids jamming with PiL? Better yet, just listen for yourself.

This first-ever fully-licensed edition has been remastered from the original tapes and cut by Kevin Gray and includes an 8-page booklet with never-before-seen photos, lyrics in English and Japanese, and liner notes by Syojiro Ishibashi in English and Japanese.

Presenting the third volume of forward-thinking electronics and peerless Jungle / D&B expressionism from iconoclastic Bristol producer and DJ, Krust. An artist who has always been pushing the sonic envelope while keeping dancefloors fully locked.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 3 serves us a plethora of unmissable highlights from Krust's enviable back catalogue. From the raw jump-up chaos of 'Rukus', the early rolling business of 'The Resister' to the epic genre defying voyage that is 'Soul In Motion', no stone is left unturned on what is - once again - an essential purchase for any serious lover of electronic music.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

"Yourself or Someone Like You" is Matchbox Twenty's 1996 debut album, known for its blend of alternative rock and post-grunge. It includes hit singles like "Push" and "3 AM." The album's relatable lyrics and catchy melodies contributed to its massive success, selling millions of copies, and establishing Matchbox Twenty as a prominent name in '90s rock music.

Mit einer #1 in den UK-Vinyl-Single-Charts und der Ankündigung ihres vierten Albums festigen JOHN 2023 ihren Ruf als kompromisslose Post-Hardcore-Kraft. Mit Barry Adamson (The Bad Seeds, Magazine) und dem preisgekrönten Schauspieler Simon Pegg als Gäste vereint 'A Life Diagrammatic' Schlagkraft und Intensität ihrer atemberaubenden Live-Shows mit den zunehmend strukturellen, cineastischen und expressiven Sensibilitäten der Band. Für die Abmischung wurde Seth Manchester (Big Brave, Battles, METZ) engagiert, während Frank Arkwright (Mogwai, Arab Strap, Squarepusher, Autechre) das Mastering in den legendären Abbey Road Studios übernahm. Das Ergebnis ist ein reichhaltiges und eindrucksvolles Hörerlebnis einer fesselnden und genreübergreifenden Band.

Brace yourself for a trifecta of Ben Liebrand interpretations on Moses – We Just, each one leaving an indelible imprint on this iconic Italo Disco anthem. With his deft touch, Ben infuses the track with a modern twist, showering it with his signature drums and analog wizardry. The result? A colossal sonic experience of this Romano Musumarra produced anthem, that resonates deep within your soul, paying homage to the song’s origins, its entrancing melodies, its pulsating rhythms, and above all, its sheer originality. Close your eyes and surrender to the nostalgia of bygone days, whisked away on a euphoric journey to the vibrant 80s. The ‘Our Evolution” mix, featured on the B-Side, being almost 12 minutes long! Prepare to be dazzled by the unparalleled brilliance of this outstanding Italo Disco reinvention!

Jacob Bellens’ new solo Off My Meds took shape over two turbulent years in Jacob’s life. Several major life events happened back to back in a very short time, and it ended up breaking him down to a point of total exhaustion. The energy needed to uphold the outer self we all need to function was no longer there, and his inner actual beliefs and values began to show themselves one by one, which was not pretty to look at. Change was inevitable, simply because the price of not changing would be much higher in the long term.

The album is a pop-poem about accepting the premise of the life given to you. It is an ode to the perils of modern existence and our birthgiven right to love, laugh and cry, whatever hand we may have been dealt to begin with. Lyrically it is centered around self care and the courage to love someone and be loved in return. About taking responsibility for everything in your life instead of using your life history as an excuse for not living, no matter how tragic or unique your situation might be or seem to yourself.
Musically it draws upon an eclectic mix of influences and genres, while still maintaining a distinct underlying red thread throughout the album. It is a melancholic funk hybrid with a positive DNA, and though it sounds like pop music in the best sense of the word, it doesn’t quite look and feel like pop music. It is rather a collection of sounds and feelings put into words that are deeply personal - but personal for all.

Vor zehn Jahren erschien das soulig-stimmungsvolle Weihnachtsalbum von Mary J. Blige, das mit Klassikern wie “Rudolph The Red-Nosed Reindeer”, “Winter Wonderland” und “Silent Night” inzwischen ein echter Christmas-Klassiker geworden ist. Zum 10 jährigen Jubiläum erscheint es jetzt erstmals auch auf Vinyl mit zwei bisher unveröffentlichten Bonustracks (”O Holy Night” & ”Do You Hear What I Hear? (Solo Version)”.

Die neu erscheinende CD enthält ebenfalls beide Bonustracks. Produziert wurde ”A Mary Christmas” von Mastermind David Foster, der in den letzten Jahrzehnten bereits Stars wie Celine Dion, Whitney Houson, Michael Bublé und viele andere mit einem unnachahmlichen Albumsound versorgte und enthält neben Mary J. Bliges wundervoller Stimme Kollaborationen mit Stars wie Barbra Streisand, Chris Botti, The Clark Sisters, Jesse J and Marc Anthony.

Madeline Bells is an American soul singer who got her start as a session singer for Dusty Springfield, The Rolling Stones and Donna Summer. Her 1968 album ‘Doin’ Things’ features soothing vocals, exquisite production and encapsulates the soulful sound of the late 60s.

‘Doin’ Things’ is as perfect a representation of American soul as any that exists. First time ever reissued on vinyl. Originals fetch over $100

Subotage Records is proud to present Teffa's release, the "Periodic Wave EP." Taffa, an emerging Dubstep artist, has crafted a collection of four deep Dubstep tracks that will captivate listeners and transport them into a realm of hypnotic sounds. With his unique style and passion for electronic music, Teffa pays homage to the genre's roots while exploring innovative directions of his own.

Each meticulously composed song on the "Periodic Wave EP" showcases Teffa's ability to experiment with various sonic elements, resulting in mesmerizing soundscapes that push boundaries. This EP promises an exceptional listening experience for both Dubstep enthusiasts and electronic music lovers. Immerse yourself in the infectious beats and distinctive melodic arrangements of Teffa's "Periodic Wave EP" and discover the future of Dubstep. Subotage Records is honored to be a part of Teffa's musical journey.

"Dance My Hurt Away" is the first single from the upcoming debut album by The Faithful Brothers from Tel Aviv/Israel. Is there a Northern Soul scene in Tel Aviv? The surprising answer is - yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds. Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together now.

Repress!

1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO INCLUDING ITS STUNNING FULLY ILLUSTRATED
8-PAGE BOOKLET

His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording "Venus" that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Fusion Jazz predating Vaporwave by a mere 30 years. Wewantsounds is delighted to reissue this visionary album, which
comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.
The early 80s were prolific for Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked on Akiko Yano's "Gohan Ga Dekitayo", YMO's "BGM", Ryuichi Sakamoto's "B-2 Unit", Mkwaju Ensemble's "Mkwaju" and found time to record two Logic System albums in 1981. While the first album, "Logic" had a harder techno feel, the second one "Venus" was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album.

The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7.

The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave. From the breezy ambient synth of "I Love You" to the city pop edge of "Be Yourself" (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish "Take A Chance", Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

The other key elements of Venus is the artwork designed by Japanese legendary illustrator Pater Sato. Sato had started in Japan in the early 70s doing many album covers for Japanese artists including Tatsuro Yamashita's cult Spacy LP before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years and in 2018, Stella McCartney dedicated a whole Men’s collection based on his Venus. Star make up artist Pat McGrath also regularly posts his artwork to her 3 million fans on her instagram.

The original album came with a beautiful 8-panel insert illustrated by Sato which Wewantsounds has reproduced on this deluxe reissue also featuring remastered sound, OBI strip and a second insert featuring credits and line up plus liner notes by Hashim Bharoocha. The notes will feature an exclusive interview with Hideki Matsutake reminiscing about the making of this visionary album which Wewantsounds is delighted to reissue.

The Perfect Storm is a 2000 disaster drama film directed by Wolfgang Petersen. The film is an adaptation to the non-fiction book of the same name written by Sebastian Junger. It stars George Clooney, Mark Wahlberg, John C. Reilly, and Diane Lane amongst others. The story follows a commercial fishing vessel that was lost at sea after being caught in 'The Perfect Storm' of 1991.

The soundtrack was composed by Academy Award-winning composer James Horner, who is known for scoring Titanic (1997) and Avatar (2009). The score revolves around a rolling, six-note motif to evoke the waves of the North Atlantic Ocean. The soundtrack also features the song "Yours Forever", performed by John Mellencamp.

The Perfect Storm is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert.

Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).

There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.

Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.

In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.

Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.

So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).

Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”

Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.

Ltd Edition!

Crash und Automation demonstrieren Mullers Beherrschung strenger, industrieller Klangwelten. Muller geht jedoch noch einen Schritt weiter, indem er Club-Elemente wie Nu-Disco-Tendenzen und Vocal-Samples einführt. Auf diese Weise greift er das Thema Körper und Maschine auf, das auch in den visuellen Inhalten der Filme behandelt wird. Crash ist eine Hommage an David Cronenbergs gleichnamigen Film von 1996. Sowohl Ashley als auch Cronenberg erforschen die Erotik von Autounfällen, ein Fetisch, der sowohl mechanisch als auch blutig wirkt. Diese gewalttätige Gegenüberstellung ist die eigentliche Inspiration für Muller. Body and Machine" aus Crash ist eine pulsierende Synthie-Hymne, die sowohl synthetische Echos als auch verspielte Highlights enthält. "Perverse Technology" ist eine groovige und disharmonische Nummer, während "Sharing a Smoke" eine düstere Strenge hat, man kann fast sehen, wie die Hände über Ledersitze gleiten, Glasscherben auf verschwitzte Körper prallen und Küsse mit offenem Mund im Scheinwerferlicht.

Curve were an English alternative rock and electronic music duo from London, formed in 1990 and split in 2005. The band consisted of Toni Halliday (vocals, occasionally guitar) and Dean Garcia (bass, guitar, drums, programming). Halliday wrote the lyrics of their songs and they both contributed to songwriting. Producer Alan Moulder was a prominent collaborator who helped shape their blend of heavy beats and densely layered guitar tracks set against Halliday's vocals.

Doppelgänger is their debut studio album from 1992 and is a continuation of the musical idiom established by the group on its three earlier EPs. Doppelgänger combines elements of dance music and alternative rock with the reverb-laden and distortion-heavy stylings of shoegaze. The album reached No. 11 in the UK Albums Chart and spawned the two singles "Faît Accompli" and "Horror Head".

Doppelgänger is available as a limited edition of 2500 individually numbered copies on translucent orange marbled vinyl and includes an insert.

Mit einer #1 in den UK-Vinyl-Single-Charts und der Ankündigung ihres vierten Albums festigen JOHN 2023 ihren Ruf als kompromisslose Post-Hardcore-Kraft. Mit Barry Adamson (The Bad Seeds, Magazine) und dem preisgekrönten Schauspieler Simon Pegg als Gäste vereint 'A Life Diagrammatic' Schlagkraft und Intensität ihrer atemberaubenden Live-Shows mit den zunehmend strukturellen, cineastischen und expressiven Sensibilitäten der Band. Für die Abmischung wurde Seth Manchester (Big Brave, Battles, METZ) engagiert, während Frank Arkwright (Mogwai, Arab Strap, Squarepusher, Autechre) das Mastering in den legendären Abbey Road Studios übernahm. Das Ergebnis ist ein reichhaltiges und eindrucksvolles Hörerlebnis einer fesselnden und genreübergreifenden Band.

In 2015, pop royalty Kylie Minogue released her first Christmas album Kylie Christmas.

The album is a perfect accompaniment to Christmas celebrations with immaculate production and vocal performances, as well as including a few Christmas surprises in the form of duets with Frank Sinatra, Iggy Pop and James Corden.

It also features her hugely popular rendition of Eartha Kitt’s Santa Baby originally released in 2000.

For her new album - aptly entitled Veronica Swift - the versatile artist stretches her wings and opens up her wide range of influences to share who she truly is: a once-in-a-generation vocalist with unabashed confidence.