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Limited edition, 100 pieces, exclusively at HHV

Comes with songbook, chronicles, photo, all hand-packed. Comes with songbook, chronicles, photo, all hand-packed.

At the end of 2008, the Cologne band Locas In Love released their third album "Winter" as a follow-up to the surprise success "Saurus" (2007). Written and recorded within two months in the summer of 2008, it was meant to be uncomplicated, fast and immediate and consequently "Winter" was the band's first completely self-produced album, produced in living rooms between Cologne's Gereonsviertel and Brooklyn, NY. The title theme still makes it the most cohesive of their albums, and it is the document of a friendship. The reason for the vinyl reissue is only secondarily the 15th anniversary of the release or the fact that the album was long out of print, but primarily the unexpected death of LD Beghtol in 2020. Locas In Love got to know the exceptional New York artist as a fan of his music (among other things as a contributor and singer of the Magnetic Fields on "69 Love Songs"). On "Winter" he appeared as a quasi-member and co-producer and can now be discovered by new music fans with his masterful song miniature "Packice", this heartbreaking mixture of winter blues and cryogenic science fiction. And so the Berlin label Staatsakt (which has just celebrated its own 20th anniversary) is now releasing the luxuriously equipped reissue. The hand-numbered limited edition with new artwork by Stefanie Schrank contains the scrapbook designed by LD Beghtol, which was also included with the first pressing, an 8-page songbook with lyrics and chords, as well as the 68-page Locas In Love Winter Chronicles, in which tour diaries and other texts from the time are summarised with a current self-interview of the band. The extensive bonus material is less about myths or detailed writing and recording processes and more about what it means to be a band, to live with each other and your own music - and to grow old.

Musically, "Winter" is the Locas In Love album that can least be attributed to a specific time or genre - it could be a forgotten private press release from the 1970s or a neo-lo-fi work from the TikTok era. If it can be located in a time at all, then it's the eponymous season. Or, as Stefanie Schrank describes it in her self-interview: "Winter the album is like winter the season, belongs to it and always comes back."

Last chance, last repress.

Sault - 5 is the debut album by the mysterious collective Sault, released in May 2019. It was the first in a series of albums that would establish the group's signature blend of genres, including funk, soul, R&B, post-punk, Afrobeat, and electronic influences. The album received critical acclaim for its fresh sound, combining socially conscious themes with infectious grooves and rhythms.

The album features minimalist yet impactful production, with prominent basslines, funky guitar riffs, and layered vocal harmonies. The vocals are often delivered with a cool, detached style, which contrasts with the emotional and sometimes politically charged lyrics. Themes of identity, love, power dynamics, and the Black experience are present throughout the album.

Sault's 5 also stands out for its stripped-down approach to instrumentation, emphasizing rhythm over complexity, and allowing space for the vocals to shine. The tracks have a raw, DIY aesthetic, reminiscent of post-punk and underground soul movements, yet they feel timeless and modern.

Key Tracks:
“Up All Night” – One of the most well-known songs from the album, it’s a funky, high-energy track with danceable grooves and infectious hooks.
“Don’t Waste My Time” – A song that encapsulates the band’s ability to blend catchy melodies with a gritty, almost industrial sound.
“Why Why Why Why Why” – This track combines soulful vocals with a driving rhythm and contemplative lyrics about the struggles of life.
“Let Me Go” – A standout song about freedom and independence, with minimalist production that places focus on the emotional delivery of the vocals.
Mystery Around Sault: At the time of this release, very little was known about the members of Sault, which only added to the intrigue. The group has kept a low profile, eschewing traditional promotion and rarely giving interviews or detailed credits for their music. It’s widely believed that the producer Inflo is a central figure in the collective, with vocal contributions from artists like Cleo Sol and Kid Sister, though these have not always been officially confirmed.

Sault - 5 marks the beginning of the collective’s prolific output, which would continue to evolve with subsequent albums like 7 (2019), Untitled (Black Is) (2020), and more.

Sault - 7 is the second album by the enigmatic collective Sault, released in September 2019, just a few months after their debut 5. Like its predecessor, 7 builds on the group's distinctive fusion of funk, soul, Afrobeat, R&B, post-punk, and electronic music. The album continues to explore socially conscious themes, especially around the Black experience, empowerment, and resilience, all while maintaining a danceable and groove-driven sound.

Sault - 7 has a slightly darker and more introspective tone than 5, though it retains the infectious rhythms and minimalist production that define the group's sound. The album feels more cohesive, with stronger thematic continuity across the tracks. It deals with themes of love, loss, self-empowerment, and societal struggles. The music is often underpinned by hypnotic basslines, percussion-heavy grooves, and layered vocals, combining the experimental with the accessible.

Key Tracks:
"Over" – A standout track with a raw, pulsating rhythm and a sense of emotional urgency. The vocals convey a sense of heartbreak and frustration, paired with a minimal but powerful instrumental.
"No Bullshit" – This song blends funk and soul with a defiant message, urging listeners to cut through dishonesty and focus on truth and realness.
"Friends" – A soulful, almost melancholic reflection on relationships, with stripped-down instrumentation that lets the emotive vocals shine.
"Living in America" – One of the more overtly political tracks, it addresses racial injustice and the realities of systemic oppression, a theme that becomes more pronounced in Sault's later work.
"Feel So Good" – With its infectious groove and danceable rhythm, this track channels optimism and joy, bringing a sense of release and celebration despite the heavier topics covered in other songs.
Mystery and Collective Approach: Much like with their debut 5, Sault continued to maintain a low profile with 7, avoiding typical promotional strategies or revealing much about their identities. Inflo is believed to be the primary producer, with artists like Cleo Sol and Kid Sister likely contributing vocals, though the group's collaborative nature makes it difficult to pin down exact credits. This mystery only adds to their allure, allowing the music to stand front and center.

The release of 7 so soon after 5 demonstrated the collective's prolific creativity, establishing a pattern of frequent and impactful releases that challenge genre conventions while maintaining a strong social and cultural consciousness.

Sault - 7 was well-received by critics, who praised the album for its innovative sound, emotional depth, and powerful messages. It solidified Sault as a major force in contemporary music, blending the political with the personal in a way that feels both timeless and urgent.

The second album of Sault follows their debut "5" which came out just three months prior to this one. Heads all over the world were still in awe of "5", when all of a sudden "7" dropped. Now, by the end of 2020, they are four critically acclaimed albums deep into buiding their own legacy.

50 years following the release of his self-titled first solo album McCartney, featuring Paul playing every instrument and writing and recording every song, Paul McCartney will release McCartney III on December 11th. Paul hadn’t planned to release an album in 2020, but in the isolation of 'Rockdown,' he soon found himself fleshing out some existing musical sketches and creating even more new ones. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped-back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II. Recorded earlier this year in Sussex (UK), McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. atop that foundation. McCartney III spans a vast and intimate range of modes and moods, from soul-searching to wistful, from playful to raucous and all points between — captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. And Paul's array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley's original trio's double bass alongside Paul's own iconic Hofner violin bass, and a mellotron from Abbey Road Studios used on Beatles recordings, to name but a few. Just as McCartney’s 1970 release marked Paul’s return to basics in the wake of the biggest band break-up in musical history, and the 1980 avant-garde masterpiece McCartney II rose from the ashes of Wings, McCartney III finds Paul back on his own, turning unexpected circumstances into a personal snapshot of a timeless artist at a unique point in history.

Laura Mvula’s new album ‘Pink Noise’ is set for release on July 2nd. ‘Pink Noise’ explores a side of Laura previously uncharted. As triumphant as ever, the album is a battle cry and stark reminder of the sheer talent of the critically acclaimed artist. This is Laura in a new found light - still reflecting her distinctive signature sound but showing the progression of an artist who has come into her own.



Contrasting confessional lyricism with compelling and infectious synth pop, ‘Pink Noise’ feels completely and uniquely Laura. Her artistic prowess knows no limits - take the neo-soul meets art pop of ‘Remedy’ for example, or the darker, pulsating ‘Conditional’ that injects bombastic funk into indietronica. She feels rejuvenated too, especially on electro pop stunners ‘Magical’ and ‘Before The Dawn’. This is Laura Mvula at her most ambitious to date, leaving no stone left unturned in this cosmic new realm.



As one of the most exciting musical talents to come out of the UK, Laura has previously won an Ivor Novello Award for Best Album, has been nominated for the Mercury Prize (not once but twice), BBC Sound Poll, the BRITs Critics Choice Award, two BRIT Awards in 2014 (British Female Solo Artist and British Breakthrough Act) and won an incredible two MOBO’s in 2013 (Best Female and Best R&B/Soul).



Having caught the attention of her musical hero Prince while performing for the first of two times on the Pyramid Stage at Glastonbury, Laura has gone on to travel the world, selling out shows and captivating crowds at every destination. Crowned “Queen of the Prom” and given a five star review from the Evening Standard for her Proms 2014 Late Night performance at the Royal Albert Hall, Laura’s critically acclaimed career has led her to work with real-life inspirations Nile Rodgers and touring with David Byrne.

Nicolas Jaar and Dave Harrington return after announcing they were parting ways at a show in 2014 in the Brooklyn Masonic Temple. Their debut album Psychic from 2013 was lauded as a modern classic almost immediately after release.

Since, Nicolas Jaar has been incredibly prolific releasing no less than four albums through his own Other People label including a soundtrack to cult classic Sergei Parajanov film The Color Of Pomegranates, created original soundtracks for 2015’s Dheepan and 2019’s Ema, co-produced tracks on FKA Twigs (Bleep album of the year 2020) Magdalene and worked on material under the A.A.L (Against All Logic) moniker with the likes of no wave legend Lydia Lunch.

Working with multi-instrumentalist Dave Harrington on the DARKSIDE project, Nicolas Jaar’s production takes in heady psychedelic influences from prog and drone genres. Layering his entrancing vocals over the pulsating rhythm section on tracks such as ‘Lawmaker’ and ‘I’m The Echo’ that draw on the sun drenched psych of contemporary West Coast bands like Moon Duo and Wooden Shjips. Elsewhere we encounter the extended ‘Inside Is Out There’ with percussion heavily indebted to Can drummer Jaki Liebezeit and heavily treated vocals sat low in the mix. “From the beginning, DARKSIDE has been our jam band. Something we did on days off. When we reconvened, it was because we really couldn’t wait to jam together again”.

A harmonious return from the prolific duo, filtering an array of influences into their own expertly crafted sound.

Nicolas Jaar and Dave Harrington return after announcing they were parting ways at a show in 2014 in the Brooklyn Masonic Temple. Their debut album Psychic from 2013 was lauded as a modern classic almost immediately after release.

Since, Nicolas Jaar has been incredibly prolific releasing no less than four albums through his own Other People label including a soundtrack to cult classic Sergei Parajanov film The Color Of Pomegranates, created original soundtracks for 2015’s Dheepan and 2019’s Ema, co-produced tracks on FKA Twigs (Bleep album of the year 2020) Magdalene and worked on material under the A.A.L (Against All Logic) moniker with the likes of no wave legend Lydia Lunch.

Working with multi-instrumentalist Dave Harrington on the DARKSIDE project, Nicolas Jaar’s production takes in heady psychedelic influences from prog and drone genres. Layering his entrancing vocals over the pulsating rhythm section on tracks such as ‘Lawmaker’ and ‘I’m The Echo’ that draw on the sun drenched psych of contemporary West Coast bands like Moon Duo and Wooden Shjips. Elsewhere we encounter the extended ‘Inside Is Out There’ with percussion heavily indebted to Can drummer Jaki Liebezeit and heavily treated vocals sat low in the mix. “From the beginning, DARKSIDE has been our jam band. Something we did on days off. When we reconvened, it was because we really couldn’t wait to jam together again”.

A harmonious return from the prolific duo, filtering an array of influences into their own expertly crafted sound.

Continuing the tradition on from her multi-Grammy Award, record-breaking debut album When WE ALL GO TO Sleep, Where DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother Finneas who produced the album in Los Angeles.

Billie Eilish has also teased her forthcoming single is coming this Thursday, April 29 at 9AM PT.

Billie Eilish has fast become one of the biggest stars to emerge since the release of her debut single “ocean eyes,” and continues to shatter the ceiling of music with her genre-defying sound. Fast forward from her humble breakout in 2015, Billie’s album When WE ALL Fall ASleep, Where DO WE GO? debuted at No. 1 on the Billboard 200 in the U.S as well as 17 additional countries around the world upon release, and was the most streamed album of 2019. When WE ALL Fall ASleep, Where DO WE GO? was written, produced and recorded entirely by Billie Eilish and brother Finneas in their childhood home of Los Angeles. Billie Eilish went on to make history as the youngest artist to receive nominations and win in all the major categories, at the 62nd Grammy® Awards, receiving an award for Best New Artist, Album of the Year, Record of the Year, Song of the Year, and Best Pop Vocal Album. Billie Eilish is also the youngest artist to write and record an official James Bond theme song, ‘No Time To Die.’ Most recently, Billie Eilish was nominated for four additional awards at the 63rd Annual Grammy Awards in 2021, and took home both Record of the Year for 'everything i wanted,' and Best Song Written For Visual Media for 'No Time To Die.'

Billie Eilish has revealed details on her highly anticipated sophomore album. The 16-track studio album, titled Happier Than Ever, will be released via Darkroom/Interscope Records on July, 30 Continuing the tradition on from her multi-Grammy Award, record-breaking debut album When WE ALL GO TO Sleep, Where DO WE GO?, Happier Than Ever features no outside songwriters or producers, and was written by 19-year-old Billie Eilish and her brother Finneas who produced the album in Los Angeles.

Billie Eilish has also teased her forthcoming single is coming this Thursday, April 29 at 9AM PT.

Billie Eilish has fast become one of the biggest stars to emerge since the release of her debut single “ocean eyes,” and continues to shatter the ceiling of music with her genre-defying sound. Fast forward from her humble breakout in 2015, Billie’s album When WE ALL Fall ASleep, Where DO WE GO? debuted at No. 1 on the Billboard 200 in the U.S as well as 17 additional countries around the world upon release, and was the most streamed album of 2019. When WE ALL Fall ASleep, Where DO WE GO? was written, produced and recorded entirely by Billie Eilish and brother Finneas in their childhood home of Los Angeles. Billie Eilish went on to make history as the youngest artist to receive nominations and win in all the major categories, at the 62nd Grammy® Awards, receiving an award for Best New Artist, Album of the Year, Record of the Year, Song of the Year, and Best Pop Vocal Album. Billie Eilish is also the youngest artist to write and record an official James Bond theme song, ‘No Time To Die.’ Most recently, Billie Eilish was nominated for four additional awards at the 63rd Annual Grammy Awards in 2021, and took home both Record of the Year for 'everything i wanted,' and Best Song Written For Visual Media for 'No Time To Die.'

Jungle returns in 2021 with his new album "Loving In Stereo", which should become the soundtrack of a summer like no other. The British producer duo spent last year locked in a studio and came away with a huge disco record for the era of social distancing, with a celebration of life, the dance floor and the sun of all the things that make music irresistibly joyful. With big hooks, huge synths and the push of BPM to the ceiling, 'Loving In Stereo' is a record that coincides with the release of the British lockdown, offering the listener a long dose of pure euphoria.

Limited to 100 copies.

The millennium was one long bad prank / we looked at each other and knew right away: that's it." The world out there is going to the dogs. Well, not just since yesterday. And it won't be over tomorrow either. Shitty times, then. Of course, you could meet them with cynicism. Or with despair. But maybe not. Maybe we could also draw hope, precisely because it would be so much easier to lapse into doom and gloom and bitter laughter now. And maybe it's okay to need something to keep our spirits up in the midst of the apocalypse.

And that's how WIR SIND SCHÖN came to be, Jens Friebe's ninth album, which, like the previous albums, is also released on Staatsakt, punctually four years after the last one (2018's FUCK PENETRATION). It is a cheerful-melancholic, ironic-serious, nonchalant piece of music, which just has no desire for staleness and contemplation. The hymn-like, beautiful title track "Wir sind schön" (We are beautiful), which embraces kitsch with self-deprecating seriousness and is above all comforting, gets to the point: the better world out there, we can build it ourselves. Despite everything. "It's an anti-nihilist album," Friebe says. No Future is already not wrong, but not so funny anymore, if the Future really rather scorching earth in prospect. But it's not that the problematic is erased. It appears on the record in the most diverse forms: In the almost socially realistic depiction of a youth friendship destroyed by the multi-tiered education system with the beautiful title - shimmering between urban sociological treatise and fairy tale - "The Shrinking City", in the devastating protocol of failed self-care ("Das Nichtmehrkönnen") or the enigmatically gloomy fantasy "What Have We Done". But the listener never gets bogged down in these low points of mood, but is always pulled out and up into the euphoric, utopian. Or, as in the rousing protest song "Sing it to the Converted", into the militant. But what sounds at first like the sheer repetition of banal slogans, turns out in the next moment to be a reflection on the necessity of repeating banal slogans. Because, as the last few years have shown, even the seemingly self-evident must be reminded again and again. Or, as Friebe puts it, "Doesn't the priestess preach to the converted / How long would they be converted if they never heard her?"

Similarly immediately poignant and intricate at the same time is "Free": what is freedom? Neoliberal exploitation, a privilege of the better-off, as preached by certain federal finance ministers? Or naked skin in the sunlight, partying, wind in the treetops, rage unleashed? Yes, this is somehow also satire, but not only: Friebe does not leave it at simply denouncing a grievance like a tired cabaret artist. Between the shifted drums, minimalist instrumentation and velvety grooves and background vocals (as on other tracks by Elektrik Diva MALONDA and Pola Lia Schulten), the actual, truthful longing for a freedom that is not characterized by anti-social economic order and commercial exploitation also comes through.

Should we laugh or cry? Maybe just both, as on "Ende aller Feiern," a sixties-poppy, subtly queer love triangle, with probably one of the best lines ever to make it into a German-language break-up song: "Wir haben uns alles erzählt/Nur zuletzt wollt' ich nicht alles wissen/I think you noticed that/And bit me goodbye."

Standing still has never been Jens Friebe's thing, but this time it's musically a bit further from the indie rock habitus that still made up FUCK PENETRATION or NACKTE ANGST ZIEH DICH AN WIR GEHEN AUS (2014). Yes, a penchant for anthems, crooner-like and storyteller is always part of Jens Friebe, but this time Afrodiasporic musical styles play a bigger role. More soul, more grooves, a certain smoothness that suits the hope that flashes again and again between ironic distance and realistic description of the present on WIR SIND SCHÖN.

Although the real drums have been almost entirely replaced by the drum computer, Staatsakt colleague Chris Imler again has a style-defining role on this album with synths and additional percussion. On "Die Schrumpfende Stadt" (where Herman Herrmann can also be heard on bass) he programmed the beat. Mense Reents (Goldene Zitronen, Sophia Kennedy) mixed "Der Wahn" and "Ende aller Feiern". As with all albums since DAS MIT DEM AUTO IST EGAL (2007), Berend Intelmann was again responsible for the production.

WIR SIND SCHÖN is an antidote to our times, an embrace of all the ambivalences we have to endure every day and an adrenaline injection into the heart of apathy. The world is complicated, but that's okay. Because, "When our eyes get used to the dark / Look at us and you'll see: We are beautiful!"

Lyrics: Aida Baghernejad

Limited to 250 copies on violet vinyl, only available at HHV.

Carla dal Forno resurfaces with the news of plans to release her third album, Come Around , via her own Kallista Records imprint. Now, based in the township of Castlemaine, Central Victoria, the Australian artist returns self-assured and firmly settled within the dense eucalypt bushlands. Dal Forno grapples with ideas of home, disorder and insomnia in the swift pop structures of her DIY/post-punk forebearers such as Young Marble Giants, Virginia Astley, and Broadcast. Three years since the launch of her label, Kallista Records, dal Forno finds stability in Castlemaine (pop. 6,750), her third home city in as many albums. After nearly a decade of moving, recording and touring out of Berlin and London, Come Around embodies a newfound solitude born of/in elemental pop hooks and enlightened songwriting.

After discovering a once-in-a-lifetime player with a rocky past abroad, a down on his luck basketball scout (Adam Sandler) takes it upon himself to bring the phenom to the States without his team's approval. Against the odds, they have one final shot to prove they have what it takes to make it in the NBA.

Dan Deacon is a Baltimore-based recording artist and performer renowned for his five studio albums of innovative electronic music, his live performances in both contemporary and classical settings, and his extensive body of work in film scores.

Deacon has premiered compositions at Carnegie Hall and Lincoln Center, and collaborated with artists and institutions including Kronos Quartet, Sō Percussion, The Baltimore Symphony Orchestra, the LA Philharmonic, and Justin Peck with the New York City Ballet. Deacon has also toured internationally with popular recording artists including Arcade Fire, Miley Cyrus, Future Islands, and The Flaming Lips. His albums Spiderman of the Rings and Bromst were both named Best New Music by Pitchfork, and his album Gliss Riffer received 4-star reviews from outlets such as AllMusic and The Guardian. His most recent studio album is 2020’s Mystic Familiar.

Deacon’s original film and television scores include Twixt (Francis Ford Coppola, 2011), Rat Film (Theo Anthony, 2016), Time Trial (Finlay Pretsell, 2017), Well Groomed (Rebecca Stern, 2019), Strawberry Mansion (Albert Birney and Kentucker Audley, 2021), the 2021 PBS documentary series Philly D.A., and All Light, Everywhere (Theo Anthony, 2021). Deacon also scored Jessica Kingdon’s Ascension, which won Best Documentary Feature at Tribeca 2021 and earned a nomination for Best Documentary Feature at the 2022 Academy Awards; Deacon’s work on the film took home the Best Score prize at the 2022 Cinema Eye Honors.

2022 sees the debut of Deacon's latest film score, the Adam Sandler Netflix feature Hustle, directed by Jeremiah Zagar, now available for pre-order on vinyl in collaboration with Diggers Factory.

Wie alle drei vorherigen Alben der Band beruht auch dieses auf der konzeptionellen, ideellen und künstlerischen Verbindung zwischen der Musik von Festland und der bildenden Kunst des Malers, Zeichners und Texters Fabian Weinecke, der im Jahr 2012 verstorben ist. Das Trio (ddfm, Thomas Geier, Yoshino) vertont die lyrischen Texte Weineckes in eigenen Kompositionen und nutzt seine Bilder und Zeichnungen zur Covergestaltung. Er ist somit als assoziiertes, viertes Mitglied der Band zu verstehen. "Hippies" wird als Doppelalbum (12"/Vinyl) erscheinen. Es wurde im Parka Sound Studio in Berlin Kreuzberg eingespielt und dort von Berend Intelmann (Paula, Jens Friebe) abgemischt. Norman Nitzsche (Whitest Boy Alive) besorgte das Mastering. Dem Album werden zwei Booklets mit Malerei und Zeichnungen aus den verschiedenen Schaffensphasen Fabian Weineckes beigelegt. Seit dessen Tod an den Folgen einer lebenslangen Mukoviszidose im Jahr 2012 spielen Festland in reduzierter und elektroakustischer Instrumentierung. Zum musikalischen Kern gehört das repetitive und zahnradartig ineinandergreifende Spiel von Geige, Kontrabass und Schlagwerk. Im Zusammenhang mit den witzig-skurrilen, traurigen und poetischen Texten im mehr stimmigen zarten Gesang des Trios ist somit ein ganz eigensinniger musikalischer Kosmos entstanden. Die musikalische Referenz dafür bildet weniger ein klassisches als vielmehr ein popmusikalisches Repertoire, das in der elektronischen Musik von House, Techno und Dub zu verorten ist. Der Journalist Jens Uthoff schrieb in der taz über das dritte Album treffend, es klänge so, als "habe man Kraftwerk die Synthesizer weggenommen". Der Radiomoderator und DJ Klaus Fiehe (1 Live Fiehe, ByteFM) sprach von "Math-Folk".Festland knüpfen konzeptuell nicht nur an elektronische Musik oder Krautrock der 1970er sondern auch an eine Phase avantgardistischer Popmusik und Malerei der 1980er Jahre an (etwa "Neue Wilde"), in denen Künstler*innen in beiden Welten von Musik und bildender Kunst gleichermaßen zu Hause gewesen sind.

Did you know that there's a tunnel under Ocean Blvd ist das neunte Studioalbum der renommierten Singer-Songwriterin Lana Del Rey. Es enthält 16 Tracks und musikalische Zwischenspiele von Father John Misty, Tommy Genesis, Jon Batiste, Bleachers und weiteren. Das Album folgt auf die 2021 erschienenen Alben Chemtrails Over The Country Club und Blue Banisters der Ausnahmekünstlerin.

Limited to 1000 copies on curacao colored vinyl. Exclusive to HHV customers.

Vacation. Not only in Italy.

A backpack trip through Australia, a campfire in the allotment.

In the car with friends through the Lunenburg Heath or just a short holiday in your head, during the rainy lunch break or with a glass of spritzer on the balcony. And that includes music, music, music! Grooves that roll into the distance like an Intercity, Rhodes chords soft as the sand on the beach and synthesizers that sparkle like the reflections on the ocean. Music as colorful as a Hawaiian shirt and as warming as the morning sun. Welcome to Erobique's second album: "Erobique No.2"

Here, even the song titles are in holiday mood:

"Ahoj!" greets the young "Springinsfeld". The "Mantas" glide elegantly around the "Acquamarina". "Salut les Copines!" we call to the neighboring boat. "Come along to the 'Ravedave!'" it echoes back happily. "Riding Low" is the motto, and the "Arpeggiator" condenses the "Synaesthesia" of the foggy senses in a wonderful way. The "Italotape" in the cassette deck plays the "Hit Song of Both of Us".

That's all so nice "Verkackt", that sounds like "Future Music"!

Carsten Meyer released his debut album "Erosound" in 1998 under the name "Erobique". Exactly 25 years later, the now 50-year-old releases his second Erobique album on his own label A-sexy.

Thirteen varied tracks and songs between holiday disco and rhythm box rave, recorded and produced with many of his friends and companions.

25 years, that's pretty much how long it took disco to go from the legendary loft parties of pioneer David Mancuso to the awe-inspiring mass spectacles of Daft Punk performances.

Or from Meyer's birth to his first long-playing record. So why only now a second album as “Erobique”?

Meyer has been improvising performances in front of a dancing audience for years. Even his hits "Easy Mobeasy" and "Urlaub in Italien" aren't actually pop songs, but rather arose from spontaneous inspiration, in an adrenaline rush, in the middle of the party, right in the moment! Sang along and faded away again. Recorded live and released as is. Just don't repeat! Every Erobique concert is an attempt to turn the unforeseen, the unexpected and accidents into a unique moment of being there. "Mistakes are king" said the witty Knarf Rellöm once - and Carsten Meyer is the king of mistakes!

How are you supposed to conjure up such moments in the studio, without a party, without the energy that spills back onto the stage at a children's birthday party for adults?

Meyer remembered another Erobique hit and changed his title accordingly:

He collaborated with an overdose of joy!

Drummer Lucas Kochbeck (The KBCs, Bacao Rhythm & Steel Band) who now also supports Carsten at his live gigs as well as neighbor and buddy Christoph M. Kaiser (former bassist with the Jeremy Days, now film music and pop strategist) layed down the Groove foundation with glowing tiles, like at the Trinity, Hamburg's legendary 80s disco.

Sophia Kennedy came over from the neighboring studio to sing and Lieven Brunckhorst dragged the entire wind section of Jan Delay's big band Disco No1 in front of the microphone.

Meyer recorded harps, xylophones and violins in his music room at the Hamburger Fischmarkt or with Tobias Levin in his Electric Avenue studio with a view of the Fleet.

Carsten went to Berlin where he met his hero Siriusmo to put some ideas through the electronic grinder. Nicola Rost of Laing stopped by and left incredibly dense choirs and wonderful songs.

Finally, all tracks were brought to Swabian Ludwigsburg where the Freundskreis DJ and disco expert Martin Welzer aka DJ Friction screwed the whole madness into an incredibly warm and dancefloor-friendly overall sound.

Back to the drawing board, like all A-sexy releases, the cover art is painted and designed by Meyer himself, after all his original career aspiration was to be a school book illustrator.

In the course of one summer, a musical chocolate box was created that will not only enrich the holiday playlist of his fans and listeners, but also made his archive of ideas and sketches, which is several quantum bytes deep, a little bit thinner. Outside of his disco fairs up and down the country, Meyer has not remained idle in the last quarter of a century:

Between 1998 and 2006 he developed hypermodern electronic soul with DJ Koze and Cosmic DJ as an international pony. Together with Jacques Palminger and Chris Dietermann, he supervised amateur songwriters in the project "Songs for Joy" at the Maxim-Gorki-Theater Berlin when they made pop music, which is how the secret hit "Wann Strahlst Du?" was created in 2007 with the great text by Barbara Stützel. In general, theatre: For the theater director Herbert Fritsch he arranged the hits by Gino Paoli and Hugo Wolff for crazy evenings at the Schauspielhaus Zurich (2016) and at the Residenztheater Munich (2015), for Stefan Pucher he shot the fairy tales of Hans Christian Andersen through the home organ wolf ( 2010). For the colleagues from Studio Braun, he brought the "Dorfpunks" to life at the Hamburg Schauspielhaus, and immediately afterwards he developed the authentic Neue-Welle sound for their mockumentary "Fraktus", which was released in cinemas in 2012.

So there we are with film and television music. Here, too, Meyer had a lot to do in recent years. The soundtrack for the popular TV series "Der Tatortreinigung" with Bjarne Mädel in the title role was the best. Incidentally, the "jack of all trades" (quote Peter Bursch) also released a few albums on his own label A-sexy: Rumpel-Funk as "Babyman", the finest chanson pop with Palminger and Yvon Janssen for "Yvon im Kreis der Liebe" and warm, modern Hammond jazz with the "Hamburg Spinners".

And now finally his anniversary album, the silver wedding with himself.
25 years Carsten and Erobique, together forever and happier than ever!

To the next… stop no. We don't want to wait that long!

The "Weimar EP" from singer/songwriter Albyrd is not only his first release under a new moniker; as his first self-produced record, it also marks one of many new beginnings. The end of the pandemic, the blossoming and withering of relationships - and of course, a tribute to his time in the city and how life's perspectives change.

In 8 songs, Albyrd shows not only the range of his magnificent voice, but also how well soul and RnB can be interwoven with electronic music. With a feature from Miles Bonny, Mr. Lumberjack Soul himself, this tape is definitely one for the shelf.

Introduced to the world ten years ago, Emeli Sandé MBE has become an icon of British singer-songwriting; emotional, honest, and prolific in the kind of manner that cements you as a go-to artist for heartfelt pop sensibility. This latest pop record is reminiscent of 2012, when Emeli had her first breakout hit. "How Were We To Know" is Emeli's second independent album release through Chrysalis Records. "There was a lot I wanted to say about myself, and I hope that through the lyrics people will get to understand me on a deeper level." The 11 tracks on "How Were We To Know" explore intimate encounters with love in all its forms, along with the risk required to pursue it. "Once you've been hurt, it's very hard to pick up the pieces again and allow yourself to be vulnerable," Sandé says. "So I think these songs explore the bravery of love, and loving others but also yourself. These songs were pieces of a puzzle I had to put together, and now feels like the right time to share them." The album features production from Jonny Coffer (Beyoncé, Miley Cyrus), Jim Jonsin (asap Rocky, Usher, Eminem), DI Genius (Drake, Raye, Sean Paul), Rxwntree, Chris Loco and Mac & Phil.

The Tortured Poets Department Vinyl + Bonus Track “The Manuscript”

16 Tracks + Bonus Track “The Manuscript”

Collectible 24-page book-bound jacket with three handwritten lyrics unique to this vinyl and never-before-seen photos

2 Ghosted White vinyl discs

Collectible album sleeves including never-before-seen photos

16 Tracks + Bonus Track “The Manuscript” Collectible 24-page book-bound jacket with three handwritten lyrics unique to this vinyl and never-before-seen photos 2 Ghosted White vinyl discs Includes never-before-seen photos

16 Tracks + Bonus Track “The Manuscript” Collectible CD album in single jewel case with unique front and back cover art 1 Disc album with collectible disc artwork A collectible 20-page booklet that includes all song lyrics and never-before-seen photos 10”x10” Double-Sided Poster. Side One: a photograph of Taylor Swift, Side 2: one handwritten lyric, unique to this CD