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Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

Composer, arranger, and multi-instrumentalist Yoshiharu Takeda's long-awaited first album, released in 2018, is now available as a reissue LP with obi strip.
He plays various instruments himself, including piano, clarinet, pedal steel guitar, and percussion.
Fantastical, crystalline melodies constructed through masterful use of multi-tracking and programmed elements.
This richly textured work possesses an organic quality, unfolding dynamically through colorful arrangements while maintaining a mysteriously serene atmosphere.
Highly recommended not only for jazz and world music fans, but also for enthusiasts of ambient and new age music.

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

Warehouse Find

Massiande has become one of the most captivating talents South America has produced for authentic House music.
An artist of multicultural roots, he was born in 1988 in Santiago, Chile, has lived most of his life to the side of US American people, has Dutch family heritage and his name derives from a Sierra Leone dialect. All of these global influences have had a great effect in the way he perceives and lives music.
Growing up as a profound and dedicated fan of Soul, Jazz and Disco; discovering House, a genre that connected these genres' roots with electronic experimentation, was a life turning point.
DJing since 2007, he is known for performing emotive and dynamic sets, with a moving soulful drive that resembles much of the spirit of New York, Chicago and Detroit pioneers.
After starting to focus on music production, 2013 brought his debut record "Heart Rushed Love" through German label Housewax, a record of classic vibes that received praise for its charm and character on underground scenes worldwide and, most notably, from House music artists in Chicago, including his personal hero, House maestro Larry Heard. Such a start would be a sign of great things to come.
Inspired by the same Chicago spirit, in 2015 the release of "Stand", through the prestigious MOS Recordings, represented a step further in his career as a producer, finding its place on the crates of DJs as diverse as Patrice Scott, Voiski, Apparat or Honey Soundsystem.
These days, Massiande brings a deeper and mature House sound which is reaching a wider audience, with his conceptual "Freedom" EP through UK's Phonica Records and the landmark "Yesterday, Today, Forever" EP on Jimpster's Freerange, while also revealing a consistent variety of skills on a fully dancefloor-oriented EP for Hercules & Love Affair's Mr. Intl imprint.
With a growing discography whose flair endures the test of time, Massiande's path thrives with a true passion for House that's appealing to both casual listeners and the most loyal purists of the genre around the world.

Groggy, engrossing new work from Ulla under their newly minted U.e. tag, riffing to the sublime on a set of (mostly) acoustic reveries that tap into the kind of smokey vapours favoured by the likes of Vincent Gallo, Voice Actor, Jonnine.

A new year, label, album and handle for Ulla, a multifaceted artist who has draped our pages with wonder, under numerous aliases and collabs, for almost a decade. On ‘Hometown Girl’ they distill transience and flux into a quiet set of chamber works subtly resembling the room recorded nuance of their ‘Jazz Plates’ side with Perila - here taken a step further into more elusive, low-lit dimensions.

In a mode that’s wistful and melancholic, listening to the album’s dozen discrete pieces feels like leafing thru a journal of hand-written notes, reflecting on the feelings that come with separation from loved ones and displacement from familiarity. Ulla performed and recorded all of the instruments themselves, lending a tangible tactility to layered arrangements of woodwind, keys, strings, drums and voice, lightly speckled with electronics and perfused with open window field recordings.

They locate a crackling frisson of personality in the voice notes and day-dreaminess of their mottled inscapes, gauzily demarcating lines between past and present selves. In that aesthetic and approach we can also hear similarities to Jonnine’s blue-skied ‘Southside Girl’ or crys cole’s poetic sensuality, often leaning into the domestic surreal.

A frayed, opening salutation ‘Good Morning’ signals a delirious half hour in Ulla’s company, variously swaying to the downstroked jazz swing of a ‘Lavender (NF)’ spritzed with clarinet, whilst ‘Froggy Explorer’ stirs the air like Jan Jelinek on a barely-there tip. The Basinski-esque fritz of degraded loops really snags the imagination along with a twinkling nightlight ‘Ball’, as the album opens out into its most fully resolved songs with a closing couplet of disarming wonders ‘Drawing of Me’, and a blurry ‘Mute’ that feels like Ulla 〜almost〜 reveals too much before retreating back into the shadows.

The music of the duo Parajekt is created on electronic instruments. Drum machines, samplers, modular synths, and effects devices all culminate in a tape recorder, whose limitations invite them to work with great musical and sonic precision.
The resulting pieces serve as the first layer and as a sound score, which is then overwritten, mixed, and refined with dub techniques in a subsequent step.
Elements inspired by electronic beat music, musique concrete, and noise merge in a musical performance that brings the studio action onto the stage and places it front and center.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

One of the leading Japanese alternative rock band, GEZAN’s leader, MahitoThePeople’s director debut film, i ai was released in March 2024, and it is an atypical coming-of-age film decorated with tinge of red.

　The film takes place in Akashi and Kobe, Hyogo prefecture. This film’s main characters are Ko (Kentaro Tomita), a rookie member of a band and a brother-like figure of his, Hee (Mirai Moriyama) who Ko idolizes and the story of this movie is based on their struggles with life and death. The story is also based on Mahito's real-life experiences and while reality and fiction are duplicated, the boundary between them slowly melts away. The film co-stars Honami Satoh, Kazuki Horike, Mitsuru Fukikoshi, Eita Nagayama, Kyoko Koizumi, K-BOMB, Ichi Omiya and many other unique personalities. It should also be noted that the transparent images filmed by photographer, Masafumi Sanai gives the film, a special emotional quality.

　The film is not bound by any film theory but it poses a theme common to GEZAN's recent works and Mahito's writing activities: How can we live in a crumbling society while interacting with others? We can never live alone but living with others is also never easy. How can we overcome this time of extreme division of the world?

What left quite a strong impression in this film that not only Mahito personally directed but also wrote the script and composed the soundtrack as well was the main theme song, entitled “i ai”. This new piece of GEZAN is an extension of the work that this band has continued doing over the last few years. This 12" single, contains the song, “i ai” and it will be the first time released on vinyl.

Led by soft guitar arpeggios, the song gradually builds to a fever pitch, condensing the mood of the film which encompasses both tranquillity and intensity. The chorus of ineffable, multiple voices united together sounds like a lament that has spilled out of society or a cry of joy. GEZAN's collaboration with the 15-member chorus group, Million Wish Collective has been in development of late and the cultivated sensibilities through their activities are put to use in this song.

The song can also be considered a slow, relaxed dance track that lasts 9 minutes and 8 seconds. It has something in common with organic dance tracks from South America and other regions, and it is significant that GLOCAL RECORDS which represents glocal music from around the world in Japan are releasing it as a DJ-friendly 12-inch single.

The B-side features a remix by COMPUMA who is also closely associated with GEZAN. The song starts with an African styled percussion, with a thumb piano in the middle of the song and then returns to that memorable chorus. This song feels like a 18 minutes and 18 seconds long short movie like suite, with some dizzying changes from the beginning to the end. It is remix filled with enormous drama!

The cutting and mastering of this 12” was done by TOREI who is also active as a DJ and the artwork was created by jvnpey, a visual artist and graphic designer based in Tokyo. Their loving work also makes this 12" very special.

When I asked AI to find a synonym for the word, “division,” it displayed in succession, a series of words: “integration,” “consolidation,” “unification,” “unity”, and “reconciliation". All of these phrases are somewhat whitewashed and embarrassing but the mirage-like chorus echoing in the song, “i ai” seems to be trying to find a new word, that is a synonym for the word, "division. In this film, “i ai”, the message, “Let's live together after the end roll” was thrown out but included in this 12-inch, the message, “Let's live together after the music stops”, emerges.

Blues and Soul Award winner and double MOBO Awards nominee Ronnie Herel is back with his 2nd volume of his excellent compilation series Neo-Soul Sessions. Ronnie, a massively important figure in the UK Black music scene, is a radio presenter with Mi Soul and includes BBC 1xtra in his broadcasting credits. He is a DJ of international renown and was one half of the Quartz production duo which scored memorable hits with Dina Carroll. His undisputed love for and knowledge of the Neo-Soul genre shines through in the Neo-Soul Sessions and this latest, volume 2, is no exception. Featuring tracks from artists such as Vula, Terri Walker, Aname Rose and Slakah the Beatchild, among others, Neo-Soul Sessions volume 2 is a brilliantly curated and pieced together selection of twelve tracks that absolutely nails the beauty of the later releases in the Neo-Soul genre. Played from start to finish the track selection and order is a pre-made DJ set that flows in a way that would soundtrack a dancefloor, a house party and an excellent backdrop of tunes for any time and day of the week. Ronnie's passion for championing independent artists is also evident in his selections here and the compilation serves as a platform for those voices who deserve to break through. The decision to choose six of his favourite tracks to sit alongside six exclusive and unreleased gems means that a light is now shined on every artist featured on the compilation. An absolute must for serious lovers of Neo-Soul, RnB and Black Music, Neo-Soul Sessions volume 2 is released on double vinyl LP and CD formats.

Die zweite Emo-Welle atmet den letzten Atemzug des Alternative Rock. Jejunes zweites und letztes Album ,This Afternoons Malady" demonstriert ihre Vorliebe für Midwest Emo durch eine Corganesque-artige Wand aus knurrenden Gitarren. In Zusammenarbeit mit Ted Leo von Chisel produziert, mischen die zwölf Songs von ,Malady" Handklatschen und Herzschmerz zu gleichen Teilen, alle remastered und endlich zum ersten Mal auf Vinyl erhältlich. Sie können die Picture Disc nun entsorgen.

For over six decades, Charlemagne Palestine (b. 1947, New York) has been a pioneering composer, performer, and multimedia artist, celebrated for his ecstatic sonic explorations and ritualistic, metaphysical performances. Emerging from the cross-disciplinary New York art scene of the 1960s and ’70s, he helped shape a heretical edge of minimalism alongside figures like Conrad, Riley, Niblock, and Glass. Trained as a Jewish cantor and later as the carillonneur at St. Thomas Church, Palestine cultivated a deep fascination with resonance and overtone—an obsession that evolved through his use of percussion, early synthesizers, and monumental piano works, influencing artists from John Cale to Nick Cave.

Animated by a spirit of ecstatic play and what he calls his »meschugge« (Yiddish for »crazy«) sensibility, Palestine’s universe blends the sacred and the absurd, filled with soft toys, ritual gestures, and immersive sound environments. Rejecting the »minimalist« label in favor of a maximalist, »spontanimalist« approach, he creates long-form, resonant performances that transform spaces into vibrating, living organisms—opening portals into the nature of time, sound, and devotion.

In the same vein, the aptly titled live record »The Organ is the World’s Greatest Synthesizer« – performed during the Sonic Acts Festival at Amsterdam’s Oude Kerk in 2025, and taking its title and cover art from a drawing realized by Palestine himself during the concert – adds to his opaque yet vibrant personal mythology and intimate transcendence, marking a return to the Staalplaat catalog after »Fffroggssichorddd« (2020) and »Music for Big Ears« (2001).

Beginning with a resonating bell and his falsetto overtone singing, then surrendering to the endless, wild soundscapes of tone-feeling and beat frequencies generated by the church’s organ, across 40+ minutes, single sound sources evolve into clusters, entangle fully with one another, and establish their own spatial existence and aural architectures. We witness the traces of something that can be described as a perpetual performance, a test for the ever-changing interaction between artist, instrument, space and, ultimately, us.

Since Palestine has always defined his execution as a form of anti-composition - of simply »being in the music« as if inhabiting a space - the true power of »The Organ is the World’s Greatest Synthesizer« lies in encapsulating a moment of Palestine’s practice in its most authentic, live dimension. Sound becomes at once subtle substance and strange telluric force, animating physical forms from some unknown channel beyond and within, accessible only through our sensorium. The point in this liminal temple of tone, timbre and frequency is not to learn anything but to simply enter. Palestine earns once again his self-given title of contemporary shaman by keeping this sonic portal open, allowing us to witness and make it last.

»I have always felt and heard and mixed the sounds in my world as liquids not as solids. Sonic liquids are material that is endlessly transformable. But I’m not crazy about people who go around defining stuff.«

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.

For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.

Das legendäre Kultalbum „Bastards“ aus dem Jahr 1993 ist endlich zurück – und das in einer limitierten, farbigen VinylEdition!

Mit brachialer Energie, kompromisslosem Sound und Lemmy‘s unverkennbarer Stimme gilt Bastards für viele Fans als das beste Motörhead-Album aller Zeiten. Klassiker wie Burner, Born to Raise Hell und I Am the Sword zeigen die Band auf ihrem absoluten Höhepunkt – roh, direkt und voller Wut und Herzblut.

Diese Sonderauflage ist ein Muss für jeden Rock- und MetalFan: Ein Stück Rockgeschichte, das in keiner Sammlung fehlen darf – Motörhead – Bastards, jetzt als exklusive Vinyl-Edition!

The legendary cult album ‘Bastards’ from 1993 is finally back – in a limited edition coloured vinyl release!

With its brutal energy, uncompromising sound and Lemmy‘s unmistakable voice, Bastards is considered by many fans to be the best Motörhead album of all time. Classics such as Burner, Born to Raise Hell and I Am the Sword showcase the band at their absolute peak – raw, direct and full of rage and passion.

This special edition is a must-have for every rock and metal fan: A piece of rock history that no collection should be without – Motörhead – Bastards, now available as an exclusive vinyl edition!