Cerca:80

Michael Ball's brand new album 'Glow' featuring 10 original songs, including 'Vintage' and 'Glow'

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s debut album, Satanic Metal Attack, on vinyl LP and - for the first time - CD formats. This marks the beginning of reissues of all of the band’s four albums. Originally released in 2006, the Italian act went all in with their pure and authentic love for the old metal scene of the 80s. The aim was never to reinvent the wheel and bring new influences into classic speed metal. These maniacs represented a new generation which wanted to continue and blast out heavy metal in the old way, with the same spirit.

DYING VICTIMS PRODUCTIONS is proud to present the striking debut EP of Spain’s FABLE, Long Hath the Night Dwelt, on CD and 12” vinyl formats. FABLE started as a solo-project by Jose Soler (Phantom Spell, Chantrice) influenced by ‘70s and ‘80s hard rock and heavy metal – a list as varied and idiosyncratic as Thin Lizzy, Whitesnake, Pagan Altar, Ashbury, and Hällas – along with hints of old US metal. Duly girded, the band bring forth their public debut, Long Hath the Night Dwelt. An actually-narrated prelude sets the stage for a cautionary tale about class struggle and revolution, FABLE indeed using fables and stories as a medium to tell an expansive story of the woodsfolk dominated under the iron claw of “The Owl.” Despite that, the band’s debut EP is exceptionally compact at five tracks in 22 minutes, moving with a simmering patience that’s heavy on mood and dynamic in its restraint. Never overdriven nor busy, warm and intimate but with a psychic distance that seems impossibly ancient, FABLE very much evoke the perhaps-centuries-old folklore that seems so central to their rustic rock; the wise-sage vocals almost seem an afterthought when the narrative flow of the music starts winding and wending like smoke from a tavern fireplace, so illustrative is its hushed power. However, each element here is equally important, and all work together to form a totality that’s unfussy but hewn with class and care. And this is just the start of this FABLE: discover for yourself how Long Hath the Night Dwelt!

Weiß-blaues Halstuch, das Dorf im Rücken, die große Bühne vor der Brust: TREAM hat in den vergangenen Jahren aus einer Welt, die lange eher nach Bierzelt, A-Klasse-Fußball und letzter Zigarette am
Weiher klang, eines der eigenständigsten Erfolgsmodelle der deutschen Poplandschaft gebaut. Der 27-
Jährige aus Büchelkühn bei Schwandorf verbindet HipHop, Pop und modernen Schlager zu einem Sound,
der genauso drückt wie er mitsingtauglich ist, genauso größenwahnsinnig wie bodenständig und genauso
laut wie herzlich. Oder, wie TREAM selbst es sagt: »Meine Musik klingt nach Leben«. Genau das ist auch
die Überschrift über seinem neuen Album »STAMMTISCHPAROLEN«.
Dass TREAM längst mehr ist als ein Phänomen mit Kultstatus, zeigt sein Weg der letzten Jahre ziemlich
eindeutig. Nach der restlos ausverkauften »Biergarnitour 2024«, einer Arena-Tour 2025 mit über 130.000
verkauften Tickets und drei Abenden hintereinander in der Münchner Olympiahalle geht es im Sommer
2026 auf die nächste Stufe: die erste große Open-Air-Tour. Dazu kommt in diesem Jahr seine Teilnahme
bei »Sing meinen Song – Das Tauschkonzert«. Das alles wirkt bei TREAM nicht wie der glattgebügelte
Aufstieg eines Künstlers, der sich für den Mainstream passend gemacht hat, sondern eher wie das konsequente Durchziehen einer eigenen Vision.
Genau deshalb passt auch der Albumtitel so gut. »STAMMTISCHPAROLEN« ist nicht politisch gemeint,
sondern ein selbstbewusstes Etikett für 15 Songs, die TREAMs eigenes Lebensgefühl bündeln: Provokation,
Herz, Heimweg, Heimweh, Abriss, Eskalation, Freundschaft, Sehnsucht und ein Humor, der nur funktioniert, wenn einer weiß, wo er herkommt. Das Album spielt mit bayerischen Bildern, ohne darin stecken zu
bleiben, und macht aus Klischees Gegenwart.
Schon der Opener »BAYERN GO HIGH (INTRO)« macht klar, dass hier niemand langsam anlaufen will:
808s drücken, Hörner dröhnen, irgendwo zwischen US-Rap-Sound und bayerischer Folklore wird sofort der
Claim abgesteckt. »DIE KENN ICH NICHT« zieht als vergnügter Spießrutenlauf weiter, »SAUNAKONTAKT« erzählt mit Uptempo-Beats den Wahnsinn einer Begegnung, und »HASENJAGD« liefert eine
Hymne, die klingt, als würde die Nacht schon beim Intro eskalieren.
Auch in den Kollabos zeigt sich die Erweiterung seiner Welt: »EISENBAHN« mit Bausa, »APRES SKI«
mit Gzuz oder »K2« feat. Blümchen verbinden scheinbar Gegensätzliches und funktionieren genau deshalb.
Dass »STAMMTISCHPAROLEN« mehr kann als Abriss, zeigen die ruhigeren Momente: »WUNSCH FREI«
erzählt von den Schattenseiten eines Lebens, das von außen nach Dauerparty aussieht, »99 LUFTBALLONS« ist ein Lovesong, während »PSYCHO« und »ALLERLETZTE FAHRT« die Platte in eine nachden-klichere Richtung ziehen.
Gerade darin liegt die Stärke des Albums: Es macht aus Bayern kein Postkartenmotiv und aus TREAM
keine Kunstfigur, sondern zeigt einen Künstler, der Wirtshaus, Wahnsinn und Weltoffenheit gleichzeitig
denken kann – laut, liebevoll, verletzlich und provokant.

CASSETTE VERSION

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

On May 22, Mint Condion Records drops a new 7-inch featuring two standout tracks, also available on all
digital pla%orms:
"Emergence of Shadow": A soulful instrumental blending a melodic trumpet with bluesy undertones and a
sharp funk groove.
"Come on Closer": A deep soul cut featuring the unmistakable, rich vocals of Heidi Vogel (The Cinemac
Orchestra).
A perfect mix of instrumental grit and vocal elegance

Francis Ford Coppola’s coming-of-age drama The Outsiders (1983) adapted S.E. Hinton’s successful 1967 novel of the same name, using a young cast of rising stars (C. Thomas Howell, Tom Cruise, Matt Dillon, Rob Lowe, Emilio Estevez, Patrick Swayze, Ralph Macchio and Diane Lane) many of whom came to be known as the Brat Pack, defining a genre of 80’s films. The plot focuses on the rivalry between two gangs of teenagers in Tulsa, Oklahoma, one poor (Greasers), the other wealthier (Socs).

Coppola’s ambition was to achieve the widescreen scope ‘of a teen Gone with the Wind’, and he asked his father, Carmine Coppola, to score the soundtrack. The result is epic and romantic, a return to a golden age of Hollywood film composing which suits the stylised and epic cinematography, becoming darker as the characters fulfil their tragic destinies. Stevie Wonder co-wrote and performed the song that plays over the credits, ‘Stay Gold’, which is included on this release.

The inner sleeves feature extensive notes by Daniel Schweiger on the history of the film, the soundtrack and an insight into the Coppola father and son partnership.

Anathema formed in Liverpool in 1990, initially under the name of Pagan Angel & grew from a heavy doom/death metal style act into a more progressive & melodic group, blending rock elements with strong atmospherics inspired by classic acts such as Pink Floyd & Radiohead. The band signed with Peaceville Records after recording the 'All Faith Is Lost' demo in 1991, & is known for being part of the hallowed Peaceville doom metal trinity in the early 1990's (alongside fellow UK bands Paradise Lost & My Dying Bride), with some highly influential releases in the early part of their long, esteemed career. 'Pentecost III' was released in early 1995 & was recorded at the infamous Academy Studios in Yorkshire UK (My Dying Bride, Paradise Lost). 'Pentecost III' featured classic heavy & often hypnotic doom metal, as well as a reworking/rerecording of the 'Memento Mori' track from the 'Iliad of Woes' demo.

Power began as a challenge.

Zachary Fairbrother began Countach to collect the unfinished scraps and fragments from his band GHÖSH, the digital hardcore duo that broke up in 2023. But when Feel The Four, the Philadelphia-based label run by Cristian Adams and Jarrett Dougherty (ex-Screaming Females), asked him for a proper 12”, he saw an opportunity to push the project in an ambitious new direction.

The result is Power - EP, which finds Fairbrother exploring the freedom of longer run-times and varied textures, all while maintaining the post-industrial vision of his previous work. Across 20 minutes, he runs through propulsive acid house, harsh electro, and ‘90s big beat, using 303s and 808s to build an upbeat but haunting record that’s as indebted to the forebearers of those genres as it is to the grim landscapes of Phillip K. Dick and Paul Verhoeven.

Nach Abschluss seiner gefeierten Neuaufnahmen der ersten sechs Alben von Modern Talking präsentiert Thomas Anders mit »The Best« 2026 die Essenz dieses besonderen Projekts: eine Sammlung der größten Hits in neuem Sound, ergänzt um die brandneue Single »The Best Is Yet To Come«, die als musikalisches Versprechen verstanden werden darf und das Kapitel dieser außergewöhnlichen Reise eindrucksvoll erweitert.

Mit dem Best-of-Album bündelt der Sänger erstmals die größten Hits aus seinen aufwendig neu interpretierten Modern-Talking- Klassikern auf einem Album.

Die Songs von Modern Talking haben Musikgeschichte geschrieben und zählen bis heute zu den erfolgreichsten deutschen Pop-Exporten aller Zeiten. Mit Welthits wie »You're My Heart, You're My Soul« oder »Cheri Cheri Lady« prägte das Duo den Sound der 80er-Jahre weit über Europa hinaus und erreichte ein Millionenpublikum von Südamerika bis Asien.

Dass diese Titel auch Jahrzehnte später nichts von ihrer Strahlkraft verloren haben, zeigt nicht zuletzt ihre ungebrochene Präsenz im Radio, auf Streaming-Plattformen und bei Konzerten rund um den Globus. »The Best« erscheint als hochwertiges Best-of-Album in verschiedenen Formaten und fasst die größten Momente dieses besonderen Projekts zusammen. Ein musikalisches Statement, das zeigt: Die Geschichte dieser Songs ist noch lange nicht zu Ende erzählt, denn das Beste kommt bekanntlich erst noch.
Tracklisting

12 Inch Lovers nothing but classix, straight from vinyl! Part 1 of two double vinyl-pack incl. Sasha & Maria, Fatima Yamaha, Brahama, The Mackenzie feat. Jessy, Hatrixx, and Salif Keita & The Base Boys.


After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

Cult reissue label Sticky Buttons returns with ‘Sweet Edits’, their first official foray into dancefloor edits featuring 4 remixes of Nigerian boogie legend Dizzy K by a hand picked set of superstar producers specially designed to get the party moving.

Starting with a bang, the A Side features a double hit of remixes to Dizzy K’s 80’s sleeper hit “Afrikan Jamboree”. First up is Clive From Accounts, frequent contributor to Razor-N-Tape and hot off the heels of his 2025 debut full length LP, Clive’s edit has gifted us a complete foot stomper, filled with popping synths and squelchy baselines the track has already been getting big plays by the likes of Optimo over the past 18 months. On track A2, well known dance floor magician Lipelis takes the reins, creating his Disco Dub version, expertly layering traditional african drums and vocal loops from the original to build a wonky club track laden with energy and soul as come to be expected from the artist.

Over on the B Side, South London based duo Make A Dance (M.A.D) take the formula from their own widely popular house inspired edits imprint to take apart Dizzy K’s “I’ll Never Love Again”, stripping it down into a teetering, chugging acid sprinkled weapon overlaid with a ferocious drum pattern destined to move even the stiffest hips. Last but not least, Japanese producer Mayurashka brings her signature subversive style to Sticky Buttons, flipping Dizzy’s K’s “Konga Mama” into a hypnotic tribal masterpiece, pulsating with a psychedelic techno edge ripe for blending in smokey club venues and dark mainrooms.

Four heaters not to be slept on. Hearing is believing and on this limited edition vinyl release the legend of Dizzy K sings again, finely tuned for 2026 dancefloors but always carrying the raw spirit of the original.

Mastered by Submarea Estudio
Cover Art Illustration by Alex Ram

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

We’ve all experienced that feeling when a song instantly transports us back to the moment we first heard it and became completely hooked. For Linda & Norm, “Moments to Want You” by the Jerry Lillard Band carried the warm vibes of a Parisian summer in 2019. Fast-forward to 2025, they revisited the track with a complete twist, nudging it toward an AOR resurgence for the label’s Soft Rock for Hard Times series.

The original version by the Jerry Lillard Band was released in 1981 on a German rock sampler, created in protest against the closure of their rehearsal space in an old school building. “Moments to Want You” stands out for its haunting melody, heartfelt lyrics, and compelling arrangements. Inspired by these elements, Linda & Norm cast the song in a new light, leaning into ’80s-tinged guitar pop à la Trevor Horn, with hints of psych bedroom pop in a distinctly Californian fashion.

Joining the release are two favorite artists of theirs, further expanding the song’s potential into dancefloor territory. Sydney’s own DD Mirage delivers the smoky, dubby disco blend we’ve admired since their debut album, while seasoned producer Justin Van Der Volgen brings the B-side magic, echoing the authentic stripped-back dub approach in the vein of Pettibone and Baker. To round it out, an instrumental version, along with an extended mix courtesy of Justin, complements the release, making it a 12” worth pulling out whenever the moment calls.

2026 Repress

Ob Krypto-Mensch oder Krypto-Substanz, es wird auf jeden Fall eine verhängnisvolle Affäre. Molas Musik ist die ungeschönte Antithese zu einer rosaroten Welt.
Sie feiert sich kaputt, zieht dich mit in ihr inneres Chaos und verzichtet auf übliche romantisierende Verklärungen der unbarmherzigen Orientierungslosigkeit, die einen nach der letzten Kippe auf dem Nachhauseweg einholt.?Das Album erzählt düster und doch fragil von kompromisslosen Autopilot Nächten die uns vereinen und trennen. Temporär reduziert intim, um dann in ikonischem 80er "Purpel Rain" Pathos zu eskalieren, illustriert MOLA das Gefühlschaos, das der innere Dialog von linker und rechter Gehirnhälfte in ihr auslöst.
Bei MOLA werden alle Erfahrungen misstrauisch auf links gedreht, um zu sehen was sich hinter der alltagstauglichen Fassade verbirgt. Sie kehrt ihr Inneres nach außen und spricht an was sie verletzt - unverzerrt, nicht übertrieben, nahbar.?MOLA beschreibt die eigenen Tiefschläge mit trotzigem Selbstbewusstsein, ohne sentimentaler Glasur.
"Schnee im Sommer" könnte ein Album einer 80er Jahre Punkrockband mit Liebeskummer sein, aber auch einer Alternative Band aus den 90ern kurz vor ihrem Urlaub in einer Betty Ford Klinik.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.