Search:album

1981 erschien mit Hit and Run das zweite Studioalbum von Girlschool.

Anlässlich des 30-jährigen Jubiläums des Albums veröffentlichte die Band eine Neuaufnahme unter dem Titel Hit and Run: Revisited.

Die LP Neuauflage 2025 der Revisited Edition erscheint als rote LP.

Als Künstler und Performer hat Jamie Lidell ein höllisches Leben geführt, das ihn von der Avantgarde über Clubland-Hedonismus bis hin zum Mega-Mainstream und allen Punkten dazwischen katapultierte. Er hat verschiedene Persona angenommen - vom gesichtslosen, namenlosen Techno-Produzenten bis zum extravaganten Showman. Er hat monströsen Lärm und süße Musik gemacht. Er hat in Kunsträumen, Rave-Dungeons und auf einigen der größten Bühnen der Welt in einem Wirbelwind der Kreativität performt. Doch seit seinem Umzug nach Nashville und der Gründung einer Familie erlebte Jamie Lidell Isolation und Introversion. Indem er mit seiner eigenen Neurodivergenz konfrontiert wurde, musste er seine Beziehung zu sich selbst, seine Geschichte, seine Musik und seinen kreativen Prozess komplett neu bewerten. Und all das drückt sich nun in 'Places of Unknowing' aus, seinem ersten Album seit fast einem Jahrzehnt - eine karge und schöne Abkehr von allem, was er je zuvor gemacht hat.

Caroline Polachek released her solo debut Pang back in 2019 after having been the lead singer of the acclaimed band Chairlift for more than 10 years. Immediately upon release Pang received major hype and critical acclaim, but in the years since, it has practically achieved a monolithic status in modern art pop.

Not surprisingly, expectations are huge for her sophomore album Desire, I Want to Turn Into You, but with excellent singles like "Billions" and "Sunset", it is evident that Polachek is a headstrong and original pop star who is here to stay!

I Beat Loneliness markiert einen Meilenstein in der Geschichte von BUSH – das mittlerweile 10. Studioalbum der Band. Produziert von Gavin Rossdale und Erik Ron (Godsmack, Bad Omens), ist das Album eine kraftvolle Fusion aus den grunge-getriebenen Wurzeln der Band und modernem Sound. I Beat Loneliness ist eines der emotional eindringlichsten Alben der Band und behandelt Themen wie mentale Gesundheit, Isolation und innere Stärke – ein eindrucksvolles Zeugnis für eine Band, die sich stetig weiterentwickelt und dabei unbeirrt ihrer Identität treu bleibt. BUSH überleben nicht nur – sie sind so stärker denn je, überschreiten Grenzen und defi nieren neu. BUSH, die legendäre Band aus London, die mit ihrem bahnbrechenden Debüt Sixteen Stone (1994) den Rocksound der 90er prägte, ist bis heute eine prägende Größe in der Musikwelt. Mit über 24 Millionen verkauften Tonträgern, 1,1 Milliarden Streams und zahlreichen Nr. 1-Singles sind Gavin Rossdale (Gesang, Gitarre), Chris Traynor (Gitarre), Corey Britz (Bass) und Nik Hughes (Schlagzeug) nach wie vor eine treibende Kraft des Genres.

THROATCUT präsentieren mit "RESILIENCE." ihr kompromissloses Debütalbum – ein Werk, das aus den Trümmern persönlicher Kämpfe und kreativer Neuausrichtung entstanden ist. Die Band, hervorgegangen aus einem früheren Projekt, verfolgt eine radikal ehrliche Vision: roh, ungeschönt und emotional intensiv. Das Album erzählt von inneren Dämonen, äußeren Konfl ikten und dem unermüdlichen Streben nach Selbstbehauptung. Mit einer Mischung aus brachialem Metalcore, atmosphärischen Soundscapes und schonungsloser Lyrik erschaffen THROATCUT. eine kathartische Klangreise durch Schmerz, Wut und Hoffnung.

"New Messiahs" vereint halsbrecherische Riffs, atmosphärische Zwischenspiele und die dunklen, gefühlvollen Töne, nach denen sich Fans sehnen. Das Album bringt neue Kollaborationen mit sich, darunter Kyle Taylor am Schlagzeug, meisterhafte Soli von Charlie Honig und Craig Blackwell und ein eindringliches BonusCover mit Todd La Torre (Queensryche). Ashes of Ares zeigen handwerkliches Können der Spitzenklasse. Zusammen mit dem atemberaubenden Artwork von Kamil Pietruczynik ist diese Veröffentlichung mehr als nur Musik - sie ist ein Statement.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Das 2014 erschienene Debüt-Studioalbum White Noise von PVRIS hat sich in den USA über 100.000 Mal
verkauft (und bis heute über 300.000 Exemplare) und hat Fans auf der ganzen Welt in seinen Bann gezogen. Mit fast 250 Millionen Streams in den USA markierte das Album den Einstieg der Band in die Welt.
Jetzt, nach über 200.000 verkauften Tonträgern (über 600.000 Äquivalente bis heute) kehren PVRIS nun
zu ihren Wurzeln zurück.
Die Jubiläumsausgabe von White Noise wurde im März 2025 in digitaler Form veröffentlicht und enthält
Spiritbox’s Courtney LaPlante auf der äußerst beliebten Single „My House“. Die Neuauflage des Albums
enthält außerdem
Die Neuauflage des Albums enthält außerdem zwei neu bearbeitete Versionen von Songs aus der Originalversion, „Fire“ und „Mirrors“, sowie eine Live Version des Hits „You and I“. Die Jubiläumsausgabe von
White Noise ist ein Muss für Szene-Veteranen und Sammler

Nach 53 Jahren im Musikgeschäft, 17 Studioalben, 11-fachem Platin und mehr als 100 Tourdaten pro
Jahr kehrt Styx mit ihrem achtzehnten Studioalbum zurück, das ihren progressiven Rocksound mit einer
modernen Note verbindet. Das Album vereint 13 sorgfältig ausgewählte Songs, die durch tiefgründige
Botschaften nicht nur ihre Songwriting-Kompetenz unterstreichen, sondern auch zum Nachdenken anregen.

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.

We’re proud to present the first-ever official reissue of Les Nkenda — a rare and genre-blending spiritual gem from 1982, originally released in the Republic of Congo by the Cercle Biblique Évangélique (C.B.E.) of Pointe-Noire and produced by Adam Julien Koubemba on the small Adamsol Record Edition label. Pressed in extremely limited quantities and virtually impossible to find for decades, Les Nkenda has become a “holy grail” among collectors of African music. Fully remastered from the original tapes, it returns on vinyl for the first time since its initial release. More than a reissue, this is a revelation — a powerful fusion of gospel, psychedelic groove, folk, soulful funk, and Afro-Latin rhythms. Recorded in Pointe-Noire, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures. Both hypnotic and deeply emotional, Les Nkenda is music made without compromise — once lost, now revived for a new generation of collectors, diggers, and seekers of the extraordinary.

For two decades, Trad Vibe Records has been exploring and celebrating the many facets of hip-hop, funk and soul music, always driven by a passion for authentic, organic sounds. Founded in 2005, this independent French label has made its mark on the underground scene with cult releases, transatlantic collaborations and a loyalty to vinyl culture. In 20 years, Trad Vibe has brought together beatmakers, MCs and DJs around a musical vision that is both timeless and audacious. To celebrate this anniversary, the label unveils a limited vinyl edition of 300 copies, a veritable digest of its musical universe.

Side A kicks off with "Boom Bap Introduction", a track mixing jazz and boom bap in a characteristic old-school instrumentation by DJ Vince.
This is followed by the West Coast energy of DJ King Flow & Lex Lakaiser on "Money".
The soulful groove of Moar, Raashan Ahmad and Kohndo explodes on "Stand Up (Soul
Train Mix)".
Juliano concludes the side with his blues-inspired "Nothing or All".
The B-side kicks off with the classic “Rock It Feel The Groove”, a funky bomb orchestrated and scratched by Dee Nasty, a historic figure in French hip-hop.
Moar and Raashan Ahmad return with "Sky High", a track reminiscent of the golden age of 80's Disco Rap.
Followed by LS Brigandes with the sensual "You Make Me Feel", bathed in New York, Hip-Hop, Soul and Jazzy influences.
To round off the album in style, DJ Clyde concludes with a positive message on Boom Bap sounds and Lofi with “More Love”.
This anniversary compilation is available on vinyl only, in an ultra-limited edition of 300 copies. A must-have collector's item for fans of polished beats and authentic vibes.

S4R48 is dedicated to John Richbourg’s iconic labels, SOUND STAGE 7 and SEVENTY SEVEN, featuring the main man Joe Simon and the much-missed Ann Sexton on two album tracks available for the first time on 7”. Completing the EP are two originally unreleased tracks: Roscoe Shelton’s well-known Northern Soul classic "You’re the Dream", and another Southern Soul gem by Geater Davis.

Am 14. Juni 2023 ist DJ Patex nach langer Krankheit gegangen. Wohin, das wissen wir nicht genau. Darüber werden wir uns heute auch nicht einig. Der Autor dieses Textes will jedoch ahnen, dass sie dort – frisch angekommen – erstmal von ihren vorausgegangenen Lieblingshundis überrannt und abgeschleckt wurde. Der Autor mag dieses Bild. Auch weil Patex sich zeitlebens mit Hundis leichter getan hat als mit Menschen. Hunde durften bei ihr alles, was sie vom Menschen getrennt hat: Parolen kläffen, Eigentum heranzerren, egoistisch und unterkomplex sein. Nie hat sie auch nur einem Hund jemals etwas krumm genommen. Der Menschheit begegnete Patex eher mit pessimistischen Sätzen: „An Allem ist zu zweifeln“ ist so eine Feststellung. Oder: „Nur Weil Du Mir Deine Wunden Zeigst Bist Du Noch Lange Nicht Mein Heiland“.
Damit wären wir auch bei der A-Seite der vorliegenden Single. Sie berührt. Ihr Text zeigt in viele Richtungen. Die Coverversion von Mitpudeln enstammt ihrem finalen School-Of-Zuversicht-Album und dokumentiert eine Patex, die an ihrer schweren Krankheit gewachsen ist, statt zu brechen. Auch weil sie sich erlaubt hat, ihre typische Skepsis mit einer Art Camu’schen Akzeptanz zu tauschen. Denn Ablehnung hat in ihrer Situation nicht gegriffen, sie hätte alles viel schlimmer gemacht. Nicht das Nicht-leiden oder gar das Nicht-leiden-wollen besiegt das Leid, sondern dessen voll umfängliche Akzeptanz. Das hat sie einfach genial hingekriegt. Und damit vielleicht das Leben und den Tod gleichzeitig besiegt. Noch besser: Für diese Erkenntnis musste sie nicht einmal ihren Pessimismus über Bord werfen. Denn auf einer Ebene, viel weiter im Vordergrund, handelt das Lied natürlich vom Mitleid, oder besser Mitleiden. Mitleid gerät in Schieflage, wenn wir vergessen, worum es wirklich geht. Empathie verbindet uns mit der Welt, sie erfüllt uns. Sie eignet uns aber allzu schnell das Leid anderer an, ohne dass wir selbst wirklich leiden müssen. Und wenn wir nicht aufpassen, dann macht sie uns selbstgewiss.
An Allem ist zu zweifeln, merkt Euch das. Außer daran, dass uns Patex fehlt. Uns fehlt was sie umtreibt und die Fragen, die sie uns schenkt. Und dass die umwerfende B-Seite, die uns über Hans Nieswandt aus Südkorea erreichte, nur ekstatisch tanzend erklärt werden will — und daran, dass Ihr Euch jetzt diese Single kauft. Text: Sebastian Reier

Itchy-O is an experiential performance ensemble that has mesmerized audiences across the U.S. and beyond since 2009. The beating heart of this fifty-plus-strong performance troupe is a batterie of percussionists accompanied by an orchestral arsenal of avant-instrumentation. Weaving a synergistic spell, the ensemble dismantles assumptions of traditional performance models to break down the barriers between audience and performer, administering a bombast of ceremonial chaos; baptizing the audience—body, mind, and collective spirit—in an elaborate, pan-sensorial ocean of music, mystery, and transcendental spectacle.
Itchy-O has shared the stage with legends such as David Byrne & St. Vincent, while luminaries like JG Thirwell and Dan Deacon have opened for the humbled brigade. Over the years, they have energized crowds as the opening act for a slew of iconic artists including DEVO, Beats Antique, and Wooden Wisdom (Elijah Wood). Their unforgettable private engagements include a legendary performance at Maynard Keenan’s Merkin Vineyards while delighting festival audiences at Riot Fest, Biennial of the Americas, the Underground Music Showcase, and Tasmania’s world-renowned Dark MOFO with enveloping processionals, pop-up performances, and staged spectacles.
In 2024, itchy-O debuted Söm Sâptâlahn, a sold-out collaboration with the Fiske Planetarium. Named for an epic set of custom-crafted gongs cast from six hundred pounds of reclaimed brass at the School of Mines and tuned to a bespoke seven-tone scale, this project birthed this latest double album. Accessible, mysterious, and meditative, it is a bold addition to the itchy-O catalogue, sure to appeal to connoisseurs of the experimental, the contemplative, and the avant-garde.

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

2025 is a special Britpop anniversary year, and Swansea Sound are keen to celebrate this summer’s coming together of every single music-lover in the UK with the release of their new single Oasis v Blur.
The song probably sounds more like The Fall getting into bed with The Sweet, but that’s just the way it turned out.
The B side, Pacio’r Fan, is about a journey back to a remembered teenage time, when idealism still burned and the world was full of potential. It is a wistful song, but it’s hopeful too: the idealistic flame is still there if you seek it out.
The release date of Oasis v Blur coincides with Swansea Sound’s live performance at the reasonably-priced Skep Wax Weekender, alongside label-mates including Sassyhiya, The Gentle Spring, Jeanines and Heavenly.
Swansea Sound have released two albums, several singles and have recorded live radio sessions for BBC6Music and WFMU (New York). They are Hue Williams and Amelia Fletcher (who both sang in The Pooh Sticks), Rob Pursey (in Heavenly with Amelia), Bob Collins (of The Dentists), Ian Button (The Night Mail, Papernut Cambridge, Death In Vegas ) and artist Catrin James (The Loves).

The band has shared bills with Billy Strings, Sierra Hull, Sarah Jaroz, Della Mae, Tony
Trischka, Michael Daves, earned spotlights from The Bluegrass Situation, Bluegrass
Today, Folk Alley, WFUV, American Songwriter, and spent fve weeks atop the Roots
Music Report Traditional Bluegrass Song Chart. Their frst album in four years,
Homegrown features three Woody Guthrie songs (including Woody's iconic "Pastures
of Plenty"), a Woody Guthrie/ Arlo Guthrie cowrite, and songs by Peter Rowan and
John Hartford."

TOP 10 IN THE VINYL CHARTS* Frank Sinatra has released a number of Christmas albums and singles in his career. His program has become a perennial favorite and indispensa- ble at the holidays. The incomparable interpretation of Christmas classics by THE VOICE accompanied by elaborate orchestral arrangements has retained its unique charm to this day and still accompanies every swinging Christmas.

GOSPEL CHRISTMAS Mahalia Jackson is considered the greatest gospel singer of all time. Her goal was to proclaim God‘s word through song. She ushered in the Golden Age of Gospel between 1945 and 1965. Jackson was the first gospel artist to tour Europe. She appeared regularly on tele- vision and radio programs and sang for many presidents and heads of state, including the national anthem at John F. Kennedy‘s inauguration in 1961. At a time when segregation was pervasive in American society, she had great success. She sold an estimated 22 million records, but still had trouble hailing a cab or sim- ply being able to buy something in stores. Her gospel interpretation of Silent Night is still one of the most soulful and impressive versions of the famous Christmas song. The album of the same name is still a classic today and remains unsurpassed.

Nach dem überwältigenden Erfolg seiner globalen Smash-Single "Ordinary", die auf Platz 1 der Global Charts landete, Platz 3 der Deutschen Single Charts erreichte und bislang über 650 Millionen Streams generierte, ist Alex Warren bereit, die Musikwelt erneut im Sturm zu erobern: Für den 18.07.24 kündigt er nun sein mit Spannung erwartetes Debütalbum "You'll Be Alright, Kid" an!
Neben den Titeln des ersten Album Parts, wie z.B. die Standout Tracks "Carry You Home" und "Before You Leave Me", enthält das neue Werk die Erfolgssingle "Ordinary" sowie seine neueste Single "Bloodline" mit Jelly Roll - und natürlich viele weitere brandneue Songs!

Ólafur Arnalds & Eoin French, known professionally as Talos, come together on A Dawning, a deeply immersive collaborative album set for release in July 2025 via OPIA Community and Mercury KX. Created before the untimely passing of Talos in 2024, the record blends their distinct musical voices—into something truly transportive. Adding a deeply personal touch, all artwork for the album and its singles were crafted by Talos himself, offering fans an additional insight into his beautiful creative vision. This release not only celebrates the musical partnership between Arnalds and Talos but also honours the enduring legacy of Talos, ensuring his artistic spirit continues to inspire and resonate.

40th Anniversary Edition

"RATT exploded on to the national scene in 1984 with the release of ‘Out Of The Cellar.’ Featuring an undeniable hook and legendary music video, lead single “Round And Round” hit #12 on the Billboard Hot 100, while ‘Out Of The Cellar’ reached #7 on the Billboard Top 200 and was certified triple platinum. Two more charting singles followed with “Back For More” and “Wanted Man”. RATT started the tour as an opening act, but by the end of the tour had climbed to arena headliner.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD with Lenticular Cover, and Limited Edition Red and Black Splatter vinyl with Lenticular cover with a Neon Orange 7"" single"

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Five years after their groundbreaking debut "Klucz" (hailed as the best Polish hip-hop album of 2004), the Warsaw-based crew Wilku, Bilon, and Żary returned with another hard-hitting project – "Droga", originally released on April 15, 2009.
Now, 16 years later, this cult classic is returning for the first time ever on vinyl – in a special collector’s edition!

"Droga" features a lineup of guest artists who, at the time, formed the backbone of the Polish hip-hop scene, including Peja, Lukasyno, Firma, Fandango Gang, Juras, Bas Tajpan, Ras Luta, Dixon 37, and Diil Gang.
The members of Hemp Gru explain the meaning behind the album title:
“The first album was the 'Key' that opened the door. Now, beyond that door, lies the Road – hence the title of the second album.”
The album earned Gold Record status – twice – and is now regarded as one of the foundational releases of Polish street hip-hop.
Vinyl Edition Includes:
• 2 vinyl records (vinyl mastering by DJ 600V) in a gatefold sleeve
• 1 fold-out double-sided poster (60 cm x 30 cm)
• 1 double-sided insert (30 cm x 30 cm)
• 2 exclusive instrumentals: Droga and W Hemp Armii
A must-have for fans and collectors of Polish hip-hop history.

The Labor Days 20th Anniversary Edition 2xLP is pressed on metallic copper vinyl. Labor Days was Aesop Rock's fourth release and his third full-length studio album. The project was originally released in 2001 as his first album on Definitive Jux. The album includes popular songs "Daylight" and "9-5ers Anthem", and guest features from Illogic and C-Rayz Walz, as well as production from Aesop Rock, Blockhead, and Omega One.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

Yowzers is a new album by Chicago composer, improvisor, and musical folklorist Ben LaMar Gay. Yowzers features Gay"s working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe"s Illusions. It"s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it"s safe to call this work true "Americana", despite what that word might mean to the average person in the United States.

Wet Leg sind endlich zurück – und veröffentlichen am 11. Juli ihr neues Album moisturizer. Parallel dazu erscheint eine 7-Inch-Vinyl mit zwei Songs daraus: „davina mccall“ und „CPR“. Beide Tracks stammen aus dem mit Spannung erwarteten zweiten Album und zeigen erneut die stilistische Vielseitigkeit der Band. „davina mccall“ glänzt als bittersüße Ballade, in der Popkultur-Referenzen auf echten Herzschmerz treffen – irgendwo zwischen Shakira und britischem Reality-TV. „CPR“ hingegen ist ein ironisch gebrochenes Liebeslied mit düsterem Unterton: „Is it love, or suicide?“, fragt Rhian Teasdale im Refrain. Der Song beginnt zurückhaltend und entlädt sich in einer kraftvollen Hook – ganz im typischen Wet-Leg-Stil: scharf, verspielt, unvorhersehbar.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Im Sommer 1968 traf sich der 18-jährige Genesis P-Orridge (damals Neil Andrew Megson) mit Freunden in einem bescheidenen Dachgeschoss, um mit Klängen zu experimentieren. Das Ergebnis war "Early Worm", eine Sammlung von Aufnahmen, die die aufkeimende Kreativität eines Künstlers einfing, der später eine Schlüsselfigur der Avantgarde-Musik werden sollte. Diese Sessions, die 1969 auf ein einziges Acetat gepresst wurden, zeigen eine furchtlose Erforschung von Geräuschen, Improvisationen und Tonbandexperimenten, die Einflüsse von Psychedelia, Fluxus, John Cage und Beatnik Bohemia widerspiegeln. "Early Worm" ist ein Zeugnis für P-Orridges frühes Engagement, musikalische Grenzen zu überschreiten. Die rohen und ungefilterten Klanglandschaften des Albums bieten dem Hörer einen seltenen Einblick in die Gründungsmomente, die schließlich zur Gründung von COUM Transmissions, Throbbing Gristle und Psychic TV führen sollten. Remastered und in einer limitierten Vinyl-Pressung, mit Linernotes geschrieben von Genesis Breyer P-Orridge, die den Zeitgeist des UK Undergrounds der späten 60er Jahre in Erinnerung rufen. "If nothing else, (Early Worm) revealed that P-Orridge's approach to music was defiantly left-field from the start: noise, improvisations and tape experiments that sounded a little like a more chaotic version psychedelic folkies the Incredible String Band." . The Guardian

Underoath sind seit fast zwei Jahrzehnten eine wegweisende Stimme im progressiven Heavy Rock. Nur sehr
wenige können mit ihnen mithalten, wenn es darum geht, immer wieder an die Grenzen zu gehen oder sich
kreativ weiterzuentwickeln. „Voyeurist“ ist eine Rückkehr zu Underoaths Heavy-Metalcore-Wurzeln, die sie
in den 2000er Jahren zu einer der größten Bands in der Metal-Welt machten. „Voyeurist“ ist ihr neuntes
Album und das erste, das die Band komplett selbst produziert hat. Es wurde im Studio von Gitarrist Tim
in Tampa, FL aufgenommen und enthält 10 Tracks, die schwer, aber dennoch experimentell und manchmal
wunderschön sind. Während das letzte Album „Erase Me“ aus dem Jahr 2018 eine Abkehr von ihrem
Sound war und eher ein geradliniges Rock-Album, kehrt dieses zu den beliebten Metalcore-Wurzeln der
Band zurück, von denen die Fans so begeistert sein.

The Pretty Reckless haben dem Rock 'n' Roll den nötigen Schwung für eine neue Generation gegeben, und sie haben es auf ihre ganz eigene Weise geschafft. Seit 2008 haben sie sich als die ungewöhnlichste Naturgewalt entpuppt, die in INTERVIEW Magazine, Nylon, ELLE, Good Morning America und Entertainment Tonight erscheinen kann - und sich eine Bühne mit Guns N' Roses und Soundgarden teilt. Zusammen mit dem verstorbenen Produzenten Kato Khandwala entfachten sie diese Flamme auf Light Me Up 2010 und Going To Hell 2014. Letzteres enthielt drei Nummer-1-Hits - das Platin-zertifizierte "Heaven Knows" (der größte Rocksong des Jahres 2014), "Fucked Up World" und "Follow Me Down". Nach "Who You Selling For" von 2016 stieg "Take Me Down" auf Platz 1 der US Mainstream Rock Songs Chart und machte die Band laut Billboard zur "ersten Band, die ihre ersten vier Singles auf Platz 1 der Charts schickte". Im Jahr 2021 wurden sie mit dem Album "Death By Rock and Roll" in den Himmel gehoben. Die vierköpfige Band ging in die Geschichte ein als "die erste von einer Frau angeführte Band, die zwei Mal hintereinander auf Platz 1 der aktiven Rock-Charts stand" und "die erste von einer Frau angeführte Band, die sieben Mal auf Platz 1 der Billboard Rock Radio Charts stand". Das Album wurde nicht nur vom V Magazine, Spin und anderen gelobt, sondern landete auch auf Platz 1 der Billboard Top Album Sales Chart. Bemerkenswert ist auch die Zusammenarbeit mit Legenden wie Matt Cameron und Kim Thayil von Soundgarden bei "Only Love Can Save Me Now" und Tom Morello von Rage Against the Machine bei "And So It Went". Diese Grenzenlosigkeit treibt "Other Worlds" Fearless Records an, wo sie ihre ersten richtigen akustischen Aufnahmen, unerwartete Covers und andere Neuinterpretationen abliefern und einmal mehr Neuland betreten.

On Friday 25th March Parlophone Records release “Remixes” on double CD and triple vinyl LP. The album is an updated version of the 2020 Digital compilation of the same name, featuring mixes that were originally released between 1991 and 2021.

Alongside Kraftwerk’s own remixes, the album includes some of the world’s biggest DJs and Producers, including François Kervorkian, Orbital, Underground Resistance, DJ Rolando, Alex Gopher + Étienne de Crécy, William Orbit and Hot Chip.

Mannequin Records presents Artificial Salvation, the long-awaited next chapter from Taiwan-born, Berlin-based artist Jing. A visceral journey into fragmented identity, post-human desire, and sonic disobedience, the album marks a bold evolution in Jing's unmistakable language—where rhythm is weapon, voice is distortion, and silence is political.

Known for her uncompromising DJ sets and past releases exploring industrial textures, field recordings, and haunting spoken word, Jing now delivers her most narrative-driven and confrontational work to date. Artificial Salvation lives at the intersection of club dystopia and spiritual unease: glitched-out techno structures collide with ghostly chants and collapsing machinery, echoing themes of surveillance, digital exile, and existential displacement.

Crafted between Taipei and Berlin, the album draws from a palette both hyper-modern and deeply ancestral—melding broken beats, noise, and vocal manipulation into an unflinching statement of intent. This is not music for escapism. This is a sonic exorcism.

Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.

Martin Scorsese ist einer der wichtigsten Filmregisseure der New-Hollywood-Ära. Dank Filmen wie »Taxi Driver« (1976), »Raging Bull« (1980), »The Wolf of Wallstreet« (1986), »Goodfellas« (1990), »Casino« (1995) und »The Irishman« (2019).

Außerdem erhielt Scorsese zahlreiche Auszeichnungen, darunter einen Academy Award, vier BAFTA Awards, drei Emmy Awards, einen Grammy Award und drei Golden Globe Awards. Hier sind Songs von Dean Martin, Frank Sinatra über Ella Fitzgerald, Dinah Washington, sowie Howlin Wolf und John Lee Hooker vertreten. Auf dem vorliegenden Soundtrack-Album sind somit 21 Stücke aus der Filmmusik der erfolgreichsten Scorseses Film-Meisterwerke enthalten.








h Walk on the wild side part 1 (1962) from casino & the color of money








h Walk on the wild side [part 1] (1962) from casino & the color of money








[h] Walk on the wild side [part 1] (1962) from casino & the color of money








[h] A8 | Walk on the wild side [part 1] (1962) from casino & the color of money

Pond Life Records presents Humble B Flat’s third vinyl release – Blessings of the Sun, a spiritual jazz-infused deep house double LP.

His previous album, Source of the Nile - promoted through a more grassroots approach than this forthcoming release — saw great success, with purchases via Bandcamp by deep house legends like Osunlade and Kai Alce. It also received radio play on shows such as Macca’s acclaimed The Glove That Fits on NTS, among others.

The release has garnered heartwarming messages from the likes of Coflo, Tour-Maubourg, Delfonic, and Felipe Gordon, and was recently spotted in FloFilz’s Spotify recommendations.

Blessings of the Sun has already been lighting up dance floors at loft-inspired parties such as Giant Steps, Luar, and Beija Flor.

Blessings of the Sun is receiving a more focused promotional rollout. It has already been played on rising star Millie McKee’s NTS show. As with past releases, only a limited number of copies will be pressed. Artwork is by renowned artist Annie Fiddian Green, and more new music from Humble B Flat is on the horizon.

With a Pond Life stage takeover set for one of Resident Advisor’s top festival picks, Gottwood, pre-empting the release, we’re excited to see where this double LP from Humble B takes us.

NZO goes sick on a standout debut album for Demdike Stare’s DDS, distilling 2-step UKG, R&B and computerised funk within whirring mechanisms adjacent to mutant jungle and footwork - the proper good stuff.

On ‘Come Alive’ SoYo’s NZO bruks wild but tight on nine tunes chiselled from a distinctive percussive palette cut into fidgety, soulful samples. She dances in and around the cracks of myriad styles with a canny grasp of limb-animating, rhythmic diffraction; all stop/start rhythms and stuttering diva-vocaloids arranged with a rudely shatterproof, grooving pliability. More simply put: it’s dance music for those who like to get super loose and freaky with it.

Chopped up and stitched together over six months in Sheffield, it’s not hard to hear a lineage of advanced Afro-American rhythm science that also feeds into SND’s jerky-but-sexy angularities, and subsequently Rian Treanor’s rugged pugilism, now morphing back to the source, but heavily skewed with it. Her judicious sampling of R&B gems is offset in obliquely funked-up structures in ways that knowingly mess with conditioned anticipations yet never lose sight of the ‘floor, and we’re here for it.

Jumping in with the writhing darkside tekkerz of ‘Rolling Around’ and clocking out with a standout downbeat pearl ‘Looking For’, we hear her displace amapiano closer to halfstep D&B in ‘AXMM’, and decimate 2-step like Akufen on ‘CFML’, while ‘K-space baum bap’ appears to dart in the spaces between UKG and singeli, and the sloshing congas, bass motifs and dub chords of ‘Deadweight’ settle to a sort of aqueous UKF.

FOLLOW UP TO THE CRITICALLY ACCLAIMED 2023 ALBUM ‘RPB’ (UTR151):

- #4 MOJO FOLK ALBUMS OF THE YEAR+ FOLK ALBUM OF THE MONTH:
“ IT MELTS TRAD TECHNIQUES AND MINECRAFT BURBLE INTO ‘A MASSIVE, MULTI-PLAYER ONLINE DREAM’ . INCOMPREHENSIBLE/IRRESISTIBLE’

‘ME LOST ME’S RPG (UPSET THE RHYTHM) IS AN EXCITING, IMAGINATIVE ALBUM EXPLORING THE LINKS BETWEEN TRADITIONAL INFLUENCES AND ELECTRONICS IN FERTILE WAYS.’ THE GUARDIAN - FOLK ALBUMS OF THE MONTH.

'FROM NEWCASTLE, VIA UPSET THE RHYTHM, JAYNE DENT EXPLORES FOLK ART AND FUTURISM TO SPELLBINDING EFFECT' THE QUIETUS

FULL PAGE REVIEW IN WIRE MAGAZINE:"ME LOST ME'S NEW ALBUM RPG IS FILLED WITH STORIES OF ADVENTURE AND SELF-DISCOVERY IN VERDANT NATURAL LANDSCAPES, SUNG WITH FEELING AND CLARITY"

Me Lost Me - the project of Newcastle-based artist Jayne Dent - delights in experimenting with songwriting, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre.

On Me Lost Me’s fourth full-length, This Material Moment - arriving on Upset the Rhythm on 27th June - she has created an “emotionally raw” album, her most honest and vulnerable yet.

Concerned with physicality, interpretations, and, yes, materiality, This Material Moment is an album akin to rummaging through a box of long-forgotten trinkets. With each song, Me Lost Me extracts something from the box and asks us to consider it from every angle. "This is an album which uses words as a material, a playful tool for experimentation, full of metaphor, abstraction and analogies.” Jayne says, “it has softness and anger, humour, hope and despair, intensity of feeling in all directions expressed as textures, objects, places."

With the release of This Material Moment Me Lost Me puts into practice the automatic writing techniques she developed during a workshop with Julia Holter, and in the process has spun her music in different directions that draws on poetry, psalms and using mesostic poems and phonetic translations to generate words. “Despite the chance-based writing strategies throughout, it feels like the most emotionally raw album I've ever made,” she says, likening the process to a Rorschah test which revealed things to her she wasn’t expecting to express. “I wanted to hide in stories, but I saw things plainly when I tried to write.” Having finished the writing process, Jayne realised that she had an unexpectedly personal album on her hands, into which her feelings of burnout and overwhelm had crept unconsciously. “Several of the songs for me express a kind of inner conflict, where you’re trying to keep hope and desire and beauty and art near to your heart, to live a meaningful life, but finding that increasingly hard to hold onto in a world that’s so fucked up.”

Whilst Jayne Dent’s music as Me Lost Me has previously presented time stretching back and forwards in opposition (noticeably on 2023’s album RPG), on This Material Moment she does away with linearity altogether, evoking rather than narrating, and presenting feelings, happenings and moods with no clear beginning or end point - “like experiencing a vista, trying to capture a moment that is unfolding all at once”. Instead, each track on This Material Moment exists entirely in media res, adjacent to past and future, and instead sprawling across the endless now.

This Material Moment was written and arranged solo, but played with a core band of John Pope on electric/double bass, Faye MacCalman on clarinet, and now with the addition of Ewan Mackenzie (Dextro/Pigs x7) on drums - bringing in live drums and electric bass for the first time. The album was recorded by Sam Grant at Blank Studios in Newcastle, who also worked on RPG.