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American Steel is the last great band to come out of Berkeley's 924 Gilman scene. Forged in the same ¬res as Operation Ivy, Crimpshrine, and Rancid, these soulful punks have at long last decided to unearth their self-titled album from 1998. AmSteel evolved into one of the most artful and sophisticated punk bands around, but this quartet began as a truly raw and wrathful DIY outfit, and we're grateful for the opportunity to share this 17-song hidden gem. We have been begging the band to release this material since Red Scare first began. Literally pestering them for twenty years. Listen to this dynamic debut and you will understand why.

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

Nehmt Euch einen Moment und lässt Euch die Kataloge dieser Meister des amerikanischen Folk auf der Zunge zergehen: MAGNOLIA ELECTRIC CO., CENTRO-MATIC, SONGS: OHIA, SOUTH SAN GABRIEL. Und lasst uns ganz ehrlich sein: Eine Dosis des künstlerischen Egos und ein wenig Eitelkeit können einen höheren Dienst erfüllen. Auf dieser Kollaboration von Jason Molina und Will Johnson scheint der jeweils andere Künstler sein Gegenüber und dessen Talent zu befeuern und sowohl die Performance als auch die Kreativität auf neue Höhen zu befördern. Im brüderlichen Teilen von Ideen werden Molina und Johnson zwei Poeten unter Poeten, die sich in ihrer Werkstatt daran machen, eine einzige, übergeordnete Elegie zu erschaffen. Der einzigartige Stil und die typische Produktion jedes einzelnen Musikers fügen sich hier zu einer gemeinsamen Schnittmenge zusammen. Der dokumentarische Ansatz eines Jason Molina richtet sich ganz häuslich in den subtilen Störungen und Produktionstricks eine Will Johnson ein, während der kräftige Tenor von Molina einen perfekten Tanzpartner in der sanften Reibeisenstimme von Johnson findet. Während die individuellen Performances hier bereits atemberaubend sind, ist die Zusammenkunft beider das, was den Zauber von "Molina&Johnson" ausmacht.

VERY LIMITED TRANSPARENT PURPLE COLOURED VINYL - 100 UNITS ONLY FOR EUROPE


Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex's fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

‘Distracted’ is Thundercat’s fifth studio album, featuring contributions from an incredible cast of friends including A$AP Rocky, WILLOW, Tame Impala, Lil Yachty, Channel Tres, and a long awaited collaboration with the dearly departed Mac Miller. The record was primarily created in close collaboration with a new creative partner – the super-producer Greg Kurstin – plus Flying Lotus, Kenny Beats (Kenneth Blume) and The Lemon Twigs. In the six years since his GRAMMY-winning album ‘It Is What It Is’, Thundercat’s star has risen: playing stadiums worldwide with Red Hot Chilli Peppers with Flea naming Thundercat “the best bass player on the planet”; performing live with A$AP Rocky, Steve Lacy, Tame Impala, Gorillaz, Silk Sonic, Erykah Badu, Spinal Tap, Yo Gabba Gabba; collaborating with Haim, Smino, Kaytranada, Kamasi Washington and Justice. He also branched out into acting with a role in Star Wars: The Book of Boba Fett. His warm, playful presence is never too far away, and life’s all the more enlivened by it.

Der Countrysänger und Songwriter Charley Crockett ist zurück mit seinem Album „Age Of The Ram“.
Nach seinen Alben „Lonesome Drifter“ und dem in der GRAMMY-Kategorie „Best Traditional Country
Album“ nominierten „Dollar A Day“ bilden 20 neue Songs den Höhepunkt und das Finale von Crocketts
„The Sagebrush Trilogy“, welche er über ein Jahr hinweg erschaffen hat.
Es ist Charleys drittes Album in Zusammenarbeit mit GRAMMY-Gewinner, Musikproduzenten und CountryStar Shooter Jennings. Beide sind bekannt für ihren modernen Country-Sound, welcher getrieben von
eingestaubten Gitarren und zeitlosen Melodien ist. Das Album widmen sie den großen Country-Legenden
wie Willie Nelson und Waylon Jennings (Shooters Vater).
Mit „Age Of A Ram“ bringt Crockett die in ACT 1 und 2 erzählten Geschichten von Außenseitern und
gescheiterten Träumen in der rauen Realität des amerikanischen Westens zu einem würdigen Ende.
Das Album „Age Of The Ram” ist erhältlich als CD und auf Vinyl!

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

"The multiple award-winning action-adventure game God of War was first released in 2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation 4, focusses on main character Kratos' journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods. God of War received universal acclaim for its story, design, graphics, combat system, characters, and music. It was awarded 'Game of the Year' by numerous media outlets and award shows. God of War (2018) performed well commercially, selling over five million copies within a month of its release. It became one of the best-selling PlayStation 4 games. The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The Walking Dead and won an Emmy Award for the main title of Da Vinci's Demons. God of War is available on black vinyl. This package contains a 4-page booklet with liner notes by Bear McCreary."

God Of War by Bear Mccreary, released 15 March 2024, includes the following tracks: "Witch of The Woods", "Ashes", "A Giant's Prayer", "Mimir" and more.

This version of God Of War comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.

Four-time GRAMMY Award-nominated global superstar RAYE, is releasing her highly anticipated sophomore album THIS MUSIC MAY CONTAIN HOPE. The album, set in 4 “seasons” with each side of the vinyl being a different season, takes listeners on a sonic journey that begins with darkness and ends with light.

“Music is medicine. I’ve always said that, and I guess I’m in the process of making medicine for myself that I can share with the world. I want us all to say to ourselves that it’s going to be all right, and I’m going to have faith in the seeds that I’ve planted beneath the snow. I wanted to create something that is a hug or bed or soft place for that person who needs it.”

RAYE recently kicked off her massive 51-date sold-out arena tour THIS TOUR MAY CONTAIN NEW MUSIC includes arena dates across Europe and the UK — including six sold-out nights at The O2 — before heading to North America with stops at iconic venues such as Radio City Music Hall (April 15 and 16th) and the Greek Theatre (May 12 and 13th). Additionally, RAYE will be a special guest on Bruno Mars’ The Romantic Tour for 27 stadium shows across the US this summer.

A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.

Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.

Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.

* fine art printed insert + PVC sleeve

The London based singer and keyboard player Dominic Appleton, known since the early eighties for his musical activity in the post punk/dream pop band Breathless, and perhaps even more for his vocal contributions to the legendary This Mortal Coil project on 4AD, joins forces with the Milanese producer and sound artist Matteo Uggeri, active from 1993 behind several projects spanning from industrial to post-rock and ambient soundscapes, known for collaborating with artists such as Maurizio Bianchi, Nocturnal Emissions, Controlled Bleeding, De Fabriek, OvO, Giuseppe Ielasi, Lau Nau, Giulio Aldinucci and many more.

Starlight Assembly’s first album, “Starlight and Still Air”, was released in 2021 by the American label Beacon Sound. In Italy the album received amazing reviews in all four of the main music monthlies. It was album of the month in Blow Up and Rockerilla ran a four page interview. Several articles and reviews were made, including a special issue on Foxy Digitalis by Brad Rose.

A remix project was launched afterwards, including old and new friends and fans of the two S.A. members: among the others, Robin Rimbaud/Scanner, Auscultation, Gabriel Saloman (Yellow Swans), Patricia Wolf, Insides, Julia Sabra with Fadi Tabbal, Sawako and Pan American.

The new album, “There Will Be Fireworks”, continues the duo’s complex cross-genres approach to music by melding Uggeri’s intricate musical textures with Appleton’s sweet and melancholic melodies, in this case even supported by the haunting guitars of Gary Mundy (in Breathless as well but also in Ramleh and Broken Flag’s label manager). The tracks on this album are more songlike, the journey more cohesive, with the artists playing more to one another’s strengths. The mastering will be done by Martin Bowes/Attrition, making it even more powerful and clean for its publication on Silentes (ex-Amplexus), historic italian label well known for releases by Rod Modell, Gigi Masin, Dirk Serries, Eraldo Bernocchi, Merzbow, Fabio Orsi and the latest releases by AUBE and much more.

1) WAIT FOR THE WORLD
2) TIME
3) THIS DESERT
4) ALL THE LOVE THE STANDS BESIDE US
5) MOTH TO THE FLAME
6) FRICTION
7) SYMPHONY IN MELANCHOLY
8) THE NOT DEAD
9) RELIEF
+
10) THERE WILL BE FIREWORKS (ghost track)

SY3 (pronounced ‘sigh’) is a new project from LA-based Chinese-American artists Kelly Guan, Alex Ho, and Phil Cho. The trio started working on music together in 2023 after connecting over a shared love of Hong Kong New Wave cinema, Cantonese pop songs, r&b, and melody-driven dance music. Singer Kelly Guan aka Jia Pet has been independently releasing ‘bubbly’ pop music since 2022, and recently toured with the genre-bending indie artist Sasami. Multi-instrumentalists Ho (keyboards, saxophone) and Cho (guitar, bass) have collaborated frequently over the past decade, most notably on Ho’s 2021 debut album 'Move Through It' for Music From Memory.

Lead single ‘Tell Me,’ the track that initially caught the ears of MFM's Jamie Tiller and Tako, nods to the hazy downtempo explored by Chinese pop stars like Faye Wong and Zhou Xun in the ‘00s, while also recalling Japanese producer Yoshinori Sunahara’s iconic album 'Lovebeat'. Beyond musical influences, SY3’s neon-drenched pop songs draw from a cinematic language, particularly y2k-era films like Made in Hong Kong and Suzhou River, which speak to a generation of disillusioned youth in an increasingly fast-paced world. Guan’s lyrics depict characters caught in bittersweet love affairs (‘dial tone, when I’m alone, you promised we’ll be in touch') forever looking towards an escape from their current realities (‘I know the walls are high, these graceless hands are slipping’). Title track ‘梦游 Sleepwalker’ features a Cantonese spoken-word story about a sleepwalking young girl who sits alone on a balcony wondering where she might have gone the night before. The drifting ambient production loosely references a traditional Chinese folk melody, and closes out the EP with a delicate, layered saxophone solo from Ho.

Balancing intimacy with a wider emotional and visual language, SY3’s debut unfolds as a series of nocturnal pop vignettes shaped by memory, cinema, and place. Released digitally and on vinyl through Music From Memory on March 25th. Sleeve art and design by Michael Willis.

Maui Blue & Orchid Vinyl. Nachdem wir American Don mit (Steve) Albini fertiggestellt hatten, waren wir kurz davor, dass die Spannungen zwischen uns so groß wurden, dass wir uns trennen mussten. Ich (Eric) war überzeugt, dass wir bei den Aufnahmen die wahre Essenz der Songs verloren hatten. Es war keine einstimmige Entscheidung, mit Steve aufzunehmen. Wir haben das Album komplett mit Gitarrenloops geschrieben, und Team Storm & Stress wollte im Studio mit Pro Tools weitermachen, was sowohl zu dem passte, was wir machten, als auch zu dem, was wir erreichen wollten. Steve hatte gerade den großartigen A-Raum bei Electrical fertiggestellt, und Damon bestand darauf, dass wir dort die Drums aufnehmen würden. Er gab in dieser Frage nicht nach. Sobald wir dort ankamen, wurde uns klar, dass alle Songs, die wir mit unseren Pedalen in mehreren Overdubs geschrieben hatten, nur Mono-Gitarrenaufnahmen zuließen. Wir haben das Problem gelöst, indem wir die Songs zu einem einzigen Loop gespielt und alle Gitarren später überlagert haben, sodass ein volles Stereofeld entstand, das zu den grandiosen Drum-Aufnahmen von Steve passte. Dieser Ansatz hat unsere Spielweise total verändert. Das hat zwar magische Momente der Improvisation ermöglicht (Peter Criss Intro), aber als das Album fertig war, klang es aufgebläht und die Darbietungen waren träge. Ich war mir immer sicherer, dass der Sound des Akai Headrush und die Tempi, die er für Damon vorgab, das Herzstück dieser Songs waren. Ian stimmte mir zu. In einem gewagten letzten Versuch hatte ich die Idee, Greg Norman (der für Steve arbeitete!) anzurufen und ihn zu fragen, ob wir nach unseren nächsten Shows heimlich in sein Studio in S. Chicago kommen und das Album LIVE neu aufnehmen könnten. Es war ein riesiger Schritt, der niemals hätte funktionieren können, aber wie durch ein Wunder waren alle einverstanden, und wir versuchten es. Greg hat uns persönlich und professionell in unserer heißesten Phase eingefangen. Die Tempi sind schneller, und niemand hält sich zurück. Diese echten Live-Bänder zeigen die Songs genau so, wie wir sie auf Tour gespielt haben, wo sie zwischen Juni 1999 und Juli 2000 entstanden sind. Jetzt, 25 Jahre später, wurden die Greg-Norman-Aufnahmen entstaubt und digitalisiert. Mit Hilfe moderner Restaurierungswerkzeuge und dem Fachwissen von Sir Bob Weston konnten wir diese Aufnahmen zum ersten Mal neu abmischen und mastern. - Eric Emm, Bassist

Rami Gabriels zweites Album ,Tunderizer" bringt den harten Experimentalismus des Post-Punk-Industrial in die gemütliche Atmosphäre von zu Hause. Wie Schatten, die durch Spiegel huschen, verdeckt ein Mix aus Lo-Fi-Noise-Art und Feldaufnahmen das super abgestimmte Songwriting. ,Tunderizer" rockt in allen Bereichen, von mitreißenden Melodien bis hin zu dekonstruktivem Rauschen, von Country bis Tarab, von Skronk bis Delta Blues. Der in Beirut geborene Rami Gabriel ist Komponist und Songwriter und spielt Oud, Buzuq und Gitarre. Er lernte Blues und Jazz, indem er mit legendären Musikern aus Chicago auftrat und diese Musikstile mit arabischen Traditionen verband. Rami tritt häufig in Nordamerika und international auf, unter anderem in Europa, Indien, der Türkei, dem Libanon und Ghana. Kürzlich spielte er beim Portland Jazz Festival, dem NYC Arab Festival und dem Festival International De Louisiane. Rami leitet die in Chicago beliebten Bands The Arab Blues und das R&B-Quartett Rami & the Reliables. Er stand schon mit Größen wie Buddy Guy, Zakir Hussein, Bela Fleck, Edgar Meyers und Rakesh Chaurasia auf der Bühne. Er war Vorband für den britischen Songwriter Nick Lowe und nimmt regelmäßig mit Mitgliedern der amerikanischen Rocklegenden NRBQ auf. Außerdem stand er schon mit Prostitute, Marvin Tate und anderen Punk- und Noise-Künstlern auf der Bühne. Seine Musik wurde von experimentellen Künstlern wie Fire-Toolz, Beau Wanzer, Sen Morimoto, Lynyn, k-rAd und Alex Hall von Reliable Recorders aus Chicago remixt.

Ursprünglich veröffentlicht im Februar 2000, handelt es sich bei 'Daisies Of The Galaxy' um das dritte Studioalbum der amerikanischen Rockband Eels um Mastermind Mark Oliver Everett.
War der Vorgänger - aufgrund schwerer persönlicher Schicksalsschläge des Sängers - noch düster und verzweifelt, so ist das neue Album das komplette Gegenteil - größtenteils fröhlich-freundliche Songs, die sich alle im drei-Minuten-Format bewegen.

This is the second studio album by American soul singer-songwriter and producer Bill Withers, released in 1972. The rhythmic music produced for the record features soul, funk, and blues sounds, backing lyrics that explore themes of human nature, emotion,

Die 15 Songs sind eine Reise und zaubern uns mit der klassischen Rock-Group (Gitarre, Bass, Schlagzeug) sowie mit Slideguitar, Geige, Nyckel-Harpa, Chor, Klavier- und Orgelsounds bunte Bilder in den Kopf. Eine Mischung aus erdigem Blues - Country und Folkrock mit prägnanten Lyrics auf deutscher und sorbischer Sprache.Die Musik öffnet mit ruhigen, tiefen, gospelartigen Passagen Räume und bewegt sich bis hin zum Punkrock.Textlich handelt das Album vom Weg, den du mit der Zeit gehst, von den damit verbundenen Sorgen, vom Ringen mit dem Guten und dem Bösen, von Liebe, von Freundschaft aber vor allem von Hoffnung. Der Sound von J.J.Cale, Neil Young und Ry Cooder verschmilzt mit modernem Postpunk und kreiert etwas ganz eigenes. Ein Album mit vielen Ecken, Kanten und Rundungen.Jacke selbst nennt seine Musik Lusitzana, was eine Anspielung auf den Begriff Americana ist. Hier gehts jedoch um das Leben in den langsam austrocknenden Sümpfen und Wäldern der Lausitz, rund um die Spree - Wo die Wölfe heulen und die Schafe ins Gras beißen. Aber die Hoffnung stirbt zuletzt und der Rock wird siegen! (Henne)

Nach dem "makellosen und zeitlosen Soul" (The Guardian) des 2019er-Vorgängers "American Love Call" öffnet "Private Space" von Durand Jones & The Indications die Tür zu einer breiteren Palette von Klängen und führt die Band kühn in eine synthielastigere Soul-Welt aus mit Streichern durchsetzten Disco-Beats. Das harmonische Zusammenspiel zwischen Aaron Frazers sanftem Falsett am Schlagzeug und Durand Jones' kräftigem Gesang sitzt noch immer tadellos und wird von Blake Rhein (Gitarre), Steve Okonski (Tasten) und Mike Montgomery (Bass) perfekt abgerundet. The Indications bleiben auch auf ihrem dritten Album wahre Meister darin, Revival-Sounds mit einer modernen Haltung zu verschmelzen. "Private Space" atmet den Geist der vergangenen Disco-Ära und die zehn Tracks liefern so eine dringend benötigte Dosis Eskapismus nach diesem turbulenten Jahr 2020. Das Album entstand nachdem die Band einen Großteil des Jahres getrennt voneinander verbracht hatte. Die Freude des Wiedersehens und am kreativen Miteinander ist auf "Private Space" jederzeit spürbar. Der hoffnungsvolle Sound setzt auf die Idee, dass Freude uns befreien kann. Die Kraft eines guten Songs, ein Licht in der Dunkelheit zu sein. Bandleader DURAND JONES fasst es treffend zusammen: "At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me."

"Saint Cloud" von Katie Crutchfield alias Waxahatchee ist das fünfte Album der Indie-Songschreiberin und wurde im Sommer 2019 auf der texanischen Sonic Ranch in Tornillo und Long Pond in Stuyvesant, NY, aufgenommen und von Brad Cook (Bon Iver, Big Red Machine) produziert. Mit unerschütterlicher Ehrlichkeit unterzieht sich Crutchfield auf "Saint Cloud" einer offenen Selbstprüfung. Das Album entstand nach Crutchfields Entschluss Alkohol und Drogen hinter sich zu lassen, entsprechend widmet sie sich lyrisch dem Thema Sucht. Das schlägt sich auch klanglich in einer klareren und traditionelleren Ausrichtung des Albums nieder: "I think all of my records are turbulent and emotional, but this one feels like it has a little dose of enlightenment. It feels a little more calm and less reckless." gibt die Musikerin zu Protokoll. Auch musikalisch beschreitet Crutchfield neues Terrain, während die letzten beiden gefeierten Alben "Out In The Storm" (2017) und "Ivy Tripp" (2015) noch von lärmenden Gitarren bestimmt waren, streift "Saint Cloud" diese Wall of Sound Schicht für Schicht ab, um Platz für Crutchfields Stimme und Texte zu schaffen. Das Ergebnis ist ein Album geworden, das von klassischen Americana-Sounds durchwoben ist, aber mit einem modernen Touch. Auf "Saint Cloud" präsentiert sich Crutchfield erneut als eine der talentiertesten Geschichtenerzählerinnen der Gegenwart und sitzt so selbstsicher im Songwriter-Sattel wie noch nie zuvor.

PET NEEDS return with their fourth studio album ‘ELBOWS OUT! THIS IS CAPITALISM’ to be released on Xtra Mile Recordings on 27th March 2026. Recorded by George Perks (Enter Shikari, You Me At Six, Mogwai, Skindred) it follows the release of their Top 20 album ‘Intermittent Fast Living’ in February 2024. The album charts the exploits of the band buying a second-hand punk rock career at auction and trying (and failing) to make it work.

Over the course of the genre-spanning 12 tracks, the story unfolds with a mix of frenetic punk rock defiance; reflective melodic introspective and beat heavy party anthems as well as guest appearance by CJ Ramone, legendary auctioneer Eric Olson and friends The Whops and Jess Guise who help the story develop. The album is a satirical look at the pitfalls of trying to make it as a DIY punk band, delivered by a band at their most creative and bold as they continue on their own ascension of success.

PET NEEDS are a punk fuelled melodic rock fourpiece from Colchester who have toured the world since they signed with Xtra Mile in 2020. Their past three albums have helped catapult the band to the rising stars they are today. They regularly headline tours in UK, Europe and in America as well as huge support tours with Laura Jane Grace, Art Brut, Frank Turner, Flogging Molly, Skinny Lister, Bouncing Souls, NOFX, The Hives. The Lottery Winners, Spike & The Gimmie Gimmies and The Levellers. In the lead up to the album release the band will tour the UK’s regional towns giving fans exclusive listens to some of the new songs. And throughout week of release will perform instores and outstores to push for a high chart position.

Blau-weiße Corona-Vinyl Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey).

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

Working with 32 writers, vocalists, musicians, and producers across the U.S., the U.K., and Brazil, the album carries an intimate feel that resonates with vinyl buyers who value authenticity, context, and artistry. Blending roots- influenced Americana and soulful pop, the album delivers a warm, organic sound designed for full-album listening. With songs focused on relationships, friendships, and everyday life, Behind the Scenes offers a cohesive yet varied listening experience that encourages repeat spins and long-term shelf appeal. Performing, writing, and recording since the age of 16, lead singer Liz Lenten relaunched Auburn in 2012 and has since released four albums recorded in Nashville with Grammy-nominated producer Thomm Jutz, earning critical acclaim, an extensive international airplay. Liz tours regularly with Auburn Acoustic; hosts the podcast Behind the Scenes of an Indie Artist and was awarded a British Empire Medal in 2022 for Services to Music.

This is the second studio album by American soul singer-songwriter and producer Bill Withers, released in 1972. The rhythmic music produced for the record features soul, funk, and blues sounds, backing lyrics that explore themes of human nature, emotion,

Known Associates ist der aufregende Nachfolger ihres gefeierten Albums The Interrogator aus dem Jahr 2024, das für viel Aufregung sorgte, und ein Fiebertraum aus Van Morrison-Hörnern und Leonard Cohen-Gefühlen und bestätigt den stetig wachsenden Ruf von Elizabeth Nelson als eine unserer wichtigsten Songwriterinnen. Wie ihre langjährige Heldin Lucinda Williams hat sich Nelson langsam aber sicher einen Namen gemacht und gleichzeitig einen immer größeren literarischen Ruf erworben, der sie zu einer gefeierten Autorin für die New York Times, den Atlantic, den New Yorker und Oxford American gemacht hat. Außerdem hat sie Liner Notes für Neuauflagen von Bob Dylan und den Replacements geschrieben. Majestätisch, bunt zusammengewürfelt und voller Geschichten über Pech, zerbrochene Erleuchtungen und Secondhand-Wunder, die jedem Fan von Richard Thompson, David Berman oder Tom Waits bekannt sein dürften, sagen Mystiker und Statistiker bereits: Known Associates ist eines der besten Alben des Jahres 2026, und Elizabeth Nelson ist eine der besten Singer-Songwriterinnen der Welt.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, darunter Chuck Berrys „Berry Is on Top“, Etta James’ „At Last“, Little Walters
„The Best of Little Walter“ und Sonny Boy Williamson IIs „The Real Folk Blues“.

It's hard to fathom Martin Bramah's trajectory from his beginnings as a guitarist/writer behind two crazily influential postpunk albums - The Fall's Live At The Witch Trials and Blue Orchids' The Greatest Hit (Money Mountain) (vocalist on the latter too, of course) - then nearly three decades of sporadic-at-best activity, offering releases just frequently enough to remind fans of his peculiar brilliance . . . before another stay in the void. Chalk it up to what you want - Mark E. Smith's utter usurpation of The Fall, his split from partner Una Baines after Blue Orchids' debut, the vague collapse of rash experimentation in `underground' music as early `80s nu-pop and American college rock diluted any real spirit, a few failed attempts at working with with Mark again . . . and maybe just life getting in the way. A sense of lost opportunities isn't tough to justify. Inasmuch as Martin was originally the singer for The Fall - Mark began as guitarist but couldn't play! - and given that the group's mythology was born in an era before that gang of Mancunian misfits had even thought of playing, it's high irony that 49 years after The Fall began, Martin has both become wildly prolific and the leader of a band with more rights of inheritance to The Fall's credibility than any other living person could justify . . .yet the band isn't remarkable for that as it is for the range and wealth extent of their collective powers and talent: two great and original guitarists, three of the UK's most daringly-skilled drummers, a genuine bass legend, and a brilliant spare Blue Orchid guitarist. Four albums in, the HOUSE Of ALL is getting ambitious, with each album a subtle improvement on the last, forging a path away from their pasts without denying a thing. Inklings differs from the first three for not having being largely improvised at first, with sounds, rhythm, groove and melody later forged into songs. They rehearsed! They had fun doing it! They're going on an extended tour! There were even extra tracks! We'll leave it to fans and critics to sit down and analyse the specifics of it all, but Steve, Si, Pete, Phil, Karl and Martin have made a bold and powerful album unlike any other you'll hear in 2026 . . . stately, majestic, bold and worthy of a group of real survivors. In perverse form, the album will be officially announced and preceded by a song not on the album!

Totally Enormous Extinct Dinosaurs is the musical project of British producer, singer, and songwriter Orlando Higginbottom. Known for his emotionally rich electronic compositions and playful visual aesthetic, he emerged in the late 2000s with a sound that merges dancefoor energy with melodic songwriting. His work spans house, techno, synth-pop, and experimental electronic music, and he has earned recognition for both his solo releases and his collaborations with artists across the electronic and pop landscape.

Trouble balances introspective songwriting with dance-foor energy, positioning itself as more than just a collection of club-ready singles. Key tracks include "Garden" which features Luisa Gerstein on vocals and "Tapes And Money" which incorporates Funkadelic's "One Nation Under A Groove" The album was well received, with favourable reviews from several well- respected music publications including the NME who decribed TEED as "one of the UK's most exciting young producers." It was also DJ Magazine's 'album of the year'

Black Vinyl Repress


Das Berliner Indie-/Electro-Wave-Trio Dina Summer meldet sich mit einer ordentlichen Portion Synthpop auf ihrem zweiten Album ‘’Girls Gang’ zurück!

Dina Summer ist ein kollaboratives Projekt, das aus Kalipo, einer Hälfte der legendären Electro-Punk-Band Frittenbude, und dem griechisch-deutschem DJ & Produzenten Duo Local Suicide besteht, die das Label Iptamenos Discos betreiben. Ihre bisherigen Werke umfassen das von Kritikern gefeierte Album „Rimini“ aus dem Jahr 2022, das einen nostalgischen Einblick in Retro-Disco-Vibes bietet, sowie die EPs „Who Am I“ (2021) und „Hide & Seek“ (2024). Seit der Gründung der Band vor fünf Jahren hat Dina Summers Musik mit Millionen von Streams, weltweitem Radio-Airplay und zahlreichen Spotify- und Apple Music-Editorial-Playlists für Aufsehen gesorgt und wurde von DJs wie Charlotte De Witte, The Hacker, Âme, Dixon, Joris Voorn, DJ Hell, Joyce Muniz und Dubfire gespielt. Das neue Album umfasst 11 Songs die sich mit Themen wie Empowerment („No More Tears“ & „Girls Gang“), Außenseitertum („Alien“ & „Zombie“), Vergänglichkeit („Promise Me feat, Curses & Joshua Murphy“), Nostalgie („Halkidiki“) und Beziehungen („Nothing To Hide“ & „Hypnotized“) auseinandersetzen. Legte ihr Debütalbum seinen Fokus eher auf den Club zwischen Italo-Disco und 90ies Elektro, erkundet die neue Veröffentlichung eine größere Sound-Palette, die von New Wave & Post-Punk zu Electroclash und Synth- & Indie-Pop reicht. „Girls Gang“ ist ein gutes Stück songorientierter als das Debütalbum, die Band erweitert ihr Repertoire auf einigen Songs unter anderem um echte (!) Bässe und Gitarren, vorallem aber setzt Frontfrau Dina neben ihrem Markenzeichen - Spoken Word - immer öfter auf ihre Gesangsstimme. Trotzdem knüpft das Album nahtlos an das Erstlingswerk an, man hört wieder jene poppige Melodien und Hooks mit denen sich Dina Summer zuvor schon einen Namen gemacht hat, ausgebreitet auf einem Bett aus Indiepop-Hymnen und Club-Brechern.

Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

Transmitter ist Max Clarkes viertes Album als Cut Worms. Produziert von Jeff Tweedy im Loft Studio von Wilco, zeigt Transmitter, wie Clarke seine Fähigkeiten weiterentwickelt hat und wie zwei Künstler zusammenkommen, die in ihrer Arbeit nach Anmut inmitten von Entwurzelung suchen. Es sind Orte, die vom Mythos der Selbstständigkeit geprägt sind, an denen Menschen, die die Idee der Verbindung durch Technologie verkauft haben, zu stillen Sendern reduziert wurden - Datenpunkte, die gekauft und verkauft, manipuliert und gemessen werden und deren Leben durch genau die Netzwerke verzerrt wird, die sie eigentlich verbinden sollten. Die ersten Anzeichen für Transmitter gab es, als Cut Worms im Sommer 2024 als Vorgruppe von Wilco unterwegs waren. Am Ende der Tour lud Tweedy die Band ein, im legendären Loft in Chicago aufzunehmen, und schon bald wurden Pläne geschmiedet, im Herbst damit zu beginnen. In der gemütlichen Unordnung aus Gitarren, Verstärkern und Büchern im Loft fanden Clarke und Tweedy schnell eine gemeinsame musikalische Basis und eine gemeinsame Vorliebe für komplexe Songs. Während Clarkes Stimme und Texte den Rahmen bildeten, skizzierten Tweedys Gitarren- und Basslinien die Räume, in denen die Songs leben. Tweedys Präsenz als Produzent zeigte sich nicht in hartnäckigen Entscheidungen, sondern darin, wie er Räume kolorierte und immer wieder neue Texturen anbot. Zwischen ihnen überbrückte ihre gleichgesinnte Sensibilität eine Generationskluft, um etwas zu schaffen, das nuancierter war, als es jeder von ihnen allein hätte schaffen können. Wenn frühere Veröffentlichungen von Cut Worms von der Dekadenz des Brill Building und verrückter Americana geprägt waren, wirkt der Sound auf Transmitter dunkler, reichhaltiger und gesättigter mit der Angst des modernen Lebens. ,Long Weekend" beschleunigt die Zeit und hat die melodische Dringlichkeit von Big Star oder Dwight Twilley. ,Evil Twin" kämpft mit bitterer Enttäuschung, seine gesprächigen Gitarren erinnern an den klirrenden Herzschmerz von The Replacements und The Go-Betweens, und ,Windows on the World" neigt sich mit einer Melancholie, die irgendwo zwischen Elliott Smith und Miracle Legion schwebt, der Sonne der Zukunft zu. Der letzte Titel ,Dream" bringt uns zurück auf eine vertraute Ebene: Clarke allein am Klavier, zart und unentschlossen, grübelt er über das Schicksal von Träumen und das Risiko, zu kurz zu kommen oder sich auf dem Weg zu verlieren. Transmitter zeigt Clarke in voller Fahrt, der mit der Überzeugung eines Menschen schreibt, der seinen Frieden mit der Ungewissheit gemacht hat. Diese Songs setzen sich mit den Kosten des Komforts auseinander und kehren zu der Idee zurück, dass Schönheit, Verbundenheit und Liebe keine Luxusgüter sind, sondern Überlebensnotwendigkeiten. Clarke fühlt sich zu Paradoxien hingezogen - der Reibung zwischen Intimität und Flucht, Glauben und Zweifel, Schatten und Licht. Seine Vergebung kommt, wie die des abgeschnittenen Wurms, durch Übertragung zustande: durch den Akt, etwas Zerbrechliches in den Lärm zu entlassen und darauf zu vertrauen, dass es noch immer spürbar ist.