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Zygimantas Dzikevicius aka 5ZYL hails from the vibrant urban district of Pasilaiciai in Vilnius, Lithuania. Since embarking on his musical journey in 2007, Zygimantas has been deeply influenced by the raw energy of old-school rave, breakbeat, and techno. His early work focused on crafting dubstep and jungle tracks, earning him spots as a DJ at various underground parties and open-air events, including the renowned broken rhythm sound festival, Satta.

After five years of intense exploration and innovation within the electronic dance music scene, 5ZYL is set to unveil his highly anticipated debut album Reese Dreams. This LP represents a culmination of his creative journey, meticulously crafted to showcase his evolving sound. The album is presented in two distinct sections: the first half delves into the intricate world of broken beats, while the second half transitions into a high-energy powerhouse experience. Reese Dreams is not just a collection of tracks but a testament to 5ZYLs unique artistic vision and his dynamic approach to electronic music.

Phoenician Drive is a six-piece band from Brussels, blending Western rock with traditional Eastern music into a style they describe as Dune Krautrock. Oud, darbuka, and riq meet distorted guitars and pop textures, weaving connections across the Mediterranean. Inspired by East–West fusions from the 1970s (like Erkin Koray and Orient Express) and the German krautrock scene (Neu!, Can, Faust…), their music explores borderless, hypnotic landscapes rooted in both rhythm and experimentation.

Following a debut EP released on EXAG' Records in 2017, the band put out a self-titled LP and collaborated with choreographer Wim Vandekeybus in 2018. In 2019, Phoenician Drive reimagined their sound in an acoustic format, which they toured extensively for two years throughout the post-Covid period.

Between 2021 and 2022, the group returned to electric instrumentation and recorded Glow, an EP released in June 2023 via EXAG' Records. The release was celebrated with a powerful live show at Brasserie Illegaal in Brussels — a performance captured in the live album Live in Brussels '23. The record channels the band’s raw stage energy and deepens their sonic exploration of trance, tension, and Mediterranean melodies.

Cate Le Bons siebtes Album 'Michelangelo Dying', dessen Entstehung von purer Emotion geleitet wurde, hat das Album, das sie zu machen glaubte, verdrängt. Als Produkt eines alles verzehrenden Herzschmerzes überwanden ihre Gefühle ihren Widerwillen, ein Album über die Liebe zu schreiben, und wurden in diesem Prozess zu einer Art Exorzismus. Herausgekommen ist ein wunderbar schillernder Versuch, eine Wunde zu fotografieren, bevor sie sich schließt - und dabei auch in ihr zu stochern.

Musikalisch gibt es eine Fortsetzung und Erweiterung eines Sounds - eine Maschine mit Herz -, der auf ihren letzten beiden Platten 'Reward' (2019) und 'Pompeii' (2022) Gestalt angenommen hat, da Le Bon zunehmend selbst die Kontrolle über das Spielen und Produzieren übernommen hat. Wenn Gitarren und Saxophone durch Pedale gepresst und Perkussion und Stimmen durch Filter gejagt werden, entsteht ein schillernder, grüner und seidiger Sound, in dem die künstlerischen Eigenheiten von David Bowie, Nico, John McGeoch und Laurie Anderson aufblitzen und wieder verschwinden.

Was übrig bleibt, ist eine sich ständig verändernde, kontinuierliche Einheit, eine Art Songzyklus. Jede Iteration reflektiert die letzte und entwickelt sie weiter. „Jede ist eine Scherbe desselben zerbrochenen Spiegels“: Sie verschiebt sich, glitzert, verbirgt und enthüllt, je nachdem, wie sie im Licht gedreht wird. Letztendlich gibt es, so Cate, „keine Enthüllungen. Keine Schlussfolgerungen. Es gibt keinen Grund. Es gibt nur Wiederholungen und Chaos. Ich habe mir schließlich erlaubt, einen offenen Geist zu haben, um es ohne Widerstand zu erleben, ohne nach einer Offenbarung oder Ordnung zu suchen.“

'Michelangelo Dying' ist eine Übung in der Viszeralität des Lebens, der Liebe und der Menschlichkeit, sowohl für den Hörer als auch für die Künstlerin selbst, und es weiß, was es heißt Halt zu geben, gehalten zu werden aber auch sich ganz und gar allein zu fühlen. „Die Figuren sind austauschbar“, schließt Cate, „aber am Ende bin ich es, der sich selbst begegnet.“

- LP: (Vollfarbige Hülle, 140g schwarzes Vinyl, bedruckte Innenhülle und Download-Karte)

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

Lontra is the new project from Brazilian born, Colombian based producer, and musician, Guille Katorzi. The inspiration and influences for this particular project were drawn from diverse sources, including disco, house, Nigerian boogie & afrobeat.

The instrumentals were and produced in Bogotá with Guille laying down the guitar & bass parts which the songs were built upon. After sending the demos to vocalist Sir Jean (Voilaaa/Sir Jean & NMB Afrobeat Experience), with an invitation to collaborate, he was thrilled to receive a warm response to the songs from Sir Jean and so travelled to France in 2023 to record vocals in the singers' home town of Lyon. Returning to Bogotá, a selection of top brass musicians contributed their blazing horns to the project.

Opening up the EP, "Money, Money" serves up a lively disco beat with percussive Afrobeat highlights, funky guitar licks & Afrobeat inspired horn parts, backed by an irresistibly groovy bassline, setting the scene for Sir Jean's lyrical warning "money cannot buy your soul".

Dropping some of the Afrobeat accents and staying closer to the centre line, "Life Is Movement" is a dancefloor focused track where Katorzi's guitar hook pairs with a restless bassline over which Sir Jean's vocal delivery shines. The flipside begins with a sensuous overture on "Mysterious". A loose Afro-beat & guitar syncopation provides an inviting space for the horn section's refrains and solos. The arrangement allows plenty of room for the listener to become intoxicated by the groove, before Sir Jean opens his heart with the emotive ode to someone we learn of only as..."Mysterious".

Closing out proceedings is a more driving club track. The Lyon & The Hunter... where Sir Jean sings a warning wrapped in metaphors while Lontra throws down a club focused punch that deftly dances between funk, house and afro flavours while the scorching horns set the lot aflame.

The culmination of different inspirations and intonations imbues the project with a vivacity and richness in colour that reflects the multi-cultural assembly of players. Canopy is delighted to welcome the talent of Lontra to the family and are happy to say that this is the first in a number of exciting projects that this artist is serving up

Josie ist Kopenhagens neueste Popgruppe, die 2023 gegründet wurde und aus den vier Freunden Charlotte, Dawn, Martin und Anton besteht. Ursprünglich ein Trio, nahmen sie ein frühes Demo auf, bevor Anton als Schlagzeuger hinzukam, was ihre Besetzung festigte und die Bühne für ihr Debütalbum bereitete. "A Life on Sweets Alone" bietet eine rohe und ansteckende Mischung aus Jangle-Pop, Wehmut und Attitüde. Josie verbindet poetische und doch nachvollziehbare Texte mit einer rauen Pop-Punk-Sensibilität. Fans von Talulah Gosh, Shop Assistants und Tiger Trap werden sich in Josies Welt wie zu Hause fühlen, in der verträumte Melodien und schrille Gitarren auf wummernden Gesang treffen, aber die ursprüngliche punkige "Fuck you"-Energie und die treibende Rhythmusgruppe des Genres beibehalten. "A Life on Sweets Alone" zeigt eine Band, deren Songwriting mit dem der Besten in jedem Genre mithalten kann. Songs wie "Cupid Strikes A Blow" und "My Boy And I" sind unwiderstehlich eingängig, bieten aber genug Wendungen, um den Hörer auf Trab zu halten. "These Days" und "Always" sind beide kompakte Twee-Punk-Taschenmesserstiche, während "If You" und "Falling Apart" klassische Balladen sind, die jedem einsamen Hörer Trost spenden.

Brand new vinyl from The East Coast Affair. Produced by Stephen Fleg aka DJ Fleg. Featuring an all-star lineup of musicians, these are certified instant classics!

As if cosmically enacted, Neko Case breaks to the surface once again with the new album Neon Grey Midnight Green and reminds listeners that she is one of our greatest living songwriters - perpetually becoming more fearless and adventurous. Arriving September 26, the GRAMMY-nominated iconoclast"s ninth LP is self-produced and her biggest-sounding and most intimate-feeling release yet.

As if cosmically enacted, Neko Case breaks to the surface once again with the new album Neon Grey Midnight Green and reminds listeners that she is one of our greatest living songwriters - perpetually becoming more fearless and adventurous. Arriving September 26, the GRAMMY-nominated iconoclast"s ninth LP is self-produced and her biggest-sounding and most intimate-feeling release yet.

Bushwacka! returns to Nu Groove with ‘House Sounds, Vol. 2’, continuing his acclaimed series on the pioneering NYC label. This four-track vinyl release sees the London underground stalwart dive deeper into his expansive sound to deliver another set of expert cuts for discerning selectors.

On the A-side, ‘Jack The Groove’ opens with a driving rhythm and irresistible bassline, while ‘Middle Channel’ flows with hypnotic polyrhythms, fusing vintage Nu Groove influences with Bushwacka!’s unmistakable touch.

Flip it over and the aptly named ‘House Muzik’ is an unfiltered homage to the genre’s raw essence. Closing this eclectic selection is ‘Two Times’, with its punchy percussion and deep synths creating a groove-laden record that’s equal parts nostalgic and forward-thinking. With ‘House Sounds, Vol. 2’ Bushwacka! delivers another essential collection for crate diggers and dancefloor newcomers alike, reaffirming his status as one of house music’s true craftsmen.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

The 3rd and final chapter in Cochemea's epic quest to explore and express the spiritual connection between his art and ancestry. For Vol 3: Ancestros Futuros, Cochemea entrusted his vision to a core group of longme collaborators-a powerful octet composed of New York-based percussionists and members of Daptone's famed rhythm section. Gabriel Roth (aka Bosco Mann) reprised his role as producer, recording and mixing the album live to 8-track analog tape. Cochemea continues to push the boundaries of his sound, blending past, present, and future into a ritual offering-an evolving sonic narrative where memory, survival and creativity converge.

"Nomads" marks Koyla's introspective return, blending cinematic ambient, acoustic percussion, and deep electronic textures. Dedicated to his late father, the title track was first played on a vintage Musima guitar his mother gifted him in the 80s. Living a nomadic life sin e 2021. Koyla channels unpredictability and emotional depth into this rich, genre-defying EP, Expect hypnotic cello lines, frenetic yet organic percussion, and an immersive narrative-soundscape reminiscent of HBOs White Lotus or Apple TVs Severance. The EP opens gently and crescendos into stirring orchestral climaxes before resolving in serene closure - a masterful fusion of classical precision and electronic experimentation, "Nomads" is an emotional and sonic journey where every track tells a story word's cannot

Aiden Francis steps up with his first full EP for the label—a limited 300-press release packed with four club-ready tracks that span progressive, dub, and tech. Following a trio of appearances on the label—including a standout contribution to our recent 6 Years of Portal compilation—a full EP felt inevitable. And as expected, Aiden delivers: no filler, just deep, heads-down gear built for the floor.

Moody McIvor and Nerang Recordings proudly present the launch of a new sublabel, Ronnie’s Records, created to explore raw, emotive, and immersive sonic worlds. The first release, Shadow Frequencies, is a deeply personal body of work developed over four years by Christopher McIvor
(Moody McIvor), with production support from Felipe Bortoloti. This album blends ethereal soundscapes with pulsating rhythms, weaving together electronic textures and organic depth in a journey that feels both intimate and expansive.
Shadow Frequencies is dedicated to the memory of Benaiah Fiu, a close friend who passed in January 2024.

Every track serves as a tribute to love, loss, and memory— channeling deep storytelling through haunting melodies, evocative vocals, and emotionally rich atmospheres

The saga continues with the powerful soundtrack to Vikings Season 3. Composed by Emmy Award-winner Trevor Morris, the score evolves with the growing scale and emotional weight of the series. Season 3 takes viewers deeper into Ragnar's journey, from political ambitions to personal sacrifice, and the music reflects this with rich orchestration, ambient electronics, and haunting Nordic textures. This edition also features musical contributions from Einar Selvik (Wardruna) and Steve Tavaglione, whose unique elements lend an ancient layer to the score. Vikings (Music From Season Three) is available as a limited edition of 750 numbered copies on white coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

The official soundtrack to the first season of the acclaimed historical drama Vikings is now, for the first time, available on vinyl, offering fans and collectors a rich and immersive listening experience. Composed by Emmy Award-winning composer Trevor Morris (The Tudors, The Borgias, Dragon Age: Inquisition), the score captures the raw intensity, emotional depth, and mythic atmosphere that helped define the tone of the series. From sweeping orchestral moments to brooding ambient textures, the music reflects the harsh beauty of the Viking world and its complex characters. One of the standout tracks is the opening theme, “If I Had A Heart” by Swedish artist Fever Ray, whose haunting vocals and minimalist electronics set the tone for the series. The track became iconic, earning recognition for its unique contribution to the show’s identity. The series itself has received widespread acclaim and multiple awards, both for its storytelling and technical execution, with the music playing a vital role in its success. Vikings (Music From The TV Series) is available for the first time on vinyl as a limited edition of 750 numbered copies on blue coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

15 Years Of Dame-Music Vol. 3 marks the final chapter in a celebratory trilogy from the label, closing out a decade and a half of fearless sonic exploration.

True to form, Vol. 3 delivers a curated cross-section of techno, electro, and acidic dancefloor pressure, each track a statement, each artist a pillar of the underground.
From outer space techno to basement electro, this record is a testament to the label’s enduring influence and unrelenting spirit, with six standout cuts from across the techno and electro spectrum which inc. artists such as Dr Smoke (aka Oscar Mulero), DJ MELL G, Millimetric, Alienata, Delectro and label head Bloody Mary.

"New Juke Swing" marks SHONIIA's debut in the Juke/Footwork genre, where he fully embraces the rhythmic freedom that defines the style. Centered around sampling, the release weaves together a rich palette of New Jack Swing, R&B, and soul samples, layered over rapid, broken Chicago rhythms built primarily on the genre's staple drum machines - the RolandR70 and 808 - and spiced with looping vocal phrases.

The album doesn't reject the genre's rules - it plays with them. You'll hear breakbeat elements (MY MUSIC), signature clipping and lo-fi textures (KEEP FREAKY, LOOK AT ME), and even drill influences (HUNG UP AGAIN). The final countdown in DROP ITDOWN LIKE THIS can be read as both a tribute to the cyclical nature of beat-driven music - a core part of the producer's background - and a hint at a possible continuation of the series.

"Streben Sie nach Tiefe, Klangfülle und dem organischen Aspekt des Klangs, während Sie die Klangfarben der Instrumente sublimieren." Im September 2024 schloss sich Kacimi für drei Tage in Christian Hierros Back To Mono Studio in Lyon ein, um eine Live-Session aufzunehmen. Begleitet von seiner Band La Mécréance wurde dieses neue Werk unter Konzertbedingungen auf einem 8-Spur-Tonbandgerät aufgenommen, mit einem Mikrofon pro Musiker und einigen Umgebungslautsprechern, um die Energie und Intensität der Combo einzufangen. Mit außergewöhnlichen Telefunken V71-, V72- und V76-Röhrenvorverstärkern und altmodischen Bändchenmikrofonen, um so nah wie möglich an der Realität zu bleiben, nimmt Kacimis neues 9-Track-Album "Mauvaise" die Form eines klanglichen Garage-Epos an, in dem Fuzz-Gitarren im Mittelpunkt stehen. Kacimi bietet hier eine Auswahl neuer Titel sowie einige bekannte Stücke aus seinem Live-Repertoire.

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2001. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

Alongside Bérurier Noir, Parabellum and Les Wampas, Ludwig Von 88 is a major figure in French punk – or alternative rock, call it what you will. To celebrate the 40th anniversary of their cult debut album Houlala, Archives de la Zone Mondiale is releasing a limited edition (gold sleeve and disc), an identical reissue of an ultra-confidential (and highly sought-after!) gold pressing released in 1986. ‘Pololop’, ‘HLM’, ‘Marche’, “Bilbao”, ‘Bière et Punk’ are hits that Ludwig continue to play live today in their colourful, joyful and chaotic performances.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation. Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M"awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of "Adam Nana". Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare. The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market.

This exceptional release feature both the first and the last track in the highly collectable King Horror series.
Released in 1969, DRACULA PRINCE OF DARKNESS was the very first title in the series.

It is widely believed the performer on the track is Laurel Aitken. Incredibly this Boss Reggae killer has never been reissued until now..

GHOST HOUR was the last in the King Horror series and was only released as a B side on a white label that never got released in
1970 on the REGGAE label. This is therefore the first official release of GHOTS HOUR.

Both tracks are very rare and very much in demand with original pressings
commanding high prices on the vinyl market. Just 500 worldwide!

Melanie Martinez’s 2015 release, ‘Cry Baby’. To celebrate the 10th Anniversary of ‘Cry Baby’, this Special Edition 3LP version is now available with a new Cloudy Pink & Coke Bottle Clear pressing of Cry Baby. As a special addition to the package, a strictly limited Bubble Gum Clear pressing of the Dollhouse EP is included in the Cry Baby Slipcase - repressed for the first time since its original release.

In for the Kill! is the fourth studio album by Welsh rock band Budgie. It was released through MCA Records in May 1974.
The album includes the song "Crash Course in Brain Surgery," originally released in 1971
as a single and was included on their self-titled debut album.
The song was covered by Metallica for their 1987 EP The $5.98 E.P. - Garage Days Re-Revisited,
while the album's title track was covered by Van Halen during the group's club days

Released in 1996 at the height of Britpop’s cultural takeover, Free Peace Sweet saw Dodgy break into the mainstream with a sun-drenched sound that set them apart from their more angst-ridden peers. Bursting with optimism, melody, and a touch of psychedelic sparkle, the album became the band’s biggest commercial success. Its lead single, "Good Enough", was a bona fide anthem, climbing to No. 4 on the UK Singles Chart—Dodgy’s highest-charting track to date. Follow-ups "In a Room" and "If You're Thinking of Me" also struck a chord with listeners, hitting No. 12 and No. 11, respectively. Even "Found You", the album’s final single, secured a strong No. 19 spot, solidifying the band’s chart credentials. Free Peace Sweet reached No. 7 at the UK Albums Chart and later achieved certified platinum. Dodgy's Free Peace Sweet includes a 4-page booklet.

Lights… Camera… Revolution is the fourth studio album from Venice Beach, L.A. heavyweights Suicidal Tendencies. Suicidal’s flirtation with the mainstream (complete with obligatory criticism of ‘selling-out’) went Gold in the US with over half a million copies sold, and to this day remains an essential record in any Metal or Punk collection. It is an excellent record for fans of Anthrax, Metallica, Biohazard and Black Flag. Lights… Camera… Revolution is available as a 35th anniversary edition of 2000 individually numbered copies on red coloured vinyl

Nobody 2 is the sequel to the 2021 action-packed blockbuster film starring Bob Odenkirk, Connie Nielsen, Christopher Lloyd and Colin Hanks. amongst others The soundtrack for the film was composed by Emmy-nominated filmcomposer Dominic Lewis (Bullet Train, The King's Man, Karate Kid: Legends) and features two cover songs. The first one is a cover by José James of the classic 1962 song "The Good Life". The song was originally sung in French by Sacha Distel, but became more popular when released in English by Tony Bennett. The other cover is performed by American rock musician Des Rocs of "Ring of Fire", written by June Carter and Merle Kilgore and popularized by Johnny Cash. Nobody 2 is available as a limited edition on turquoise coloured vinyl and includes an insert.

"Later Than You Think" erscheint bei seinem neuen Label YOUNG und beschäftigt sich mit Themen wie Trauer, Gerechtigkeit, Wiedergeburt, Transformation und spirituellem Kampf. Es ist ein Werk von Bekenntnis und Konfrontation, für das sich Affekt, Intellekt und Geist auf der Suche nach dem Schönen, der Wahrheit und dem Realen zusammenschließen. Entstanden ist das Album in den Ozarks von Missouri. Die 16 Tracks vereinen Elemente und Gegensätze wie Üppigkeit und rohe Reduziertheit, das Heilige und das Profane, minimalistische Disziplin und maximale Schwelgerei, Kontrapunkt und simple Popharmonien. Im Kern unterstreicht das Album aber vor allem Maus" Hingabe an radikale Aufrichtigkeit und emotionale Wahrhaftigkeit in einem Zeitalter der Entfremdung - angetrieben von Konfrontation, Glauben und der tiefen Überzeugung, dass Sinn und Bedeutung noch immer etwas meinen. Maus, der einen Abschluss in Experimental Music und einen Doktortitel in Politikwissenschaft hat, wurde für die Art und Weise, auf die er akademische Sorgfalt und Lo-Fi Synthpop-Ästhetik verbindet, mal als "philosopher pop star" mal als "analog futurist" bezeichnet. Sein Wirken zieht sich dabei quer durch die Popkultur - von der Grime-Ikone Skepta, der seinen Track "I"m Only Human" sampelte bis zum Gen-Z-Rapper nettspend, von Filmemacher Josh Safdie ("Uncut Gems") bis zum Fotografen Wolfgang Tillmans. Sein Track "Cop Killer" ist im 2025er Film "Friendship" mit Tim Robinson und Paul Rudd enthalten. Mit exzessiven Liveshows und seinen bislang erschienenen Alben, auf denen Ironie, Trauer, Freude und Absurdität stets dicht beieinander liegen, hat Maus einen einzigartigen Weg beschritten und sich eine ergebene Fanbase erspielt.

"Recorded in 1959, Gerry Mulligan Meets Johnny Hodges is heralded as one of the best of Mulligan’s recorded pairings with fellow instrumentalists. On this date, the two saxophonists are joined by a solid rhythm section of Claude Williamson (piano), Buddy Clark (bass) and Mel Lewis (drums), splitting the repertoire across three originals each from Mulligan and Hodges. The two complement the other throughout with the exception of Mulligan’s ‘What’s the Rush’, where the baritonist sits out altogether in favour of Hodges’ alto taking the spotlight.
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

"Under the guidance of Norman Granz, Stan Getz and Gerry Mulligan collaborate for the first time as the primary horns on Getz Meets Mulligan in Hi-Fi. Recorded in 1957, this record offers the unique opportunity to listen to the two jazz stars trade instruments on the first three tracks (‘Let's Fall in Love’, ‘Anything Goes’, and ‘Too Close for Comfort’) with Getz on baritone sax and Mulligan on tenor. The music gels with the help of a world-class rhythm section featuring Lou Levy on piano, Ray Brown on bass, and Stan Levey on drums. While a massive musical success, the duo never recorded again in this quintet format, making this record a rarity.
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

After a much acclaimed series opener, the creators of The Hidden Beauty Of Dutch House ’94-’98 are back! They’re bringing us this second batch of eight carefully selected masterpieces from The Netherlands’ blossoming scene of the day.

Just like volume I, its sequel is filled with thought-to-be-lost tracks from Dutch producers whose names you rarely come across. It took another deep and long dive into the "Atlantis" of Dutch House to gather this collection. Most of the original master tapes literally had to be dusted off before playing…

Suitable for any true House afficionado, you’ll find a panoramic range of styles and flavours on this second selection, as there was on the first. A truly representative flashback has to show the versatility and broadness of both the music and culture of the nineties. The days of open minds and dancing-like-nobody’s-watching. When we went to the club to discover new sounds and dimensions. The time when this attractively fresh music was the hero of every successful night.

Lovingly compiled for your listening pleasure. So, sit back, open up, and surrender to the beauty of Dutch House!

The latest release from Berlin-based label PÚCA sounds is a double side fully equipped for the dancefloor, leaving room to explore across both tracks. Cola Ren’s remix of title track King Puck comes smooth and dubby into the chug, swelling with harmony between original percussions spun with Cola’s unmistakable touch.

Bleating is pushed through a late 90s/00s hall of mirrors, rolling with high energy glimmer in the hands of Tornado Wallace. Some ways towards spacey and ultra-danceable, this is a liquid gem of a B-side made to measure as it complements both tracks.