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Harry Romero, Brothers Macklovitch, and Austin Ato team up on Rekids.

Harry Romero and Austin Ato return to Rekids alongside the debuting Brothers Macklovitch, aka A-Trak and Dave 1, with the ‘The Corner’ EP, arriving 5th June 2026. Romero has more than two decades of house pedigree behind him, continuing to refi ne a signature sound rooted in expert drum work and undeniable attitude. With a catalogue spanning seminal imprints from Nu Groove to Classic Recordings and Defected, the Bambossa Records boss builds on his 2025 debut with ‘Nice To Meet You’, once again showcasing his knack for balancing functional, floor-ready grooves with rich musical character.

Joining Harry Romero are Brothers Maklovitch, consisting of legendary turntablist A-Trak alongside his brother, David “Dave 1” Maklovitch of Chromeo, bringing decades of experience across the electronic spectrum, alongside versatile Scottish producer Austin Ato, who previously contributed to Oliver Dollar’s 2025 album on Radio Slave’s Rekids imprint.

Harry Romero, Brothers Macklovitch, and Austin Ato’s ‘The Corner’ (Piano Mix) opens the release, a warm and energetic house cut driven by bold, bouncy drums and jazzy melodic touches, as lively guitar licks and rolling piano lines inject an uplifting, expressive feel primed for the dancefloor. The ‘Deep In Jersey Dub’ follows, maintaining the heat with a more stripped-back approach, where filters and breakdowns build tension before a punchy drop, with teased-out guitars adding to its dynamic impact.

Menikmati is proud to welcome the prolific Daniel Meister for his long-awaited debut on the label. Known for his surgical precision and signature groove, Daniel delivers the Loose EP—a four-track masterclass in stripped-back, hypnotic minimalism.

Four masterclasses in groove, cut straight to the wax, Where Meister’s precision meets rhythm’s deep tracks. From the roll of "Loose" to "Connect’s" final beat, Hypnotic vibrations for the mind and the feet.

As always coming in different colored marbled Vinyl and only on Vinyl !

Kreng transports us through the swirling darkness and into the unknown with “Wormhole”, his first album in over a decade.

What does a trip towards another world sound like? We’re about to find out. The master of tension, melancholy, and the deranged is back after a long period working in the worlds of theatre and cinema. Last seen on Miasmah with the grief stricken The Summoner, Kreng now returns with Wormhole, following closer in the footsteps of the cult classics L’Autopsie Phénoménale de Dieu and Grimoire.

Starting with “You Are Here”, the listener travels through a vacuum of spacious minimalism and edge-of-your-seat tension. Within the journey, we are pulled and lured towards a mystic inner core and beyond, encountering drifting fragments of old-world nostalgia on the way: echoes of empty jazz bars sit alongside hellish, Hieronymus Bosch-like scenarios.

Surrendering to the album reveals a surprisingly reflective beauty beneath its darkness; it's a true home-listening gem that unfolds like a Lovecraftian cosmic horror-mystery in the way only Kreng could deliver. Forget everything you know and enter the secret door…

Cuban dancefloor history gets revisited here with the debut release from Luchando Music. This 7" - which has been drawn from the Egrem archives - pairs two fiery 1970s recordings, opening with 'Y Que Se Sepa' by Los Van Van. Written by Juan Formell, delivers a sharp dose of classic Cuban groove with big brass leading the way, enter chords keeping time and tambourine tinkles adding accents to the groove as the vocal offers soulful radiance. Flip it over for 'Mi Quimbin' by Los Bocucos, composed by Jose "Pepe" Couto. Long circulated internationally under a different title, the track is all sunny energy and trilling melodies, busy percussive shuffles and meandering bass that is pulled back into focus by various drum breaks.

Few producers age into deep house with this level of ease. From Switzerland, Shaka's latest EP feels authentic and lived-in rather than retro while drawing on 90s jazz-inflected house without leaning on pastiche. The opener main vocal mix drifts in on flutes, soft keys and Eve's voice, setting a loose, late-night mood that favours feel over flash. The instrumental flute version pares things back, letting swing and detail breathe. Flip it and 'As If Eternity Belonged To Us', featuring Cate Acupar, locks into a warmer, early-2000s pulse, while 'Life Is Brighter With You' cools the room with sax, piano and patient restraint. Dancefloor-ready but also nice and reflective.

‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

Mr. K’s latest is a sureshot double-sider with two much-loved classics given the exclusive treatment from the edit master.

The Shades Of Love, a powerhouse female vocal trio led by the sensational Meli’sa Morgan, dropped an absolute boogie bombshell in 1982 on their first collaboration with superproducer Patrick Adams. ‘Body To Body’ has an easy midtempo swing that’s perfect for a dancefloor (or roller rink!) with a chunky bass line and crisp claps pushing things along, giving Morgan’s sultry vocals the perfect springboard. Previously only available as a 7-inch on obscure Dutch and Brazilian pressings… but that was a remix version, this custom edit by Mr. K is from the version Larry Levan made famous at the Paradise Garage, a welcome addition to any dance 45s crate.

Taking things back to the early days of disco music, Crown Heights Affair provide a shimmering slice of uplifting magic on ‘Dreaming a Dream’. Originally an instrumental break of a vocal song, this wordless take became a hit in its own right when it was released as a single in 1975. That famed version, however, sadly ends far too early. The magnificent waves of sparkling keys, rushing

Stanz Amor delivers a five-track EP that blends crunchy sound design, tribal influences and driving grooves into a cohesive statement of energy, movement and atmosphere. Hailing from Blackpool UK, Stanz Amor emerged in 2023 with a distinctly old-school approach, channeling groove, rhythm and intensity into a modern context, which he showcases on his Backspin Records debut EP 'Mercurial'. ??Opening with 'Kong', the EP sets the tone with an old school spirit reimagined through a contemporary lens. Loopy structures, banging percussion and textured, gritty elements create a hypnotic flow designed for peak-time moments. 'Mercurial' raises the intensity, propelled by fast-paced hi-hats and shimmering rides that injectconstant motion, while a rolling low end gives the track serious weight. A striking Latin vocal lingers throughout, leaving a lasting impression long after the track fades. On the B-side 'Count' shifts the energy into a groove led by rolling bongos, underpinned by a heavy sub and catchy, repeating vocals that lock into a tight, circular rhythm. 'Yawhoo' follows with a punchy kick, rumbling foundation and driving percussion, elevated by a cheeky vocal and a whistle straight out of the 90s rave era, adding a playful, nostalgic edge. The closing track is a remix of 'Count' by Steve Redhead, who reinterprets the original with forceful yet hypnotic percussion and finely detailed vocal work. A Belgian techno mainstay since the early 2000s, Redhead is known for his uncompromising, groove-driven sound and lasting influence within the underground. ??With this release, Stanz Amor delivers a focused and effective collection built on groove, repetition and dancefloor functionality. Released on Regal's Backspin Records, a label rooted in the underground and dedicated to honoring techno's origins while pushing its future, the project balances nostalgia with modern clarity, designed to resonate in clubs and leave a lasting impact.

‘ИМА (Ima)’ is a work by KiMiMi, the solo project of a musician Shin-ya Ohno, which captures the layers of time and the presence of people inhabiting ‘Arimasuton Building’―a self-built structure created over 20 years by architect Keisuke Oka, located in Mita, Tokyo, and reconstructs them into music.

A multi-instrumentalist who masterfully handles a diverse range of instruments, with the gaida (an ancestor of the bagpipes) – which he studied in Bulgaria – at the core of his sound, KiMiMi has previously brought traces of daily life and folk melodies recorded during his travels back to the scale of home recording, weaving fantastical folk soundscapes through cassette tape works and stage music.

Alongside his musical activities, he has participated in the construction work for ‘Arimasuton Building’, recording the sounds of hammers and steel beams echoing on site, lunchtime chatter, the melodies of instruments played by others, and the sound of cars passing by. From the end of 2022, a zine titled ‘Monthly Arimasuton Building Urimasu’, based on this construction project, was launched. KiMiMi incorporates these recordings into the musical works he contributes to each issue, layering sounds from live instruments―including the gaida, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica and xylophone―alongside a few synthesiser tones, to shape a soundscape imbued with the humidity and breath of the site.

KiMiMi’s creative process is characterised not by planned construction, but by an attitude of entrusting the work to chance, intuition and the passage of time. Fragmented recordings are layered, set aside for a time, and then unearthed again. Through this repetition, the music naturally takes shape. This resonates perfectly with the process of ‘Arimasuton Building’, which was built up improvisationally, layer by layer, without any pre-prepared blueprints.

‘ИМА (Ima)’ marks the current stage of KiMiMi’s sonic journey and represents an attempt to gracefully transcend the boundaries between architecture and music, documentation and creation, and the individual and the community. The clamour of the city, the tranquillity of manual labour, laughter, and every sound resonating at the Arimasuton Building site blend with KiMiMi’s music, reflecting the very passage of time in which people live.

2026 Repress

Physical Education is proud to have Len Lewis back. This time with the reissue of his early 2000s Joy / Skip Up release. A hard to find record released back in the day in a small run press coming out again right in time for summer.

A side's Joy is a beautiful cut of deep tech house with lovely strings and swinging toms signature of the Swag Records affiliate. While the B side includes 2 versions of Skip Up, both are a perfect hybrid between modern deep house and breaks characteristic from that era.

For the second IT record from Detroit's Andy Toth, he explores a sci fi fusion of electro and acid, with a remix by BMG of Ectomorph fame. Andy Toth has a long history in Detroit Techno, from an engineering and mixing background where he mixed records for the likes of Mike Huckaby and many others, to co-authoring "Sandwiches". For this record, Andy had the songs mixed on hardware by BMG in his studio, to give them an even more 3 dimensional sound and an even greater weight. The result for the "Mind Lock EP" is simultaneously hypnotic, acid, sci fi, and electro. The depth of tone, density of sound and maturity of concept come through the 4 deeply compelling tracks that you can just get lost in.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Nach fast 30 Jahren kehren die Legenden von Sublime am 12. Juni mit ihrem neuen Album „Until the Sun Explodes“ zurück, erstmals mit Jakob Nowell als Frontmann. Das bei Atlantic Records erscheinende Werk kombiniert den klassischen Sound der Band mit neuen Einflüssen und featured namhafte Gäste wie H.R. von den Bad Brains oder Fletcher Dragge von Pennywise. Die gleichnamige Lead-Single ist eine bewegende Hommage Jakobs an seinen verstorbenen Vater Bradley Nowell.

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.

This is a dance floor killer mash up destined to rock any radio airwaves and equally any dance floor. The classic Marvin Gaye vocal on top of this familiar funk rap groove, works well in a synergy like it could have been recorded back in the day, like it sounds now in the millennium. Limited edition 300 copies.

Pelle makes his mark with the first release on the Time Item label with the Deep
Currents EP, a high-pressure set of tech house and techno cuts designed for the
club. Relentless grooves, punishing kicks, and hypnotic tension build tracks that
hit hard and hold tight. Club-ready from front to back.

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Crash is a debut EP of Abel Dalum, aka KennyKrazyWorld. Often appearing on tracklists of many, now breaking through with his highly anticipated 4 piece solo, no-remix EP. Across four movements, KennyKrazyWorld sketches a system in flux: fragments of noise, texture, and space dissolving into one another. As he likes to say himself, "its all about the percussions".

Petrichor opens with the residue of a storm — metallic air, wet circuitry, the pulse of machines breathing beneath the rain and a broken up kick. Like a scene from Blade Runner or a concert hall opening somewhere deep in the megalopolis. The 10-minute track is there to pull in and not let go. Dust follows, bone-dry and disintegrating, rhythm shedding its structure until only motion remains, hooking the listener to lose himself in its enchanting wormhole of evolving percussions and atmospheres.

At its core, the 3rd "backbone" track of the same-named EP, Crash, is already breaking apart: percussive tension folding in on itself, and a memorable voice over to seal the deal. Divergent closes the loop — but doesn't leave the listener with breadcrumbs, rather with a feeling like a party in full effect being closed at 3AM due to some scumbag cops…
Crash is techno as erosion, but also a study of groove and flow — repetition worn into form, emotion distilled through pressure.

For The Bobby Lees, their fourth album and Epitaph debut New Self marks a thrilling new chapter for the band while doubling down on what"s always made them so magnetic. The Bobby Lees don"t need much in the way of introduction. Within a few seconds of exposure to their furnace-blast live shows or their bottled-lightning studio records, it"s easy to hear why they"ve earned fans in legendary musicians like Iggy Pop, Debbie Harry, and Henry Rollins. They"re as uncompromising in their sound and generous with their energy as any of their punk ancestors who first rewrote the rules of engagement back in the 1970s. Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock. You can hear the band easing into a new confidence -- one that"s both looser and more towering -- all throughout New Self, from the seething, fiery "Napoleon" to the rambunctious, offbeat take on PJ Harvey"s "50ft Queenie." This is the sound of a band who"s scrambled over shaky ground only to come back stronger than ever: more confident, more connected, louder and fiercer and secure in their own skin.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

‘Richness of tone; precision of articulation; ingenuity of timbre that, when Akinmusire pursues microtonal avenues, creates the sense that particular sounds are almost hermetically sealed before being slowly squeezed and pinched into the air. In other words there is a high degree of technical mastery, but, tellingly, it underpins a profound and often engrossing sense of narrative.’ - Jazzwise

‘Halvorson has formulated a guitar style with few precedents. One inspiration might be the painter George Seurat, whose Impressionist paintings of a hundred isolated dots cohere into a picture if one steps back from the canvas. Halvorson’s pointillist approach to the guitar works much the same way.’ - JazzTimes

Slo-Mo Neon Luminate Hoverings, the new album by trumpeter/composer Ambrose Akinmusire and guitarist/composer Mary Halvorson, features four new compositions by each musician as well as one collaboration. The duo, long admirers of each other’s musicianship, met at Halvorson’s Brooklyn apartment and began playing together periodically, going back as far as 2009. They rehearsed the music on Slo-Mo Neon Luminate Hoverings in January 2025, just before performing it at the New York City club The Stone; they recorded this album the next day at Sear Sound.

Akinmusire and Halvorson made two previous attempts at recording an album but felt that they got it right with this third session. Halvorson says of their rapport, which developed over those years of friendship and collaboration, “I think it’s partly a shared aesthetic and an ease of communication. I feel comfortable to try whatever.” Akinmusire concurs, “I think it’s rare to find an improviser that all goes and nothing has to go at all. It’s rare to feel like you don’t have to do anything and you can do anything. And that’s what I love about playing with Mary.”

Though Halvorson regularly uses effects pedals on her guitar, Akinmusire’s use of one on Slo-Mo Neon Luminate Hoverings is new. Having recently gotten an updated model of the Line 6, Halvorson was passing her old ones along to friends. “Ambrose was interested in trying a Line Six. I gave him one five minutes before the rehearsal and was amazed how quickly he was able to do incredible shit on it ... in literally five minutes,” she says.

“But I’ve been watching you, I’ve been watching Bill Frisell and other people use it for a long time,” Akinmusire says. “I approached it as if it were its own musician. I played and it would process the sound and then I would choose to react to that or not. The people like Mary that I love to listen to who use delay, I like being able to hear the process of the texture that’s being built. With some people, when they use it, you don’t really hear it. But with Mary, she’ll play a line and then she’ll react to that line and then react to that,” he continues. “It’s really cool to hear how something is being built. So I kind of stole that.”

Halvorson says, “I’ve never seen someone pick up a pedal and then immediately do something with it that felt like, ‘Oh, this is a sound,’ as opposed to just tinkering, you know? It felt like he was making music on it right away, and then also doing things that surprised me, like the vocalizing really surprised me. I wasn’t expecting that, and it was awesome.”

The Bobby Lees don't need much in the way of introduction. Within a few seconds of exposure to their furnace-blast live shows or their bottled-lightning studio records, it's easy to hear why they've earned fans in legendary musicians like Iggy Pop, Debbie Harry, and Henry Rollins. They're as uncompromising in their sound and generous with their energy as any of their punk ancestors who first rewrote the rules of engagement back in the 1970s. Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock.

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

In Lande’s words: “It’s a daydreaming song about wanting a life of excitement and adventure rather than a dull and ordinary life - one where people underestimate you and belittle you. And where you’re forced to buy into capitalism and become a pathetic, losing player in a game that you hate. I’d rather escape and live in a queer space fantasy and be brave.”

Available on limited turquoise vinyl and digipack CD

It is with both pride and excitement that we announce the reissue of ‘House Without A View’, the out-of-print second album by singer-songwriter Lande Hekt – the first of a three-part reissue series on Circuitry, with ‘Going To Hell’ and ‘Gigantic Disappointment’ (first time physically) to follow in the coming months.

With a new album ‘Lucky Now’ released on Tapete in January, supported by an extensive spring UK tour (dates below), Lande’s contemporary twist on the classic C86 indie sound - with a queer feminist punk identity lyrically explicit throughout – is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within.

The opening track of the album is ‘Half With You’ which “is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long,” says Lande. ‘Cut My Hair’ is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. “It’s also about how easy it is to not talk to people when you’re struggling, which is something I did for a long time,” admits Lande.

The title track of ‘House Without a View’ deals with childhood trauma and how events of our formative years “affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don’t) with life and relationships,” says Lande. Although there’s darkness and sadness within the record, there’s also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. ‘Lola’ was written about Lande’s cat shortly after she came to live with her and her girlfriend. “She’s the first pet I’ve ever had and I wasn’t quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behaviour.”


APRIL 2026 DATES: 4th Cardiff/5th Trowbridge/6th Penryn/7th Portsmouth/9th Ramsgate/10th Cambridge/11th Norwich/12th Nottingham/13th York/19th London/20th Brighton/21st Bristol/22nd Exeter/23rd Manchester/24th Sheffield/25th Oxford

2026 Repress

Jon Gravy releases his 3rd Album on Studio Bahöö containing ideas and thoughts from the past 2 years. The Album called „21 Dreams“ has 8 tracks and features Harry Dean Lewis, DOS and OK June.

The second in a series of releases from Digi Dub’s archives, this 10” serves, as the title suggests, as a tribute to the late, great Julian Fairshare.

On the A-side, Julian vocalises, in his unique style, his crazy finger flicking lyrics over a slinky Digidub riddim that was always a favourite on his sound system. Repent, the (only) slightly more traditional flipside, finds him commenting on the politricks and lies of those in charge, asking them to change their ways, with backing vocals by Helen Macdonald.

A true rasta with firm principles and a heart of gold, Julian was brought up by his Windrush generation parents in a Brixton house that hosted blues parties, and as a result became deeply involved in sound system culture from an early age. For years he ran the Fairshare Unity Sound, working with people from all cultures and walks of life, always maintaining an inclusive attitude while also favouring the more experimental side of dub. In later years he used the name ‘Unruly Julian’, which suited him somehow.

He toured widely around Europe and was one of the first to take a roots and culture sound system to the USSR. Nearer to home he played regularly on the London underground scene, which is where Lee Digidub and Julian first met, leading to a steady supply of dubplates for his sound. On a memorable visit to the studio, Julian announced that he wanted to voice a dub that Lee was working on, which led to them releasing I Scream and No Way on David Records.

“Sadly missed, it’s such a shame that the great man isn’t here to enjoy this release in person, but it’s wonderful that people get a chance to listen to Julian Fairshare: a unique vocalist, soundman and mentor to so many” Lee Digidub Berwick

Qadir Bijoux has been honing his craft for years, cooking up something deeply soulful, made of organic ingredients and infused with oriental spices. The Dilla-inspired producer/rapper is set to give you a first taste of his debut MEWE - an album with a jazzy, Madlib-esque sound. For the most part it"s an instrumental, sample-based project. Let the filter bass massage you and be mesmerized by Qadir"s and his partner in crime Ninja Kidsoul"s soothing backing vocals.

Angel Witch is a pioneering British heavy metal band formed in London in 1976. Together with bands like Iron Maiden, Saxon and Diamond Head, Angel Witch is a key part of the New Wave of British Heavy Metal (NWOBHM), they are recognized as a major influence on early 1980s metal, including bands like Metallica, Slayer, and Megadeth.

The band lineup back then consisted of Kevin Heybourne, Kevin Riddles and Dave Hogg. Angel Witch's self-titled 1980 debut album is considered a seminal, influential work, and to this day metalheads all over the world sing along to the title track Angel Witch whenever it's played. The album cover features an image of a well-known painting; The Fallen Angels Entering Pandemonium by John Martin.

Angel Witch is available as a limited edition of 750 individually numbered copies on silver vinyl.

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

Available for the first time on vinyl! ESCAPE THE FATE deliver electrifying melodies and shattering screams with raw emotional force. Their staggering Epitaph debut entitled There"s No Sympathy for the Dead has five songs and every one of them is guaranteed to blow you away. Die anderen beiden Alben, die wir als Backkatalog haben, haben sich auf CD über 3.000 bzw. 5.000 Stück verkauft!!

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Dirty Heads have built a career out of soundtracking the best moments of people's lives, and with '7 Seas' they're not slowing down. The RIAA Platinum Certified Southern California outfit returns with their much-anticipated ninth full-length album, building on their signature balance of carefree energy and reflective songwriting while inviting fans into their next chapter of freedom, positivity and forward motion. From sun-soaked, laid-back anthems made for a day at the beach to hard-hitting late-night bangers, the album moves fluidly across moods without ever losing the infectious Dirty Heads energy fans have come to love. With over 3 billion career streams worldwide and multiple #1 singles on alternative and rock radio, Dirty Heads have built a dedicated global following by seamlessly fusing reggae, hip-hop, alternative rock and pop.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

HIGH PRIEST OF SATURN's sophomore album 10 year anniversary reissue out in June High Priest of Saturn is a Norwegian slow-burning psychedelic doom band. Their music is a blend of 70s-influenced heavy rock, melodic riffs, Hammond organ, and haunting, ethereal vocals. Drawing influences from bands like Sleep, The Doors, and Deep Purple, High Priest of Saturn have created a ritualistic, trippy, space-influenced sound of their own. Son of Earth and Sky was originally released in 2016 on Svart Records. The album has been sold out for years and remained a fan favorite on digital platforms with millions of streams. Now on its 10-year anniversary we at Svart are proud to bring back the critically acclaimed album to the market on physical formats. Dig in, zone out, and trip on Son of Earth and Sky. Release date June 12th, 2026.