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Die mehrfach mit Platin ausgezeichnete und GRAMMY®-nominierte Pop-Ikone Carly Rae Jepsen veröffentlicht am 18. September 2026 ihr neues Studioalbum Day and Night via Interscope Records. Das
Doppelalbum umfasst 24 Songs, aufgeteilt in 12 Tracks für den Tag und 12 Tracks für die Nacht, und gilt
als Jepsens bislang geschlossenstes künstlerisches Werk.
Mit Day and Night erschafft Carly Rae Jepsen eine traumartige Klangwelt, in der Tage und Nächte ineinanderfließen. Gemeinsam mit langjährigen Kollaboratoren wie Tavish Crowe (der mit ihr auch schon
den Welthit „Call Me Maybe“ geschrieben hat) entwickelte sie zwei unterschiedliche musikalische Facetten:
Während Day mit organischen Sounds, Live-Instrumentierung und Einflüssen des psychedelischen Pop der
70er-Jahre überzeugt, präsentiert sich Night als moderne, synthgetriebene Dance-Pop-Erfahrung.
Das Album bewegt sich durch ein breites emotionales Spektrum – von Liebe, Freude und Sehnsucht bis
hin zu Angst, Eskapismus und Selbstfindung.
Mit Day and Night setzt Carly Rae Jepsen ihre beeindruckende Entwicklung als eine der prägendsten PopKünstlerinnen ihrer Generation fort und liefert ein Album voller Freiheit, Selbstbewusstsein und emotionaler
Tiefe.

Singer-Songwriterin, Multiinstrumentalistin und Produzentin Agnes Obel kehrt mit dem mit Spannung
erwarteten neuen Album ”The Meaning of Flowers” zurück, das auf die gefeierte Veröffentlichung von
”Myopia” (2020) folgt.
Die aus Dänemark stammende Wahlberlinerin hat das neue Werk vollständig in ihrem Berlin Studio
geschrieben, arrangiert, aufgenommen und produziert. Auf 12 atmosphärischen, genreübergreifenden
Tracks fängt ”The Meaning of Flowers” eine Phase tiefgreifender persönlicher und kreativer Transformation ein.
Inspiriert von der Geburt ihres ersten Kindes erkundet Obel Themen wie Neubeginn, Verbundenheit und
Metamorphose und reflektiert darüber, wie neues Leben den Körper, den Geist und die eigene Beziehung
zur Welt verändert.
Ihre neue Musik schöpft dabei aus vielen Quellen – von der Dichtung Enheduannas (der ersten namentlich
bekannten Autorin der Welt) und den philosophischen Ideen von Hannah Arendt und Emanuele Coccia bis
hin zur dänischen Popszene der 80er- und 90er-Jahre.

Ocean Sleeper stammen aus der australischen Provinz Victoria und haben sich ihren Ruf durch Beharrlichkeit, eine enge Bindung zu ihren Fans und den unerschütterlichen Glauben an ihren eigenen Weg
erarbeitet. Die Band hat sich fest als einer der spannendsten Heavy-Acts Australiens etabliert und die Unterstützung an der Basis in eine wachsende Bewegung verwandelt, die mit jeder Veröffentlichung und jeder
Tour weiter an Fahrt gewinnt. Ihr Aufstieg basiert nie auf Hype oder Abkürzungen; Er ist das Ergebnis
von Beständigkeit, Ehrgeiz und dem unermüdlichen Streben nach künstlerischer Weiterentwicklung. Das
Album *The Peace When I’m Dead* erscheint über BMG Australia / Rise Records und fängt die Last von
Trauer, Schuld und Reue ein, während es gleichzeitig die dunkleren Facetten der menschlichen Erfahrung
auslotet. Angesichts der enormen Dynamik, die sie bereits entwickelt haben, wirkt der weitere Weg von
Ocean Sleeper weniger wie ein plötzlicher Durchbruch, sondern vielmehr wie der nächste logische Schritt
für eine Band, die in ihre entscheidende Ära eintritt.

"One of Britain's most beloved alt-rock acts returns. Twilight is the eighth studio album from Jesus Jones, and their most anticipated release in years, their first new record in eight years.
Since forming in 1988, Jesus Jones have sold over two million albums worldwide, scored eight UK Top 40 singles, and delivered one of the defining anthems of a generation. ""Right Here, Right Now"" topped the US charts in 1991 and remains a global radio staple to this day.
Twilight finds the five-piece, led by singer-songwriter Mike Edwards, venturing boldly beyond their comfort zone, while honouring the restless spirit that has always defined them: the collision of rock dynamics with the experimental freedom of dance music.
It's the sound of a band who know exactly who they are, and are thrilled to prove it all over again."

The story picks up when Connect 3 loses their opening act for a major reunion tour, returning to their beloved Camp Rock to discover the next big thing. As campers vie for the chance to open for their favorite band, tensions rise, and friendships are tested, leading to unexpected alliances, revelations and romances. ​Camp Rock’s all-new campers include bold and determined Sage (Segura) and her easygoing brother Desi (Stone), camp bad boy Fletch (Barton), cello prodigy Rosie (Pollack), drummer with his own beat Cliff (Trotter), choreo queen Callie (Pitts) and intimidating influencer Madison (Jean).

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

2026 Repress

Lewis Fautzi and The Advent join forces on "Gravity Won't Hold Me", a four-track Sci-Fi techno journey that breaks through the limits of sound and space.

Fusing mechanical energy, futuristic tension, and cosmic textures, the EP unfolds with relentless precision and force, a statement of pure propulsion beyond gravity itself.

After enjoying two major hits with the singles “Maybellene” and “Roll Over Beethoven” in 1955 and 1956, it was not until May of 1957 that Chuck Berry released his debut studio album and masterpiece, After School Session. The second album ever released on the legendary Chess Records, After School Session offered a new sound to audiences, nodding to teenagers with its title and including a mix of “rockers” that set the blueprint for the rise of rock ‘n’ roll. Includes “School Day (Ring Ring Goes The Bell),” “Brown Eyed Handsome Man,” and “Too Much Monkey Business.” Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board.

"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."

Born and raised in Oklahoma City, Jason Scott & The High Heat return with their boldest statement yet on Play Boy, a gritty, swagger-filled collection that pushes the band's signature blend of heartland rock, Americana soul, and country grit into new territory Following the breakout success of American Grin and viral momentum surrounding "Too Good Too Bad," Play Boy captures the chaos, charm, and late-night recklessness that have made the band one of the most exciting rising acts in roots-driven country music. Fueled by razor-sharp songwriting, lived-in storytelling, and the electrifying chemistry that's earned them stages alongside acts like Morgan Wallen, Wyatt Flores, and 49 Winchester, Play Boy leans into the band's wild side without losing the honesty and substance at the core of their music. Equal parts dive-bar confession, desert highway soundtrack, and modern outlaw anthem, the album reflects a band fully embracing who they are: loud, fearless, and impossible to box in.

This timeless masterpiece is brought to life in a legendary recording featuring the brilliant violinist Zino Francescatti , under the baton of renowned conductor Bruno Walter, accompanied by the Columbia Symphony Orchestra.

The " This Is ..." greatest hits collection brings together some of his most beloved recordings, capturing the raw emotion, timeless storytelling, and unmistakable voice that made him a legend. Featuring classics like " Jambalaya (On The Bayou), " " Hey Good Lookin'," "I'm So Lonesome I Could Cry," and "Your Cheatin' Heart," and "Cold Cold Heart," the album showcases the incredible run of hits that shaped generations of country, folk, and rock artists. From heartfelt ballads to upbeat honky- tonk anthems, this compilation is a perfect introduction to one of country music's true pioneers.

Released in 1976 on ABC Records, Seed Of Memory is Terry Reid's fourth studio album and marks a significant shift in his musical direction - This 180g vinyl re-issue faithfully replicates the original UK pressing including 4- page lyric insert Produced by Graham Nash, the album was recorded in California after Reid had relocated from Britain, and reflects the influence of the West Coast singer-songwriter scene while retaining elements of rock, blues, folk and soul. All eight songs were written by Reid, whose expressive vocals and guitar work remain central throughout. The recordings are enhanced by contributions from respected musicians including David Lindley on guitar and violin, Ben Keith and Al Perkins on pedal steel, and Graham Nash on harmony vocals. Lyrically, the album explores themes of reflection, spirituality, personal growth and social awareness, with songs such as "Brave Awakening" drawing on Reid's family connections to the mining industry. The relaxed arrangements contrast with the heavier sound of some of his earlier recordings, creating a more atmospheric and melodic style.

After hooking up with Ten’s Gary Hughes for his first three solo albums, and his fellow Hard Rain band-mate Paul Hodson for his fourth, when it came to ‘Spirit of Man’, Bob’s fifth album, the Magnum vocalist worked with the guys from Lost Weekend, along with Vince O’Regan (Escape, Legion, Pulse), who had been Bob’s touring guitarist for many of his solo shows. Vince and Bob also played many acoustic shows, and during this productive period the duo retired to Vince’s studio and recorded acoustic versions of songs covering Bob’s full solo career. The result is 11 songs highlighting the beloved velvet tones of Catley’s vocals and the melodic clarity of O’Regan’s delicate finger picking. No Magnum songs, but then this is purely a record of Bob Catley’s wonderful and highly successful solo career. Artwork and design by award-winning artist Sebastian Kozak (Ten, Crown of Thorns etc).

Pressure Chords is the first joint album by composer-performer John McCowen, trombonist Weston Olencki and cellist Lucy Railton. McCowen’s composition is based on the spectral analysis of contrabass clarinet multiphonics, and the tuning system corresponds with the overtone spectrum of McCowen’s instrument. The trio adaptation of Pressure Chords presents itself as an exercise in both patience and intensity, slowly building towards an expressive finale. Across its 34-minute runtime, restrained minimalism slowly gives way to maximally affective sonic force.McCowen, Olencki and Railton first shared the stage for an improvised session at Berlin’s KM28. McCowen realised that he found two capable partners for creating orchestrations of his works for the contrabass clarinet. Olencki, who also contributes field recordings to the album, has worked across different genres and traditions, while Railton has made a name for herself as a composer and improviser as well as a performer of Just Intonation music. Weston and Lucy both have immense experience performing and composing music outside of equal temperament, so it seemed like a perfect situation, McCowen says. The trio first presented Pressure Chords live at Berlin’s Morphine Raum in 2023 before recording a studio version with Adam Asnan in the following year. The recording—mixed and mastered by Albert Finnbogasson in Reykjavík—elegantly captures the multi-layered tonal and sonic qualities that the musicians so carefully explore. As a result, their performance doesn’t so much invite but necessitate deep listening—time passes differently on and with Pressure Chords.

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

Nach den vielgelobten Moonlight Concessions mit ihrer Band Throwing Muses kehrt Kristin Hersh im Jahr 2026 mit einem düstereren, zugleich jedoch zart ausgearbeiteten Soloalbum zurück. Sugar On Blackstone erkundet die Themen Leben und Tod, Reichtum und Armut sowie jene kleinen, aber prägenden Momente der Kindheit, die bis ins Erwachsenenalter nachhallen. Als zutiefst persönliches und emotional weitreichendes Werk reflektiert das Album über die beständigen Bande zwischen Musikern, Familie und Freunden - und darüber, wie bestimmte Klänge, Orte und Erinnerungen einen Menschen plötzlich wieder lebhaft ins Bewusstsein rufen können. Aufgenommen Anfang dieses Jahres in den Stable Sound Studios in den Niederlanden, wird Hersh auf dem Album von ihren langjährigen musikalischen Weggefährten Rob Ahlers (50FOOTWAVE) am Schlagzeug und dem Cellisten Pete Harvey (Throwing Muses) begleitet. Das Ergebnis ist eine karge, und doch warme Liedersammlung, die ein Gleichgewicht zwischen Zerbrechlichkeit und Kraft, zwischen Intimität und Spannung hält. Entstanden im Nachgang einer persönlichen Tragödie und vor dem Hintergrund ständiger Reisen, von Waldbränden und rastloser Bewegung quer durch Amerika, durchzieht das gesamte Album eine Atmosphäre der Unruhe. Doch inmitten dieser Dunkelheit findet Hersh Momente der Zärtlichkeit und Verbundenheit. Als ergreifendes und vielschichtiges Werk, das gerade in seiner Verletzlichkeit Stärke ausstrahlt, erweist sich Sugar On Blackstone als ein weiteres unverzichtbares Kapitel im gefeierten und sich stetig weiterentwickelnden Gesamtwerk von Kristin Hersh. Für Fans von PJ Harvey, Emma Ruth Rundle, Beth Gibbons, Low, Yo La Tengo, Throwing Muses, Alternative (Rock), Dark Folk, Post-Americana, Independent, Grunge Singer/Songwriter

L.O.T.I.O.N. Multinational Corporation have been percolating in the NYC underground for the past 10+ years - gaining notoriety for their unique brand of industrial cyberpunk with intense live shows, fiercely political lyricism and striking visual aesthetics (masterminded by the band’s vocalist, noted visual artist Alexander Heir.) Blending noisy electronics and pumping beats with live instrumentation, the band draws inspiration from the militant minimal techno of Detroit, 90s Gabber, and the thrashing riffs of Hardcore Punk. The upcoming release "Machine Hallucinations" is their most fully realized to date. Exploring topical themes of artificial intelligence, the horrors of ICE raids and the corrupt modern military industrial complex, "Machine Hallucinations" is a violent and sobering critique of the current fractured state of The USA. Recorded and Produced by Ben Greenberg (Uniform) and featuring guest appearances from Iggor Cavalera (Sepultura, Cavalera Conspiracy), LA electro-punks La Pregunta? and vocalist Lulu (Fairytale, Twisted Thing) - as well as an expanded dual-guitar line-up, "Machine Hallucinations" broadens the sonic spectrum only hinted at on previous releases.

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

"Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputation as New York's leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become 'Krautrock'. Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more. 'Silver Apples... a beautiful and mysterious artifact.' - New York Times.



Sales points
- New 24 bit /96 kHz transfer taken from the original master tapes.



- Limited Blue Sky Colored Vinyl



- First Reissue from Original Tapes



- Currently Touring in the US and Europe



- 'Oscillations' featured in Pitchforks Top 200 songs from the 60's.

Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.
Across two landmark albums — Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997) — The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.
After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.
In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the band's sonic vocabulary while preserving the qualities that made them unique: curiosity, intelligence, vulnerability and an unwavering commitment to following their own instincts.
Now, more than three decades after their formation, The Van Pelt are set to return in 2026 with Remain Obscure, their fifth studio album. Continuing their tradition of defying expectations, the record pushes beyond the familiar boundaries of the band's sound while embracing the same spirit that has defined them from the beginning. A band whose influence has consistently exceeded its visibility, The Van Pelt remain one of independent music's most enduring and rewarding secrets.

Twisted Teens is a rockin’ roll band from New Orleans.
The Kinks living in a school bus with no wheels on it. The Rolling Stones of Jungian anarchism.
The Buzzcocks of the poisoned bogs of south Louisiana.
Punk inflected country music, or country inflected punk music idk.
Memetic warfare via earworms (it’s extremely catchy). Outperforms all other bands in every metric, drinks every night but still makes it to the gym.
Draws no contrast between the familiar and unfamiliar.

For their third album, Under The Reefs Orchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clément Nourry (guitar), joined by Marti Mélia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recorded at Robot Studio in Ghent by Pieterjan Coopejans,
orchestra also expands with distinguished guests – An Pierlé, Catherine Graindorge, and Alejandra Borzyk – who upset the balance and ignite the embers of improvisation. Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continues to roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praised by the international press (Earmilk, Spin Magazine – which ranked Sakurajima among the 22 best albums of 2022), the group stands out as one of the most daring projects on today’s vibrant Belgian scene.

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.
Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member of the band because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.
From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.
While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.
Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.”

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals.

After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music.

The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey.
Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition.
Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

Issued on Crystal Clear vinyl is Max Richter’s emotive and minimal score to Damon Lindelof’s TV series about a post-apocalyptic global event where 2%

of the world’s population disappears without explanation. Richter’s approach explores the feelings of the protagonist’s family, the Garveys, through intimate,

small scale music. He tackles this psychological landscape by bringing a ritual quality to the score, while themes of departure and loss are represented by

a sense of sonic decay, relying on the instrumentation of a few sustained tones on pianos, harps and celesta.

Max Richter is a classically trained composer that defies boundaries. Trained at the Royal Academy of Music and finishing his studies under the tutelage

of avant-garde composer Luciano Berio in Florence, Richter’s career has followed many paths. His musical output ranges from ballets

(Wayne MacGregor’s Infra), reinventions of classical works (Vivaldi’s Four Seasons), collaborations with The Future Sound Of London, Roni Size and

Vashti Bunyan to writing scores for film and TV (Waltz With Bashir, Lost and Found, Last Days on Mars) and solo work.

Night repeats itself in small fragments.

A thought left unfinished.
A sentence waiting to be said.
One day dissolving into the next.

Akero returns to Moving Pictures with a five-track EP shaped by melodic tension, understated emotion and gently shifting club rhythms.

The record opens with "I Need To Say It" - a direct and emotional cut carried by a restless groove and a quietly luminous atmosphere.
"Ogninotte" unfolds with hypnotic movement with a soft melancholic pulse, while "Unagiornata" brings a brighter, more open-ended moment to the record.

On the remix side, Roman Rai reshapes "I Need To Say It" into a Complete Cosmic Rework, allowing the original to unfold across wider, more spacious terrain.
Täino closes the circle with his own interpretation, keeping the emotional core intact while bringing it closer to the label's warm and introspective dancefloor language.

Orchestra Mambo International ist ein britisches Orchester für Mambo, Salsa und Afro-Cuban Jazz, 2022 von DJ Lubi und Jonny Enright (Grupo X) gegründet. Inspiriert von Größen wie Tito Puente, Eddie Palmieri und den Fania All-Stars, verbindet es klassische Traditionen aus New York und Kuba mit frischer Energie aus dem UK. Die generationsübergreifende, internationale Besetzung vereint Musiker aus Venezuela, Kolumbien, Kuba, Brasilien, Spanien und Großbritannien sowie Altersgruppen von Zwanzigern bis Siebzigern. Das Debütalbum "¡Apúntalo!" enthält Kompositionen von Jonny Enright sowie Beiträge von Carlos 'Pachanga' Peña und Timbales-Spieler Jimmy Le Messurier. Ein besonderes Highlight ist der Gastauftritt des renommierten Musikers Chip Wickham (Gondwana Records). Musikalisch bewegt sich "¡Apúntalo!" zwischen Mambo, Salsa Dura, Pachanga, kubanischem Son Montuno, puerto-ricanischer Bomba und Latin Jazz und verbindet den klassischen afro-karibischen Dancefloor-Spirit mit originellem Songwriting, facettenreichen Arrangements und der Energie einer Big Band.

Lovemonk and Barcelona’s Marula Café bring back their Marula Soulfood 7" series with two standout tracks taken from The Jade’s debut album, "Love Harder". Behind The Jade is Oli Stewart, aka Casbah 73, leading a transatlantic ensemble of top-tier musicians equipped with heart and heat, bridging worlds while remaining firmly centered around home base Madrid.

‘Let The light In’ is a radiant burst of sunshine and a riotous cross-pollination of sounds. Nebraska’s Josh Hoyer delivers a powerhouse vocal performance, soaring over exuberant rhythms and fluid grooves that feel right at home in sweat-filled basement clubs or an open-air set as the sun dips low over the horizon. On the flip, ‘At The Queensboro’ is a beautiful jazz-funk instrumental that stretches out with elegance, giving its wonderful groove plenty of room to breathe. It was highlighted as one of BBC 6 Craig Charles’ favourite tracks of 2025.

Desire erschien 1976 zu Beginn von Bob Dylans Rolling Thunder-Tour-Ära, die ihn in den folgenden Jahren buchstäblich mehrfach um den Erdball führte. Die Platte tänzelt virtuos zwischen den Stilen, die von Dylans herausragenden Lyrics zusammen gehalten werden. Die bemerkenswertesten Songs des Nr.1-Albums sind zweifellos die Boxer-Tragödie 'Hurricane', 'Sara', 'Mozambique' und ganz besonders 'Isis', der als Dylans beste Komposition der 70er Jahre gilt.

Haben Aliens John Shadwell auserwählt, um den Menschen eine Botschaft mitzuteilen? Die drei ??? sind der Wahrheit auf der Spur. Der Lichtkünstler ist für seine Show in Rocky Beach zu Gast. Justus, Peter und Bob freuen sich auf die Lichtprojektionen, als plötzlich ein unerklärliches Leuchten am Himmel erscheint, das eindeutig nicht vom Künstler stammt. Ein Zeichen der Außerirdischen? Sind die Gerüchte wahr und Shadwell ist der Auserwählte? Das streitet der Meister des Lichts vehement ab, doch mit der Zeit beginnt er, an sich selbst zu zweifeln ...

Die britischen Pioniere des Progressive Alternative Metal, Haken, kehren mit der EP *In a Fever Dream* zurück - ihrem ersten neuen Material seit dem von der Kritik gefeierten Album *Fauna* aus dem Jahr 2023 -, das den Beginn eines spannenden neuen Kapitels für die Band markiert.Die gemeinsam mit George Lever (Loathe, Sleep Token) produzierte EP präsentiert einige der bisher emotional direktesten und kraftvollsten Stücke von Haken. Für zusätzliche Tiefe sorgen die renommierten Musiker Adam "Nolly" Getgood (Periphery) und Bryan Beller (The Aristocrats, Joe Satriani), die sich den Basspart auf den fünf Titeln der EP teilen.Die EP mit dem markanten Cover-Artwork von Vaxo Lang wird als limitierte CD-Digipak-Edition, als Deep Blood Red Vinyl LP und als digitales Album erhältlich sein.

Die Wiener Band feiert 2026 ihr 20-jähriges Bestehen - ein Statement gegen Schnelllebigkeit und für künstlerische Konsequenz. Aus der DIY-Punk- und Hardcore-Szene hervorgegangen, verbindet sie seit zwei Jahrzehnten elektronischen Industrial mit analogem Post Rock und schafft atmosphärische Klanglandschaften zwischen Melancholie, Düsternis und Hoffnung. Das neue Album "Minor Tremors" klingt rauer, direkter und zugleich zugänglicher als seine Vorgänger. Inhaltlich kreist es um Faschismus, politische Ohnmacht, Solidarität und Liebe in einer brennenden Welt. Die Band arbeitete u. a. mit Lustmord, Justin K. Broadrick, Jarboe und Dälek zusammen und teilte Bühnen mit Lydia Lunch, Boris oder Dälek. Produziert wurde das Album von FAZO666FAZO (Baits), gemastert von Alex Vatagin. Marketing Hardfacts:- begleitende Konzerte 2026/27 (bestätigte Daten bis hierhin):- TBA - - eine Vorabsingle inkl. Videorelease- redaktioneller Beitrag im Slam Magazin- intensiv begleitende Social Media Kampagne die über die Kanäle des Labels, der Band und der Protagonisten der Band- Reviews in Outlets wie The Gap, 4NDREAS.Postrock Blog

Saxophonist Patrick Shiroishi and drummer Jason Nazary present their new album, "here i am no i". The release marks their duo debut for We Jazz Records, adding to an expanding release catalog also including Nazary"s solo album Spring Collection (2021). "here i am no i" is a free-flowing body of work with continuous forward-motion, building on the acoustic duo setting and expands with electronics and voice landing somewhere beyond genre. Dedicated to jaimie branch, the album is a spontaneous product of trying to come to terms with the unimaginable loss of a close friend. Patrick Shiroishi is a Japanese-American multi-instrumentalist, composer & poet based in Los Angeles. His solo work has appeared on labels such as Sub Pop, Touch, American Dreams and Otherly Love. Jason Nazary is a Brooklyn-based drummer and producer, whose work has previously appeared on the We Jazz label on the solo album Spring Collection and on New Monuments by Amirtha Kidambi"s Elder Ones. RIYL: Patrick Shiroishi, Jason Nazary, Anteloper, jaimie branch, Y-OTIS, Koma Saxo, Jon Hassell.

Apero, das aktuell wahrscheinlich beliebteste (weil einzige) deutsch-franzosische Eggpunk-Trio legt nach! Nach der laut Expert*innen "extrem geilen" Debut-Kassette "Cold Drinks, Cool Snacks" gibt es mit "Dragons & Eels" jetzt endlich Nachschub, diesmal in Form einer 7" EP. Vier neue hektische Garagenpunk Smasher aus der Holle werden auf die nichtsahnende Menschheit losgelassen. Synthie Geballer, schrammelige Riffs, ein uberhitzter Drumcomputer kurz vorm Absturz, saftige Schellen vom Schellenkranz. Und doch gibt es auch ein paar neue Akzente zu horen. Der Song "Tribute To Eel", in dem Apero einer gleichermaßen bedrohten wie coolen Tierart Tribut zollen, ist zum Beispiel fast schon postpunkig. Jemand meinte neulich, das klingt "wie Jay Reatard auf Eggpunk". Lassen wir so mal stehen weil: Namedropping. Mit "The Rent Is Too High (And I'm Too Fucking Sober)" kriegt auch die Immobilienwirtschaft ihr Fett weg. Ein Schrei nach Gerechtigkeit sowie nach alkoholhaltigen Erfrischungsgetranken. Der anti-Ritter Song "Dragon Slayer" und der pro-Rock 'n' Roll Song "Rock 'n' Roll Tonight" vervollstandigen das Paket. 4x aufs Maul fur schmales Geld. Empfehlung des Hauses!

Bryan Adams celebrates Canada Day with the release of '51st State', a powerful new rock anthem celebrating Canadian pride and identity, released digitally and now as an exclusive limited edition, coloured vinyl 7" single. Driven by Adams' signature blend of memorable melodies and heartfelt songwriting, "51st State" is a tribute to the people, communities, and values that have shaped the country from coast to coast to coast. The song reflects a deep appreciation for Canada's identity and the connections that unite Canadians across regions, cultures, and generations. A tongue in cheek response to the ridiculous narrative around Canada being better off becoming anything other than Canadian, the message of "51st State" is ultimately one of unity and optimism, and rooted in Adams' own connection to home. This 7" single is on red/white vinyl housed in a white inner bag, presented in a spined sleeve, with bellyband and shrink wrapped. The B side will feature also feature a solo acoustic version of '51st State'.

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.