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Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Moulded By Industry is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon.

But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion. Moulded By Industry brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, Moulded By Industry reignites the emotional urgency of old texts. The gorgeous single The Flickering Shade, haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating.

His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments. Moulded By Industry celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single Love In The Universe. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

Mit "Milky Way" kehrt ein lange vergriffenes Juwel des Jazzrock und Fusion zurück. Das einzige Album der gleichnamigen Supergroup wurde Ende der 1980er-Jahre von dem renommierten polnischen Saxophonisten, Violinisten und Komponisten Michal Urbaniak initiiert und vereint einige der bedeutendsten Musiker des Genres. Zur hochkarätigen Besetzung zählen unter anderem Lenny White (Return To Forever), Victor Bailey (Weather Report), Randy Brecker (Brecker Brothers) und Ray Gomez. Gemeinsam verbindet die Band virtuose Improvisation, eingängige Melodien und den charakteristischen Sound des klassischen Fusion-Jazz. Ursprünglich auf Fritz Raus Label L+R Records veröffentlicht, war das Album über Jahre hinweg nicht mehr erhältlich. Diese remasterte Wiederveröffentlichung würdigt das musikalische Erbe von Michal Urbaniak und macht einen besonderen Titel der internationalen Fusion-Geschichte wieder zugänglich

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

2026 Repress

Der Weg zu ,Welcome to Earth" von den Death Valley Girls beginnt in der Asche des Eaton-Feuers in Kalifornien. Nachdem sie ihr Zuhause in Altadena und kurz darauf auch ihren geliebten Hund Tommy verloren hatte, sah sich die Leadsängerin und Songwriterin Bonnie Bloomgarden mit Fragen konfrontiert, auf die es keine einfachen Antworten gab: Was überlebt eine Katastrophe? Was bleibt nach einem Verlust übrig? Wie baut man ein Leben wieder auf, wenn die Dinge, die es einst ausmachten, verschwunden sind? Das Album, das aus diesen Fragen hervorging, gehört zu den intimsten und tiefgründigsten Werken, die die Death Valley Girls je geschaffen haben. Im gesamten Schaffen der Band haben sie Musik sowohl als Feier als auch als Suchaktion betrachtet. Alben wie ,Glow in the Dark", ,Darkness Rains", ,Under the Spell of Joy" und ,Islands in the Sky" verwandelten ihren Space-Rock-Sound in ein Mittel zur spirituellen Suche, um inmitten des alltäglichen Chaos Momente der Transzendenz zu finden. Doch ,Welcome to Earth" unterscheidet sich deutlich von seinen Vorgängern. Es konzentriert sich weniger darauf, der Welt zu entfliehen, als vielmehr darauf, zu verstehen, wie man nach einer Verwüstung verbunden bleibt. Was dabei entstand, war nicht unbedingt ein Psych-Punk-Album über Verlust, sondern über Verbundenheit: die unsichtbaren Fäden, die Menschen, Tiere, Erinnerungen, Landschaften und Leben über die Zeit hinweg miteinander verbinden. Der Titel des Albums fungiert sowohl als Begrüßung als auch als Mahnung - ein Willkommen aus der Natur an eine Spezies, die ihren Platz in ihr weitgehend vergessen hat. Immer wieder kehren die Lieder zu der Möglichkeit zurück, dass Trennung die hartnäckigste Illusion der Menschheit sein könnte. Diese Vorstellung von Verbundenheit reicht über die Lieder selbst hinaus

Bella Kay will release her first-ever full length on vinyl, My Reckless Abandon on 9th of October via Atlantic Records.

At just 20 years old, Bella has quickly established herself as an unmatched songwriter and one of the most emotionally resonant new voices in pop

The Texas-born singer-songwriter experienced a meteoric rise after her series of 3-Pack song releases and singles, but My Reckless Abandon lives as a complete 13-song journey to self-acceptance and introspection after a lot of messy and ‘reckless’ ups and downs.

The album was written and produced by Bella Kay and executive produced by Idarose (Becky G, Suki Waterhouse, Joji) and was recorded between New York and Los Angeles throughout 2026.

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

Ten years ago, Horse Jumper of Love released their self-titled debut, one that not only launched their career but also inspired a generation of shoegaze artists to come.


Recorded in a mill space studio by future longtime collaborator Bradford Krieger and first released in 2016 (before a re-issue by Run For Cover in 2017), Horse Jumper of Love introduced listeners to the band’s unique strain of expertly crafted minimalism and haunting lyricism. Tracks like “Orange Peeler” and “Ugly Brunette” capture a gritty melancholy and existentialism that is both youthful and timeless, angst-ridden and sincere. Now, a decade later, Horse Jumper of Love remains a beloved cult classic and a touchstone of the band’s continually developing brand of glacial, grungy indie rock.
This 10 Year Anniversary Deluxe Edition LP features new tri-fold packaging with collaged ephemera from singer and songwriter Dimitri Giannopoulos’ years in Boston while writing the record, a 20-page sewn-in booklet featuring never before seen photos and drawings, and handwritten tablature for the record’s original 9 songs. Disc one includes the original album fully re-mastered, and the brand new second disc features 13 bonus tracks recorded between the years of 2013-2015, mostly by Dimitri at home on a Tascam Portastudio, including single “Heathers (2013)” which was an early version of what would later become “i love you very much forever” and other never before heard demos, b-sides, and alternate versions of the original songs.
The record will also be released for the first time on CD, packaged in a 2-disc swing tray jewel case with a fold out poster.

The third chapter of The Third Room's curator-led series is shaped by Verraco, one of the key voices behind a new generation of artists reshaping contemporary club music. Through his productions, DJ sets and his work with TraTraTrax, he has helped define a sound where hybrid forms, rhythmic experimentation and cross-cultural influences are pushing the genre into new territory. Structured across two distinct sides, the release draws a clear connection between past and present. The A-side leans into a deeper, more classic space, while the B-side moves towards a more forward-facing, hybrid sound. It opens with Libration (Stone Version) by Substance & Vainqueur, a revisiting of their landmark 2007 release, a track that helped define the language of Dub Techno as it is understood today. Reduced, deep and spatially precise, it established a blueprint for how rhythm, delay and tone could function together. It's presence here acts less as a nod to the past and more as a reminder of a foundation that continues to shape the genre. Skee Mask's Clear Sky 909 continues this thread, softening the edges without losing depth. Warm, enveloping textures and fluid movement give the track a sense of openness, balancing clarity with emotional weight. The B-side shifts perspective. On Untitled (Teamgeist Mix), Verraco, joined by Tils, delivers the record's defining moment - a dense, intricately designed piece built on a driving low-end and evolving rhythmic patterns. Elements from Techno, Bass and Leftfield House converge into a detailed, forward-moving structure that actively bridges cultural contexts. It results in a form of dance music shaped by technical precision, but drive.n by a clear sense of intent, marking a distinct expression of Verraco's current sound. Untitled by 1morning introduces a rolling, tribal-infused groove with a strong sense of depth, while PatumPa by Regal86 closes the record with a bright, loop-driven energy that leans into pure motion. Across both sides, the release moves between reference and progression. Rather than separating old and new, Verraco connects them - tracing a line from foundational Dub Techno to a more fluid, contemporary club language. Copyright 2026 The Third Room A1 Written and Produced by Peter Kuschnereit & Rene Loewe | A2 Written and Produced by Bryan Mueller | B1 Written and Produced by JP Lopez & Jakob Ferdinand Tils and mixed by Lurka | B2 Written and Produced by 1morning | B3 Written and Produced by Regal86 Mastered by Andreas Kauffelt (Schnittstelle Berlin) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

The title of Ghost Bridge, the East-Coast-spanning chamber ensemble Hour's fifth record, is less metaphorical than one might expect. Bandleader Michael Cormier- O'Leary repurposed it from an unrealized movie concept about a bridge that inexplicably starts disappearing. On the nearly-ten-minute title track of this richly imaginative suite of songs_written for a 13-piece ensemble that includes woodwinds, strings, and vibraphone as well as a rock rhythm section_Hour conjures up this central image with spectral string harmonics and free-time percussion gestures. While writing the keyboard pieces that became the takeoff point for the album, Cormier-O'Leary also found himself reflecting on the loss of loved ones or even his own mortality. The six kaleidoscopic instrumental pieces on Ghost Bridge, though, feel more cosmically inquisitive than straightforwardly elegiac, sketching a progression from existential doubt toward understanding and acceptance. Ghost Bridge forms a contrast with Hour's art-rock-informed, more improvisatory early releases, representing a step further into intricate chamber orchestration. Known for his work with Friendship, Wendy Eisenberg, and 2nd Grade, Phillybased multi-instrumentalist and Dear Life Records founder Cormier-O'Leary has made Hour a home for increasingly cinematic instrumental compositions since the mid-2010s. With dazzling production by Lucas Knapp, Ghost Bridge delivers plenty of the live ensemble's trademarks, especially cyclically developing guitar and keyboard melodies. However, even more than on Hour's last studio album, unconventional harmonies and sophisticated counterpoint take center stage here. These emotionally multifaceted compositions feel as rooted in contemporary classical and film soundtrack music as in indie rock. One of the most striking elements of Ghost Bridge is the more significant developmental role the orchestral instruments assume in each piece. Instead of underscoring Cormier-O'Leary's central hooks, there is a new mesmerizing level of detail to the group's conversational interactions and kinetic energy. "Centralia" is a stately and idiosyncratic fugue built from repeated and overlapping phrases, while Ghost Bridge's compositions are full of unexpected pivots in harmony that allow recurring melodic motifs to sound continually reshaded. On "Pearls," the chords modulate drastically around Cormier-O'Leary's inviting central melody in a way that emulates cuts in a film telling several parallel stories. There is an unsettled quality to the chords on Ghost Bridge, with Cormier- O'Leary's progressions avoiding firm grounding in either clearly sunny or melancholy tonalities. This mood is made more concrete by the record's sole vocal track, the jazz-inflected "Sky is Blue," featuring an uncannily gorgeous performance by Heeyoon Won. The song seems to be a communication from a person who has departed, offering consolation or perspective to someone left behind. Though its sonic palette is often tranquil, Ghost Bridge explores heartbreak, grief, anger, and helplessness in a distinct and pretense-free way. The project represents a bold step forward for Cormier-O'Leary as a composer and arranger, and on Ghost Bridge Hour reaches its most fully realized form to date, connecting soaring themes with an inventiveness that perfectly suits the searching nature of the subject matter.

Recorded again at the legendary Kerwax Studio by Christophe Chavanon, fully on analog tape and gear, Witchthroat Serpent's latest LP "DEMONS LEFT TO ROAM" is yet another hymn to the last century's sordid dreams and fears, moral panic and the creepy costumes from Halloween in the 30's. Huge and gritty walls of guitars, rumbling stereo bass and plundering ritual drums. Songs of horror tales and satanic litanies, carried by haunted vocals.

Orange vinyl, limited to 300 copies. Recorded again at the legendary Kerwax Studio by Christophe Chavanon, fully on analog tape and gear, Witchthroat Serpent's latest LP "DEMONS LEFT TO ROAM" is yet another hymn to the last century's sordid dreams and fears, moral panic and the creepy costumes from Halloween in the 30's. Huge and gritty walls of guitars, rumbling stereo bass and plundering ritual drums. Songs of horror tales and satanic litanies, carried by haunted vocals.

Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

Edge Conditions is a fresh look at the beat-forward electronic music of Jeremiah Chiu. In Electric Time, his 2023 first-thought-best-thought album recorded at theVintage Synth Museum in LA, offered a glimpse a solo process and sound, fast becoming a fan favorite. In many ways this new work is a total reset. Following two ambient-leaning duo albums with Marta Sofia Honer and a pair of improvisatory trance-jazz LPs with LA quintet SML, Edge Conditions settles Chiu into a world of layered, alternately dance-able or chillout-able, rhythm excursions a la classic Four Tet or Aphex Twin.

Edge Conditions is a fresh look at the beat-forward electronic music of Jeremiah Chiu. In Electric Time, his 2023 first-thought-best-thought album recorded at theVintage Synth Museum in LA, offered a glimpse a solo process and sound, fast becoming a fan favorite. In many ways this new work is a total reset. Following two ambient-leaning duo albums with Marta Sofia Honer and a pair of improvisatory trance-jazz LPs with LA quintet SML, Edge Conditions settles Chiu into a world of layered, alternately dance-able or chillout-able, rhythm excursions a la classic Four Tet or Aphex Twin.

Die 1969 in München gegründete Band Embryo (feat. Mishra) verbindet auf diesem Album Krautrock, Jazz, freie Improvisation sowie europäische und indische Musikelemente. Seit 2015 wird das Kollektiv von Marja Burchard weitergeführt. Die Aufnahmen entstanden 2023 im Minga Records Studio in München und dokumentieren die langjährige Zusammenarbeit mit den indischen Musikern Deobrat Mishra (Sitar, Gesang) und Prashant Mishra (Tabla). Ergänzt wird das Album durch Gastbeiträge von Niko Schabel, Dr. Chandreyee Maitra und Dattatreya Desai. Die Besetzung umfasst Marja Burchard (Vibraphon), Maasl Maier (Bass, Flöte), Jakob Thun (Schlagzeug) sowie Deobrat und Prashant Mishra.

Dream Police is the fourth studio album by the American rock band Cheap Trick, originally released in 1979 and produced by Tom Werman. Following the huge success of At Budokan, the album arrived at a time when Cheap Trick had become one of the biggest new rock bands of the late 1970s.

The album is best known for its memorable title track, "Dream Police", alongside the popular tracks "Voices", "Way of the World" and "Gonna Raise Hell". The songs range from straight-ahead rockers to more melodic and atmospheric songs. Dream Police reached number six on the Billboard 200 and became one of the band's most successful studio albums. It remains a much-loved record from Cheap Trick's classic period and an important part of their 1970s catalogue.

Dream Police is available as a limited edition of 2000 individually numbered copies on red vinyl and comes in a gatefold sleeve. The package also includes an insert with lyrics.

All Shook Up is the fifth studio album by the American rock band Cheap Trick, originally released in 1980 and produced by legendary producer George Martin, best known for his work with The Beatles.

The album followed the huge success of At Budokan and Dream Police and found the band working with a new producer for the first time in several years. George Martin gave the recordings his own touch, while Cheap Trick remained true to the sound and songwriting that had made them popular. The album features memorable tracks like "Stop This Game", "Just Got Back", "Baby Loves to Rock" and "World’s Greatest Lover". All Shook Up reached number 24 on the Billboard 200 and was certified Gold in the United States. It remains a strong album from an important period in Cheap Trick’s career and a great addition to their classic catalogue.

All Shook Up is available as a limited edition of 2000 individually numbered copies on magenta vinyl and includes an insert.

Voodoo Glow Skulls are an American ska punk band formed in 1988 in Riverside, California, by brothers Frank, Eddie, and Jorge Casillas and their longtime friend Jerry O'Neill. Voodoo Glow Skulls first played at backyard parties and later started playing shows with the Angry Samoans, The Mighty Mighty Bosstones, Firehose, Murphy's Law, and The Dickies.

Voodoo Glow Skulls' 1995 album Firme has been one of the high points in popularity for the seven-member band. Unlike some more laid-back performers in the genre, Voodoo Glow Skulls are a bit more heavy-handed on the punk part of the mix, resulting in consistently fast-paced and chugging song structures that occasionally erupt into triumphant horn breakdowns and chanted group vocals. The album also includes "Fat Randy," one of the group's more convincing ska-punk hybrids.

Firme is avavilable as limited numbered edition of 400 copies on green vinyl and includes an insert

The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

OTHELLO is the debut album by pianist and composer Orson Claeys. Bringing together influences from jazz, hip-hop, urban culture, and everyday life, the record offers the clearest portrait yet of an artist shaped as much by the worlds around him as by music itself.

The title refers to Claeys' full name, Orson Dwight Othello Claeys, and reflects the album's central concern:identity. Throughout the record, personal experiences, cultural influences, and artistic inspirations converge into a body of work that seeks to understand how an artist is formed, both within and beyond music. Musically, OTHELLO builds on jazz, strongly intertwined with hip-hop, contemporary culture, and ideas beyond traditional musical frameworks. For Claeys, music is not a fixed genre, but an open and evolving form of expression.

This broad perspective is evident in the album's carefully chosen collaborations. A track like "WHAT A NIGHT" first took shape during a studio session with indie-soul singer Sevens, whose harmonic ideas laid the foundation for the track. As the composition evolved, Claeys felt it called for a stronger hip-hop voice. Through a recommendation from Mixmonster Menno of STUFF., he was introduced to L.A. rapper IAMOMNI, whose contribution brought exactly the energy and perspective the track needed. The result unfolds like a late-night journey through Los Angeles, with IAMOMNI's contribution adding a sense of movement, character, and place.

Elsewhere on the album, "SPIRAL", featuring Belgo-Brazilian vocalist Helena Casella, grew out of a long-standing mutual admiration. Conceived as a meeting point between R&B and jazz, the composition balances the groove and emotional depth of the former with the improvisational spirit and spontaneity of the latter. The collaboration developed naturally from the outset, with Casella instinctively understanding the atmosphere Claeys envisioned while enriching the music with her own warmth and nuance.

A long-held ambition materializes on "SHADOWBOXING", where Claeys is joined by drummer, producer, and one of the key figures in contemporary Belgian jazz, Lander Gyselinck. Gyselinck's work, particularly his collaboration with Zwangere Guy on Pourriture Noble, was instrumental in showing Claeys how the language of hip-hop could coexist naturally with jazz, an idea that runs through OTHELLO. Drawing inspiration from boxing, the track is a musical equivalent of a fighter's walk towards the ring: focused, intense, and driven by the sense of anticipation that precedes stepping into the fight.

After this heightened intensity, the album gradually moves toward its closing statement. OUTRO / HANIN", featuring oud player Akram Ben Romdhane, a longtime collaborator whose playing forms a natural bridge between Claeys' previous work and the broader musical landscape explored across the album. The title references the Tunisian Arabic word hanin, meaning "nostalgia", a fitting conclusion to a work deeply concerned with memory, identity, and personal history.

Beyond music itself, OTHELLO is informed by a wider cultural landscape. Urban culture, with its visual language, creative independence, and sense of community, forms an important backdrop to the record. Sport also plays a significant role, particularly boxing and basketball, whose emphasis on discipline, focus, and resilience mirrors Claeys' own creative process. Rather than being treated as separate influences, these worlds coexist without hierarchy, reflecting an artistic vision that resists rigid boundaries and allows different disciplines, communities, and experiences to inform one another.

Red w/black splatter vinyl "You're Weak And You Know You're Weak" is the seventh album from WEREWOLVES in seven years. The band themselves have sworn to release ten albums in ten years, or commit group suicide if they fail. Ridiculously brutal moronic caveman death metal from members of PSYCROPTIC, THE BERZERKER, ABRAMELIN, THE ANTICHRIST IMPERIUM, and THE AMENTA.

Transparent blue vinyl. October By Name is the latest solo album from Kavus Torabi, marking a luminous new phase for one of Britain's most distinctive psychedelic voices. Written in the wake of significant personal change and shaped by his work with Gong, Cardiacs and The Utopia Strong, the album blends adventurous psychedelia, melodic songwriting and mystical reflection into a sound that is both emotionally direct and unmistakably his own. Completing an autobiographical trilogy of solo records, Torabi once again performs, records, mixes and illustrates every aspect himself, creating a deeply personal work. The result is an intimate, expansive album that feels celestial, transformative and uniquely Kavus Torabi.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

John Prine's Found Dogs is a newly curated archival release celebrating the 30th anniversary of Lost Dogs & Mixed Blessings. Drawn from the original recording sessions and demos from the era, Found Dogs collects alternate versions, acoustic performances, and five previously unreleased tracks, offering a rare look into Prine's songwriting and studio process during a pivotal period of his career.Highlights include alternate takes of "Ain't Hurtin' Nobody" and "Quit Hollerin' At Me," a solo acoustic version of "Humidity Built the Snowman," demos such as "Lake Marie," and unreleased recordings including "Hey Ah Nothin'," "World Without Love," and "Dogs in Burlington." All tracks have been newly remastered for vinyl.

It took a long time – ten years – for his talismanic song, ‘Ça ira tu verras’, to prove his prophecies right, at a time when, everywhere else in the world, nothing seems to be going right. And if everything is going well for Séverin, it’s because he’s managed to build himself a bulwark, an impregnable citadel, and his records now exude a whiff of simplified idealism, with the influence of Souchon and Voulzy never far from his pen and guitar as he brings his bittersweet moods to life in verses and choruses.


But above all, he knows how to invent new settings for himself, push back the boundaries, step beyond the walls of his Parisian studio to go and see how things sound elsewhere. Recorded at Chale Abbey Studios on the Isle of Wight (UK), Séverin once again wanted to let the collective spirit of his regular collaborators take centre stage. Ambroise ‘Sage’ Willaume and Jérémie Arcache, who featured on the previous album *Nouveaux Dinosaures*, once again form the backbone of the band, on guitar and keyboards respectively. Bassist Théodora Delillez (Astral Bakers) and Canadian drummer Robbie Kuster complete the band’s core line-up, which, in just six days at this electric priory, went on to achieve – judge for yourselves – nothing short of miracles.


Whilst all around us the war on falsehood rages – from AI to post-truth, all these fake debates, hypocrites and false values – here is an album that doesn’t cut corners when it comes to emotions, nor in the way it sets them to music.

2026 Repress

Tapper Zukie was high on a list of artists that Richard Branson in 1978 had in mind to sign to his new Reggae label Front Line.
The mission was to sign the cream of the reggae crop when the Virgin record boss went down to Jamaica with a group of Reggae minded people,included in that group was one Johnny Rotten,singer of the very recently disbanded group The Sex Pistols.
The result of which would be a two album deal between Tapper and the label.
The first release also in 1978 was the album Peace in the Ghetto(Kingston Sounds KS052) and this release Tapper Roots.
For the cd issue of this release,Tapper has picked two tracks that he feels hapy to put alongside the album.
'Make Faith' cut with the band Knowledge and' New Star'..
This is a very important album from the Tapper Zukie catalogue...Respect

Lord Sko’s Sophomore Album ‘UNITED PALACE’ is a record chock-ful of homage, past & present pop culture references & youthful exuberance expressed with a vintage New York attitude. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kuriousul references to the entire cityscape, this is an album that thoroughly represents both Classic & Modern NY culture through the eyes of a Young Uptown MC. With contributions from Meyhem Lauren, Da$H, Wiseboy Jeremy, LIFEOFTHOM & Kurious Jorge, UNITED PALACE could sonically & aesthetically fit anywhere from the Golden Age to the Blog Era & Far Beyond into the future.

,Sharp Pins" ist das äußerst starke Lo-Fi-Pop-Projekt des talentierten Musikers Kai Slater aus Chicago, bekannt von Lifeguard und Dwaal Troupe. Aufgenommen von Kai Slater. Abgemischt von Kai Slater. Gemastert von Amy Dragon. Aufgenommen im Stülo Gulo in Chicago, Illinois. Ursprünglich als Hallogallo-Kassette im Eigenverlag veröffentlicht. ,Youth Revolution Now". Von Kai: ,Der Soundtrack zu meinem 18. Sommer, in dem ich mit einem chinesischen Taotao 50-ccm-Roller durch die Gegend um die Taqueria Moran fuhr und meinen Sta-Prest-Träumen nachjagte. Ich dachte, es wäre cool, eine Reihe von Songs aufzunehmen, die nie wirklich aufgenommen wurden, und zwar auf eine etwas durchdachtere Art und Weise. Aufgenommen auf einem Tascam Porta One im alten Beton-Stulogulo mit einer imaginären Band namens ,Men in Green Striped Trousers". Der ursprüngliche, von Sharp Pins geprägte Garage-Pop-Sound in seiner ganzen rohen, rauen und kreischenden Pracht _ Ich glaube, ich habe davon etwa 50 Exemplare angefertigt. Nun gehört mein Teenagertraum Ihnen.".

Der Frontmann von Goblin Cock, Lord Phallus, ist eine in einen Umhang gehüllte Nicht-Präsenz in einer Band aus ebenso vagen Persönlichkeiten, die bewusst nebulös gehalten sind; doch während ihre zahlreichen Nachahmer dies als Vorwand nutzen, um eine kommerziell verwertbare Geschichte zu vertiefen, wünschen sich die Mitglieder von Goblin Cock tatsächlich , ignoriert zu werden. ,Traumanaut" ist die neueste LP des Projekts und klingt wie ein unerwartet frischer Lufthauch, insbesondere ausgerechnet aus einem solchen Sumpf der Neurose wie diesem. Zeitweise klingt sie so persönlich, dass jeder normale Songwriter wohl bis zum Absurden gehen würde, um sich von dieser Ehrlichkeit zu distanzieren.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

Auf ,Congregation" aus dem Jahr 1992, dem dritten Album der Afghan Whigs, kommen die Soul- und Psychedelic-Einflüsse der Band besonders gut zur Geltung; das Album trug maßgeblich dazu bei, den Sound der Band für die folgenden Jahre zu prägen. ,Congregation" ist auf Vinyl bereits seit vielen Jahren vergriffen, da die ursprüngliche Auflage längst ausverkauft ist. 2xLP im Gatefold-Cover und mit maßgefertigter Schutzhülle Gepresst auf Pearl Flip / Horizon-Vinyl!

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.