Suche:bl

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

Sucata Tapes present the debut album by I'A'V, a conjuration born from an invitation extended by gnration in Braga to Inês Malheiro, completed Violeta Azevedo. Three inescapable figures amidst the portuguese scene, whose precious body of work resonates here in ineffable style.

A blessed triangulation of artists, each with a fully formed vision and a path forged across multiple fronts, I'A'V trace a course of dreamlike songs that blend into a long and volatile poem, where a rarefied electronic landscape of arpeggios, glassy textures, and ruptures seeps into the lyricism of Casellas's cello lines and Azevedo's flute breaths, guided by the Voice.

At times stripped bare, at others soaked in a torrent of post-human effects, settled on Malheiro's expressiveness and elevated by the Azevedo. Volatile Poem, recorded during the mentioned residency, unveils mysteries and conceals realities in a fluid sequence of communal ascension moment

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ NEWLY UNEARTHED EARLY RECORDINGS BY THE FIRST LINE-UP OF MUSICAL YOUTH Mastered from the original tapes by Guy Davie at Electric Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ – an album of rare and unheard early recordings by Musical Youth, the Birmingham reggae group propelled to worldwide fame with the release of their chart-topping single PASS THE DUTCHIE. ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ combines songs from Musical Youth’s first John Peel session, recorded in 1981 with newly unearthed recordings taken from quarter-inch reels stored for over 40 years by the group’s mentor and producer Toney Owens. The project was seeded as early as 2020, when Paphides sent a speculative message to Owens, after he saw his producer credit on the group’s independently released 1981 single Generals/Political. Paphides wanted to know if Owens had made more recordings of the group in a similar heavier roots reggae vein to those on their debut single. Happening upon the message by chance three years later, Owens allowed Needle Mythology access to his archive of quarter-inch tapes, dating back as far as 1978. The recordings gathered together on ‘MASH DOWN BIRMINGHAM: THE EARLY RECORDINGS OF MUSICAL YOUTH’ shine a light on the exceptional musicianship inculcated into the group by their first frontman Frederick Waite, formerly singer with revered Jamaican rocksteady group The Techniques. Backing Frederick Waite in the early lineup of Musical Youth (originally billed by Toney as Cultural Musical Workshop Youths, were two pairs of brothers) Patrick and Junior Waite, and Kelvin and Michael Grant.

Citing sources from early Dub influenced Clash, Blitz and The Modern Lovers - Spiritual Cramp exist in a strange vacuum somewhere between David Byrne's oversized suit and a bar fight between a bunch of drunk goons on Polk Street in SF. Hate for the police, the government and the status quo are reoccurring themes in Bingham's lyrics. The sounds borrow from the past, echoes of late 70's / early 80's working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

Knocked Loose have announced their hotly anticipated new album, A Different Shade of Blue -- a mammoth of a sophomore release and massive step forward for the band and for hardcore and metal as we know it. Recorded by producer Will Putney, the new LP was approached slower and more methodically. Abandoning the previous 'live in studio' recording approach for something more deliberate, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. While some musical influences are easily identified - Pantera, Hatebreed, Obituary and more - the band's palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment, Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Clocking in at a lean and mean 37 minutes and featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue grabs the listener by the throat from the jump and slowly tightening that grip for the duration.

DYING VICTIMS PRODUCTIONS is proud to present Heavy Metal Heroes, a special split EP between Peru’s HYENA and Japan’s RISINGFALL, on CD and 12” vinyl formats. Heavy metal is living a global explosion, driven by underground bands that keep alive the legacy of those Heavy Metal Heroes who created eternal anthems. This titular mini-album brings together two bands separated by a great distance but united in an undying thirst for true metal. From Cajamarca, Peru’s HYENA return after touring worldwide in support of their DYING VICTIMS debut album, About Rock and Roll. Carrying forward the spirit that defined their first record, the Peruvians deliver two brand-new tracks as the first strike from their forthcoming second album. Raw and bloodthirsty, the band bring their turn-of-the-‘80s style to a boil here, more anthemic and charismatic than ever. From Tokyo, Japan’s RISINGFALL continue their ascent with new material following 2022’s DYING VICTIMS debut album Rise or Fall and last year’s self-released EP Dungeon’s Call. After their performance at Germany’s Keep It True Rising Festival, the band has established itself among today’s true torchbearers of heavy metal. Their two brand-new tracks here bring a dazzling display of old-metal values filtered through that uniquely Eastern lens. Heavy Metal Heroes stands as a statement of real underground heavy metal: forged in tradition, carried across continents, and kept alive by those who remain faithful to its sound and spirit. In support of the release, HYENA and RISINGFALL will join forces for a co-headlining triple strike of shows in Tokyo in June

DYING VICTIMS PRODUCTIONS is proud to present Invoking Terror, the highly anticipated debut mini-album of Ireland’s CUTTHROAT, on CD and 12” vinyl formats. The island of Ireland may not appear often when it comes to underground bands…yet when it does, it strikes hard and swift! Witness CUTTHROAT, the goriest addition yet, who are now delivering their debut mini-album following two demos in 2023 and 2025, respectively. Aptly titled Invoking Terror, this five-song / 25-minute blast of filth & fury delivers violent, thrashing DEATH METAL that worships the underground’s forgotten days of old. For sure, CUTTHROAT may be “new,” but they definitely sound OLD here: think early / best Possessed, Morbid Angel, Merciless, and Necrovore and you’re within the power-trio’s wheelhouse. And no, they don’t intend to reinvent that wheel any time soon; the wheel that is Invoking Terror simply rolls over you – FAST – and the only recourse is to submit and headbang like a fucking maniac or summarily get flattened like the wimp that you are. The modern underground has yet to see such unbridled violence since the glory days of the aforementioned bands, and indeed is that CUTTHROAT’s aim on Invoking Terror. There is no story, no fashion, no trends – this is simply audial torture sent to invoke terror over all who listen

Thessaloniki is a hotbed of electronic talent. Tendts are testament to this. The triumvirate of brothers Christos and Fotis Papadakis, joined by guitarist Elias Smilios, have carved out a truly unique sound. Blending disdainful punk with synth‑pop sheen, the group arrive at the Bordello with Ghost Boys. Cymbals crash in the title piece, a lone key circling percussive precipitation before rich guitar strings bring balance and ballast. The song, an emotion‑stripped story of missed opportunities and narrowing prospects, is sensitive and sharp; an emblazoned anthem to the lost and forgotten. Distilled down to a powerful essence, the radio version focuses on the throaty message, meandering synth melody, and smoky strings.

Lauer steps in for remix duties, dipping the original into a blue acid‑electro syrup before it re‑emerges as a fresh‑faced reimagining, its chorus lanced with vocoders while a minimal melody simmers beneath Chicago‑style knob twists. Taking another direction, Boys’ Shorts melt broken‑beat revelry into their countrymen’s original. Smilios’ guitar riff becomes a central column around which samples spin and house warmth emanates. Sheer quality from needle drop.

Emanuel Satie returns to Crosstown Rebels with his expansive new three-track EP, ‘A Love Fantasy’. Releasing on 19th June 2026, the Lisbon-based artist delivers his first full EP in three years, exploring the deeper, more emotive corners of his sound, alongside a collaboration with Bruno Roth.

German DJ/producer Emanuel Satie returns to Damian Lazarus’ Crosstown Rebels with ‘A Love Fantasy’, a three-track EP that captures an artist equally at home in peak-time spaces as in more introspective territory. Bending emotional depth with groove-led energy, Emanuel continues to refine a sound that balances timeless house sensibilities with a sharp modern edge, following acclaimed releases on Innervisions, Diynamic, Cocoon, and more. Having already released on the label with ‘Personal Liberation’ back in 2021, his return brings three tracks of late-night house bliss.

Title cut ‘A Love Fantasy’ brings soulful vocals, vibrant chords, and crisp rhythms, shaping the deep-rooted energy felt across the EP. On ‘Touch’, he links with Ibiza’s Bruno Roth for a deeper excursion guided by sweeping melodies and fluid movement – born from collaborations between the pair that began in the years following the pandemic. To close, second solo track ‘Some Love’ leans further into melody and emotion, rounding out the release with an uplifting finish.

Over the past few years, Emanuel has continued to solidify his place as one of the most consistent artists around. From Beatport chart-toppers and DJ Awards recognition to standout records and his role within internationally renowned collective SCENARIOS, his output continues to bridge underground credibility with global dancefloor appeal.

This solo percussion work was recorded in 1980 and released in 1981 by Masahiko Togashi, one of Japan’s leading percussionists and drummers. After becoming partially paralyzed, he created this recording of a world of sound using drums, bells, gongs, and a wide variety of percussion instruments, together with his own original playing methods and techniques.

Terumasa Hino’s brilliant New York session, which drew attention for its thrilling collaboration with former members of the Miles Davis Group, is set to be reissued as the sixth title in the "Spin This Now!" series. Featuring Terumasa Hino on trumpet, John Scofield on guitar, Ron Carter on bass, and Tony Williams on drums. Recorded in New York City on May 7, 1977.

Kill Your Idols' debut release, This Is Just the Beginning, compiles their early recordings, including the original Kill Your Idols 12". The album captures the band's raw intensity and DIY ethos, solidifying their place in the late '90s New York hardcore scene. This record became a blueprint for their no-frills, high-speed hardcore sound that would influence countless bands.

Anfang der 1960er Jahre, als der Vibrafonist Cal Tjader von Fantasy Records zu Verve Records wechselte, befand er sich in einer seiner produktivsten Phasen. Zwischen 1961 und 1968 nahm er unter der
Regie der Produzenten Creed Taylor und Esmond Edwards fünfzehn Alben für Verve auf, auf denen er sich
künstlerisch freier entfalten konnte denn je zuvor. Auf “The Prophet”, seinem letzten Album für Verve,
schöpft der Vibrafonist aus einer breiten Palette von Jazz-, Latin- und Blues-Einflüssen. Das Programm
besteht je zur Hälfte aus eigenen Kompositionen und Stücken des brasilianischen Keyboarders João Donato,
die von Don Sebesky orchestral arrangiert wurden. Das von Donato geschriebene Stück “Aquarius” wurde
1993 von der Hip-Hop-Band A Tribe Called Quest für das Album “Midnight Marauders” gesampelt.

Released to celebrate Miles Davis’ centennial, Miles ’56 collects together recordings from the year that Davis recorded his most influential work on Prestige. With cuts from “Cookin,” “Relaxin,” “Workin” and “Steamin”, this collection includes the Quintet of Davis, Coltrane, Garland, Chambers, & Jones. Released on limited 4-LP and remastered from the original analog tapes by GRAMMY-winning engineer Paul Blakemore the set Included new liner notes by GRAMMY-winners Ashley Kahn and Dan Morgenstern.

For this new 45, "Matasuna Records" returns to the "ATCO" and "Atlantic" vaults, pairing two distinct cuts from the 1960s New York Latin music landscape.

On the A-side, "The Harvey Averne Dozen's" "You’re No Good" blends warm "Latin Soul crossover" with a steady mid-tempo groove and vibraphone-led arrangement. The flip side features "Louie Ramirez & His Orchestra's" "Mueve la Cadera" – a percussion and brass-driven "Boogaloo" recording full of movement, tension and energy.

Two contrasting yet complementary sides, now officially back on 45.