Suche:black stag

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

“For Men Only” was released in America in June 1980. Jackson was shown on the front and back cover being fawned over by three attractive black male models. Musically and lyrically it was a concept album, like her previous LPs “Caught Up” (1974), Still Caught Up” (1975) and “Get It Out’cha System” (1978). The main theme was the battle of the sexes in and out of the bedroom with some tracks, especially on side one – ‘This Is Where I Came in’, ‘This Is It’, ‘If That Don’t Turn You On’ and ‘I Wish That I Could Hurt That Way Again’ – segueing into the next through Jackson’s spoken word segments. The album sounded like it could form the basis of stage play and was laced with wit and humour with Jackson, at one point, taking aim at out of work men “watching soap operas all day” and neglecting their chores around the house and in the bedroom. Every song was a gem, with Jackson in the finest vocal form of her career.
This album has not been available on vinyl for decades and Ace Records are delighted to rewax it, not only for Millie Jackson fans but a new generation, who are discovering that class never goes out of fashion.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

Hope & Sorrow turns 20: Wax Tailor announces a limited collector's edition in Orange & Black Marbled double vinyls.


Twenty years ago, Wax Tailor released Hope & Sorrow, his second album. Following the success of Tales of the Forgotten Melodies, this new record confirmed and amplified a trajectory already well underway. Gold record certification, a world tour, an Indie Music Award in the United States, and a nomination at the Victoires de la Musique in the "Best Electronic Artist" category: Hope & Sorrow would firmly establish his singular world, blending trip-hop, finely cut samples, and cinematic arrangements, far beyond French borders.


Two decades later, Hope & Sorrow has lost none of its power. To celebrate this anniversary, Wax Tailor unveils a limited collector's edition on double gatefold vinyl, crafted both for those who have followed the album since its release and for those discovering it today.


An opportunity to revisit a pivotal record in his discography, one that played a major role in establishing Wax Tailor on the international stage.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

Tony Reed is undoubtedly one of those artists whom fans of “heavy music” have, at least unknowingly, encountered on stage or on their turntables at some point. Bands like Pentagram, Mos Generator, Hot Spring Water, and the so-called supergroup Big Scenic Nowhere are just a small part of his discography, which he continues to expand as a producer and mixer.

CONSTANCE TOMB was Tony Reed’s first band, which he founded at age 19 and which was heavily influenced by the gothic movement of the early ’80s. There are recordings online from when they made “boombox recordings” or, later, when he recorded everything “hi-fi” on his own in the garage with just a microphone, preserving it all for posterity on cassettes. You can also find several solo cover versions released under the band’s name. It was a labor of love that Tony Reed never let go of, but there was never a real band that toured or released an album—until now!

Now Tony has breathed new life into his childhood love, CONSTANCE TOMB, and fused his fondness for dark ’80s bands with his heavy metal past. Bands like Southern Cult, Bauhaus, The Cure, Bowie, as well as Black Sabbath and Thin Lizzy have shaped his musical tastes. Now, a mix of old and new songs is being infused with fresh energy, reviving a solo project that had taken on a slightly artificial feel.

With Bo McConaghie on bass and Christian Roney on drums, the band has already played its first concerts in the northwestern United States to find their sound as a group. Joint rehe

Double LP, pressed on gold vinyl. As part of Lineage II's 22nd anniversary celebration, NC America and Black Screen Records are proud to announce the first-ever Lineage II collector's edition vinyl album, which elegantly combines a track selection reflecting the game's iconic history and memorable musical identity. This vinyl album is now available for pre-order and will hit the stores in November. Arranged by composers Bill Brown (Tom Clancy's Rainbow Six), Jamie Christopherson (Metal Gear Rising: Revengeance), Inon Zur (Fallout 4), and NCSOUND, the track list is a collection of 40 of the most recognized pieces from the original soundtrack, carefully selected to create a cohesive listening experience rather than a complete collection. Published by NC, the album flows between calm, reflective village themes, atmospheric exploration pieces, and more intense, dramatic compositions tied to combat, progression and large-scale conflict. The track list draws from the original soundtrack's most recognized pieces and centers on two major regions: Giran and Aden. Early on their journey, players venture into the world's southern territory of Giran. As they explore the region's villages, tracks such as "Crossroad at Dawn," "Shepard's Flute" and "Caravans Crossing" help create a calm, grounded atmosphere that reflects the peaceful nature of travel through the area. In contrast, the world's northern territory of Aden reflects the game's grander, more conflict driven spirit. As players continue their journey, the Elven Village track "Unicorn's Rest" marks a turning point, gradually giving way to darker settlements and imposing castles through standout tracks such as "Knighting Ceremony" from the iconic Aden Castle and "Expedition March" from the Town of Oren, where tension, warfare and large scale conflict take center stage. Across both regions, the tracks are more than background music; they shape how players experience each location, from villages and hunting zones to moments of intense combat. This collection brings together the sounds that have defined Lineage II for the past 22 years, offering a reflective musical journey for both longtime players and new listeners alike.

Limited Edition 2026 Black Vinyl Repress.
The Milk of Human Kindness is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.
Rather than start from scratch, Snaith folded the two sides of himself together - the icy precision of Start Breaking My Heart and the sun-drenched sprawl of Up in Flames - into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, "Yeti" and "Barnowl," remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
Tracklist:

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.

In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.

Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."

And now the follow up single of "Searchin/Tongue Tied"

Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

What's the point of the howl of string to speaker, the hammering of stick-on skin? Is it transcendence, elevating the human spirit by catharsis in sound? Or is it summoning chaos, a purgatory in which to bask in all that’s unclean, the better to feel alive?
Why not both? Because that’s what’s on offer on Diet Of Worms, the second Rocket release by The Shits, Leeds via Newcastle’s titans of disgust and deliverance. This is a feast for the senses in the worst way possible - primal rock boiled down to its essence and flung full in your face. Using repetition, tortured vocal invective and heads-down intensity as blunt instruments, these eight tracks are an unprecedented torrent of acidic salvation. Whilst lurking somewhere on the decadence-destruction axis between the nihilism of prime Stooges and the bloody blackout of Braimbombs, Diet Of Worms is possessed of a legitimately uncompromising hostility that both elevates and debases it to co-ordinates unknown.
There are revelations here in the riffage and the rancour, even if they are the kind that occur in the bleary miasma of the lock-in, or witnessing the streetlight blur of the subsequent stagger home. Even more single-minded and remorseless than the band’s Rocket debut ‘You’re A Mess’, this is a record that demands full immersion. Whether it’s ‘Then You’re Dead’ hammering on a pulverising garage-stinking riff until it begs for mercy, or ‘Change My Ways’, whose Creedence-In-Hell swagger and lurch is that of abjection transmuted into joy, this is psychedelia forcibly removed from its comfort zone of pastiche, and thrust into a bad-trip realm of the vivid and nightmarish.
But rarely has the process of making beauty and horror indivisible seemed like so much fun. If Werner Herzog was right, and the only harmony in the universe is that of overwhelming and collective murder, then The Shits are the true music of the spheres.

Globally adored Spanish techno protagonist Indira Paganotto releases her debut album 'Arte Como Amante' via ARTCORE / PIAS Électronique. It brings together thirteen fearless tracks that stretch way beyond any one genre. It's high-pressure, high-energy, and deeply personal. A full-spectrum dive into the world of one of electronic music's most dynamic artists.

It follows a huge 2025. She debuted at Coachella. Played her first ever b2bs with Armin van Buuren at Sonar and Sara Landry at EXIT. She became the first woman to close Monegros. She held down her first Club Room residency at Hï Ibiza for 14 weeks, and even launched her own creative studio space, ARTOPIA, in Santa Eulalia. Her label ARTCORE the home of this special album also took their presence in the dance world to the next level with their own curated stages at Tomorrowland, Mysteryland and Dreambeach.

Now, she's telling her story. The title 'Arte Como Amante' means 'art as a lover'. For Indira, that's not just a phrase. It's her life. This album has been 14 years in the making. It began in Madrid in 2012, when she was 19, and was completed in 2024. She waited for the right moment. She lived life. She collected experiences. She built the sound. "I know to take 14 years to make an album seems crazy," she says, "but without living those experiences, how could I have made the music about them?"

The result is a diverse, adrenaline-fuelled body of work that hits hard and moves deep.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.

Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.

The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.

Thirty years. That is how long it has been since 1996, when European electronic music was
overwhelmed and reshaped by a wave of melody, melancholy, and rhythm. At the center of that
big bang was Roberto Concina, known ar1s1cally as Robert Miles—a visionary capable of bringing
Dream Trance to the global stage. Today, to celebrate three decades of pure sonic magic, "Fable"
returns to the turntable in a splendid celebratory reissue that stands as a well-deserved act of love
for an ar1st who passed away far too soon.
If Children was the programma1c manifesto of that era, Fable was its emo1onal evolu1on—the
track that proved dance music could touch in1mate and cinema1c chords. Listening to it today,
remastered for vinyl, is an experience that goes way beyond a simple nostalgia trip. This 30th-anniversary reissue splits into two versions to sa1sfy both purist DJs and avid collectors,
offering two excep1onal vinyl op1ons:

 The Standard Edi3on (Black Vinyl): Perfect for audiophiles and DJs who want to spin this
track in their sets without the fear of wearing out a museum piece. The warmth of the
black groove enhances the dynamics of the famous piano line and the depth of the
enveloping bass.

 The Limited Edi3on (Transparent Blue Vinyl - Limited & Numbered): The true crown jewel
of this release. Visually stunning, the transparent blue vinyl seems to evoke the dreamlike,
liquid, and suspended atmosphere of the track itself. The fact that it is a limited, handnumbered edi1on instantly makes it a grail for collectors worldwide.

Thirty years. That is how long it has been since 1996, when European electronic music was
overwhelmed and reshaped by a wave of melody, melancholy, and rhythm. At the center of that
big bang was Roberto Concina, known ar1s1cally as Robert Miles—a visionary capable of bringing
Dream Trance to the global stage. Today, to celebrate three decades of pure sonic magic, "Fable"
returns to the turntable in a splendid celebratory reissue that stands as a well-deserved act of love
for an ar1st who passed away far too soon.
If Children was the programma1c manifesto of that era, Fable was its emo1onal evolu1on—the
track that proved dance music could touch in1mate and cinema1c chords. Listening to it today,
remastered for vinyl, is an experience that goes way beyond a simple nostalgia trip. This 30th-anniversary reissue splits into two versions to sa1sfy both purist DJs and avid collectors,
offering two excep1onal vinyl op1ons:

 The Standard Edi3on (Black Vinyl): Perfect for audiophiles and DJs who want to spin this
track in their sets without the fear of wearing out a museum piece. The warmth of the
black groove enhances the dynamics of the famous piano line and the depth of the
enveloping bass.

 The Limited Edi3on (Transparent Blue Vinyl - Limited & Numbered): The true crown jewel
of this release. Visually stunning, the transparent blue vinyl seems to evoke the dreamlike,
liquid, and suspended atmosphere of the track itself. The fact that it is a limited, handnumbered edi1on instantly makes it a grail for collectors worldwide.

Vinyl packaging includes 12" gatefold vinyl with matte UV and spot gloss finish, 2x black vinyl, dust sleeves, and digital download card. In the year 2000, Brother Ali Joined Rhymesayers with a self-produced demo called Rites of Passage. Three years later Ali took the underground by storm with an undeniable stage presence and his critically acclaimed debut full-length Shadows On The Sun. The impact was unquestionable and that next year Ali solidified his place amongst the independent Hip Hop elite with the release of 2004's The Champion EP. Like deja vu, here we are three years later and Ali is ready to take the world by storm with his latest creation. After struggling through a series of personal roadblocks, from parting ways with his wife of 10 years, becoming homeless and trying to secure custody of his only son... Brother Ali along with Atmosphere producer and Shadows & Champion collaborator Ant, present the long awaited sophomore full-length album The Undisputed Truth. Personal, political and more powerful than ever, simply put, the truth is here. "I wanted to make an album that gives you no choice but to feel what im saying at that given time", Ali explains of The Undisputed Truth. "I made choices that sent me through a lot of struggle in the past few years and Ant and I have made music that really communicates the exact feeling of those situations." -Brother Ali

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.

2026 Repress

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.

In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".

"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."

Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.

Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"

The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

You may be excused if, seeing the dazzling China Moses on stage, online, or on-air, you thought that she, fabulous and French, an orchestra trailing her, with one of those light-up-a-room smiles you only hear about in myth, was someone who might only be singing cheery songs about her glamorous musical life. Not so. It’s complicated… vibrates with the joy, wistfulness, ambivalence, and wisdom of a woman who’s been on many journeys, down many paths, and landed here, in your ears, on purpose, with something to say.

Through these songs, China captures the many hues of grown Black womandom: her choices, her regrets; her place in society as both citizen and observer. Her voice is girlish and playful; gritty and growly; truly prismatic, as Anthony Peyton Young’s cover art suggests, to reflect the many lives she’s lived. And she does all this with vulnerability, a quality that transcends and supersedes genre, taste, or ability. Of all the tools a singer-songwriter could possess, it might be the most important one. Though there is bravado here (“I can be happy”, the song and the video, are the best example), this is an album that taps into the full, resplendent spectrum of human experience, its many facets hewn into these 10 gems before you.

It’s complicated… and it’s complex. How could it be anything else?

— Kyla Marshell

A decade ago, Taylor Swift was already a world-renowned and dominant force in the pop world. In 2014, she was on a world tour that took in a stop at Tokyo Saitama Arena on June 1st and the recording of it captures the electrifying energy of her sold-out performance during the iconic "Red" world tour. This live album showcases Swift at her early peak and delivering heartfelt ballads and powerful pop anthems with her signature charm and stage presence. Fan favourites resonate with emotion and live energy, while quieter moments like 'All Too Well' highlight her storytelling prowess. The Saitama Arena crowd adds to the magic throughout.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Following a breakout year that saw them torch the Sonora Stage at Coachella, storm Europe on the HONEYPAQQ TOUR, and rack up co-signs from Carl Craig, LSDXOXO, Jamie xx, Crystalmess, SHERELLE, TELFAR, Tinashe, Smino, Nia Archives, Earl Sweatshirt, and Denzel Curry, HONEYPAQQ VOL. 1 captures HiTech at their most ambitious: unfiltered, explosive, and impossible to pin down.

Across a stacked track list, the trio bring together the raw DNA of Detroit techno, Chicago house, rap, and punk, honouring the roots of Black electronic music while taking the scene to new global heights. Features include boundary-pushing collaborators like George Riley, ZelooperZ, and Na-Kel Smith, adding warped soul, razor-edge bars, and unruly energy to the HiTech universe and demonstrating how HiTech are the only act straddling underground chaos and mainstage euphoria while unifying global scenes across electronic, rap, and rock in one breathless body of work.

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of
reggae funk and soul tracks from the legendary Studio One stable, featuring
a stellar line-up of artists including Jackie Mittoo, The Heptones, The
Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric ‘Im’ Brooks and
many more.
For a short period of time at the end of the 1960s and early 1970s, nestled
between the end of rocksteady and the arrival of roots reggae, Studio One
released a small stream of superb soul and funk reggae tunes – covering
everyone from Sly and The Family Stone, Diana Ross and The Supremes,
Nina Simone, Gene Chandler, Tyrone Davis and more.
Most of the tracks featured on Soul Jamaica were only ever released on
Studio One’s UK-subsidiary label Bamboo in small-run pressings and are
now consequently extremely hard to find.
The cover photograph features images of Air Jamaica, the new airline
created by the Jamaican government at the end of the 1960s, showing how
in the years following independence the
country assumed its place on the world
stage, with reggae music playing a key
role in creating the island’s new
cultural identity.

The first time Ride The Lightning was performed in its entirety and "Escape" was played on stage for the first time ever. This was the first of two shows at Orion Music + More, a festival created by Metallica themselves.

Mercury Rev"s 1991 debut album Yerself is Steam was a critical success, and quickly followed up by the Car Wash Hair single. The releases persuaded the band to perform their very first live gig - then their third gig was on the main stage at Reading Festival and their fourth was supporting Bob Dylan - an auspicious start to their decades-long career. Despite the plaudits resulting in strong sales and regular tours, it was not until their fourth album, Deserter"s Songs that they gained a mainstream audience. The band is currently touring the world in support of their most recent album, Born Horses.

Black Vinyl Repress

Pirka Vinyl Cuts - Giralda edition

The Aachen Jazz Files

A collection of essential jazz from the NABEL record label (1980-1994), compiled by miche & Rainer Truby.

The Aachen Jazz Files celebrates the pioneering spirit of NABEL Records—one of Germany’s most underrated yet influential independent jazz labels. Founded in 1980 by Rainer Wiedensohler, NABEL became a home for innovative musicians blending classic acoustic jazz with fusion, Brazilian rhythms, and avant-garde flourishes.

This compilation collects some of the label’s finest moments, including the soulful and Latin-tinged brilliance of Monika Linges Quartet (whose album *Floating* was reissued last year by PANORAMA Records for RSD Black Friday), the cosmic jazz explorations of John Thomas & Lifeforce, the deep jazz-funk grooves of Hipsters In The Zone, and the stunning, expressive vocals of Maria João’s quintet.

Nestled in the far west of Germany, near the Dutch and Belgian borders, Aachen has long been a hidden gem for jazz lovers. Its vibrant scene, fueled by music schools and the legendary Malteserkeller jazz club, cultivated a unique sound that resonated far beyond its city limits. In fact, the city didn’t just birth a jazz movement—it also lays claim to opening Germany’s first discotheque in 1959.

From London to Tokyo, NABEL’s releases became secret weapons for jazz DJs seeking deep, danceable cuts. The label’s trademark blend of acoustic jazz, fusion, and Brazilian influences made its way onto turntables in underground clubs and festival stages worldwide.

Expect elegant samba jazz, spiritual grooves, and modal masterpieces that capture the essence of NABEL’s golden years. Monika Linges’ contributions shine with her rich harmonies and heartfelt compositions, while John Thomas & Lifeforce deliver a perfect storm of fiery instrumentation and deep soul. Maria João’s early recordings showcase her extraordinary vocal range, and Hipsters In The Zone bring a forward-thinking, acid jazz-infused perspective to the NABEL sound.

As co-compiler Rainer Truby puts it:

'NABEL Records always had this special ‘Aachen sound’—a jazz flavor that carried its own energy, somewhere between the cool sophistication of fusion and the warmth of Brazilian music. It’s a pleasure to finally bring together some of these classics in one essential collection.'

Compiled by miche & Rainer Truby.

PANORAMA Records is a London-based label dedicated to unearthing and reintroducing rare and essential music to new generations. With a focus on jazz, funk, and global grooves, the label has built a reputation for high-quality reissues that capture the spirit of the originals while providing fresh context for today’s listeners. Their past releases have garnered support from tastemakers like Gilles Peterson, Patrick Forge, and Mr Bongo DJs.

Welcome to midnight. Let’s light a candle and take a trip. The Moon is calling…

Broc Recordz is proud to present "Des Animaux Pires Que Moi", the new album by Yzoula and Louis Fontaine.
After four years performing with La Femme, Yzoula takes center stage in this unique project, composed and produced by Louis Fontaine, with lyrics by Margo Fortuny.

Dive into a musical odyssey blending French songwriting, classical music, and psychedelic pop-rock, infused with ’60s and ’70s sounds.
A captivating sonic tale of alchemy, black magic, and the power of illusion, drawing inspiration from occult beliefs, 1970s pulp paperbacks, and the portrayal of witches in cinema.