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Tudo is an album by world renowned Grammy-nominated singer/songwriter Bebel Gilberto, originally released in 2014.

Gilberto, daughter of bossa nova immortal João Gilberto, is one of the most internationally famous and beloved of Brazilian musicians. Tudo, which means "everything" in English, showcases Bebel's ethereal vocals and wistful, dreamy song writing in each of the 12 tracks.
Bebel reunites with Mario Caldato Jr., who produced her first landmark album Tanto Tempo.

With Bebel singing in French, English, and Portuguese, Tudo is a shimmering, sweet summery collection that includes original songs along with songs by João Gilberto, Antonio Carlos Jobim and Neil Young, as well as soulful duet with Seu Jorge.

The gorgeous melodies are shaped by touches of electronica and Bebel's intimate vocals hint at a fantastical Rio de Janeiro, a style that has earned her a devoted fanbase worldwide.

Tudo is available on black vinyl and includes a 4-page booklet with pictures and lyrics.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Pete Lambrou, the visionary composer and multi-instrumentalist behind VLMV (pronounced "Alma"), is one of the most singular voices emerging from the ambient, post-rock, and experimental scenes in the UK. With a career that spans atmospheric solo work, film and television scoring, and evocative live performance, Lambrou has carved out a distinctive sonic universe he describes as "ambient-ish post-something" (Pete Lambrou) a playful yet accurate summation of a sound that is at once genre-fluid and deeply immersive. The album takes its title from Sara Teasdale's 1918 poem and Ray Bradbury's later short story, both of which imagine a world continuing quietly after humanity's disappearance. This idea became the gravitational centre around which the record formed. Written during a period of deep engagement with climate fiction and ecological thought, `There Will Come Soft Rains` reflects on humanity's legacy, its technological ambition, and its uneasy relationship with the natural world. A century on from Teasdale's poem, the balance of power feels less certain, and Lambrou's music inhabits that tension with remarkable subtlety. "The initial ideas stem mostly from chaos, randomness or sound exploration and then get shaped as I go. Typically, and certainly for this album. It's evolved since album 1, which was more song / chord based. It's a fun process of finding the sound and then working out whether it's speaking to me - or merely just a cool noise. That's fun, but it sometimes can't evolve or progress, so then begins the long journey of shaping it into some sort of song format - which doesn't have to be a-typica,l but whatever feels right to me. The subject matter and overall theme is important too - it's got to all make sense within itself. There's no point having a slowly creeping theme and then rush the music." (Pete Lambrou) VLMV embody an emotional honesty that works with patience and nuance. Whether you're encountering his music for the first time or returning to its quiet depths, VLMV offers an aural space that resonates long after the final note fades. Lambrou's singular sonic language sits at the intersection of ambient, post-rock, modern classical, and experimental electronic music, while remaining unmistakably human at its core. "Instrumentally it's far more synth based - as soon as I had the concept, I wanted to make sure technology clash and marry with traditional instruments (at different times) in a sort of slow-moving dance I suppose. One is nature, one is human development and technology. Sometimes working together and sometimes in opposition. On my previous albums I'd say that at least half of the tracks started life as songs, whereas with `There Will Come Soft Rains` I think the majority (if not all) started as experiments in sound." (Pete Lambrou) Sonically, the album is VLMV at its most cinematic and textural. Warm, intimate piano figures and elegiac string arrangements are set against unstable modular synthesis, fractured rhythms, and evolving sound design. The organic and the artificial are locked in a slow, shifting dialogue, mirroring the album's central themes. At times the music feels tender and nostalgic, at others unpredictable and mournful, yet it never tips into despair. Instead, a quiet resilience runs throughout the record. "The album is slightly unusual in that it was mixed in Dolby Atmos before being mixed down to stereo. Most, if not all, do it the other way round. That's because I got to work with a superb mix engineer who just happens to live opposite. It was extremely random and lucky, moving to a tiny hamlet in the South of England and there being a Dolby Atmos studio opposite with a genius of an engineer. We had in mind that we would do it this way round and enjoy the mix process and give everything its own space - it still had issues when folding down to stereo, but overall a more pleasurable mix!" (Pete Lambrou) There Will Come Soft Rains has a geological sense of time: themes creep, expand, erode, and reform, resisting conventional structures in favour of something more patient and immersive. Each sound exists because it needs to; they move, recede, and emerge with a three-dimensional clarity that enhances the music's cinematic quality, giving each element room to breathe while maintaining an enveloping sense of cohesion. Lambrou's unique voice is Intimate and fragile, his vocals hover above the instrumentation, a guiding thread through the expansive soundscapes, drawing listeners closer into the emotional core of each piece. "Long time vocal collaborator Anja Madhvani did lots of harmonies on the album - I wanted to include her voice as much as possible on this album. In terms of string players - 3/4 have been long term collaborators with me. Marie Schreer actually recorded all strings on my first album ALMA, and Fraser & Clodagh have worked on every album (and occasional live shows) since Stranded Not Lost. In terms of art - Joel Cammarata designed the cover, and accompanying art - he designed Sing With Abandon and I absolutely adore his work, but also - he's so great at understanding and developing and capturing the concept." (Pete Lambrou) Layered harmonies drift through the music like distant signals or half-remembered voices. Madhvani's presence adds a human fragility to the album's vast soundscapes, reinforcing the sense of memory and longing that runs beneath the surface. The strings, performed by a close circle of trusted collaborators, further ground the record in warmth and physicality, acting as a counterweight to the synthetic elements that threaten to unravel it. "Despite the heavy subject matter, I wanted to create an album that imparts hope and optimism, marrying traditional instrumentation as nostalgia, with technological innovation through the randomness of modular synths." (Pete Lambrou) The partnership with Pelagic Records feels both organic and significant. Known for championing artists who value emotional weight, sonic ambition, and artistic integrity, the label provides a natural home for VLMV's work. Lambrou's music shares Pelagic's ethos: immersive, patient, and unafraid of scale whether intimate or vast. With There Will Come Soft Rains, Pete Lambrou has crafted a work that feels timely without being didactic, expansive without being overwhelming. It stands as a quiet, but powerful statement that lingers long after the final notes fade. FOR FANS OF Sigur Ros * Olafur Arnalds * Radiohead * Keaton Henson * This Will Destroy You

Die aus Las Vegas / Orange County stammende Hardcore-/Punk-Band M.I.A. ist zum ersten Mal seit 40 Jahren mit neuem Material zurück! Nachdem sich die Band 2008 zu einem Gedenkkonzert anlässlich desvorzeitigen Todes ihres Sängers Mike Conley wieder zusammengefunden hatte, spielte sie noch einige Jahre mit dem ursprünglichen Sänger Todd Sampson weiter. Leider verstarb Todd kurz darauf an einem Hitzschlag. Die verbleibenden drei Mitglieder beschlossen, weiterzumachen, wobei Gitarrist Nick Adams nun den Gesang übernahm. Im Jahr 2017 veröffentlichte Darla Records die letzten beiden Alben der Band, ,Notes From the Underground" (1985) und ,After the Fact" (1987), erneut auf CD. Ab 2023 begann Modern City damit, den gesamten Katalog der Band auf Vinyl neu aufzulegen, darunter das bahnbrechende Album ,Murder In a Foreign Place" von 1984 (in Zusammenarbeit mit Alternative Tentacles) und ihren Teil der LP ,Last Rites for Genocide and M.I.A." aus dem Jahr 1982. Die Titel dieser neuen Veröffentlichung wurden im Dezember 2025 aufgenommen und umfassen drei brandneue Songs sowie "'Tomic Bomb", einen sehr alten, unveröffentlichten Song, der 1980 von der allerersten Inkarnation von M.I.A. geschrieben wurde, die damals als The Swell bekannt war. Diese Veröffentlichung ist auf 300 Exemplare limitiert und erscheint mit einem handgedruckten Cover und auf farbigem Vinyl.

To celebrate the 30th anniversary of its release, Happening Songs, the debut album by Dionysos, is finally being issued on vinyl for the very first time.

Recorded in 1996, the record captures the early days of a band still in its rawest form, already driven by a singular stage energy and a boundless imagination. Entirely sung in English, Happening Songs unfolds a free and inventive sonic universe where indie rock, dark humor, and surreal visions intertwine. Tracks such as "Wet," "Polar Girl," and "Screamin' Like an Egg" sketch the foundations of a poetic, strange, and deeply endearing artistic world that would become Dionysos' signature.
Long regarded as a cult album, passed from stage to stage and through word of mouth, it now returns in a brand-new vinyl edition, faithful to its original spirit.
This anniversary release is presented by EGGMAN RECORDS, the label founded by Mathias Malzieu, giving new life to this foundational work and inviting listeners to rediscover the initial spark of a project that has since become essential.
Thirty years on, Happening Songs remains the opening chapter of a unique artistic journey: inhabited, unruly, and profoundly free rock.

Dive into the depths of the SUNKEN SCORES which is the new concept album by Japanese Rare Groove trio Nautilus from Toyko. What is called lost themes and jazzy seaquences from the cinematic coastlines ends in a journey through different eras of film and television music.
It's their fourth album release on Oonops Drops besides several limited 7inch releases. Like all other releases on the label, this LP is also pressed on recycled vinyl . There will be an extended Germany tour by Nautilus from 8th May to 4th June from the North Sea Coast to the mountains in the Allgäu. / Promo: feature in Jazzthing magazine at the end of May.

Eight men pick up shiny brass instruments, lock into an unspoken groove and rotate genres like your favorite playlist shifting from jazz and R&B to hip-hop, pop and beyond with fire, focus and fluidity. New Orleans-bred staple The Soul Rebels expand musical boundaries with an unwavering commitment to originality. Far more than augmentation and accompaniment, the octet—Julian Gosin trumpet, MC, Marcus Hubbard [trumpet], Lumar LeBlanc III [snare drum], Derrick Moss [bass drum], Corey Peyton [trombone, MC], Erion Williams [saxophone], Paul Robertson [trombone] and Manuel Perkins Jr. [sousaphone]—pioneer the integration of their chosen instrumentation.

Featuring Special Guests: Sean Carey, Dee-1, Alfred Banks, Emeril Lagasse, Trombone Shorty, Kermit Ruffins, Mia X, DJ Jubilee, Cheeky Blakk, Tonya Boyd-Cannon, New Orleans Citywide Youth Choir, Jaelyn Langston, Wild Wayne, Kango Slim, PJ Morton, Big Freedia, Denisia, Branford Marsalis, Brandee Younger, KES, Kayla Jasmine, Matisyahu, Robert Glasper, Fabriq, Tarriona "Tank" Ball

Die Traumstimme von Joshua Redmans Album „where are we“ mit ihrem Blue-Note-Solo-Debüt!
Als Saxofonist Joshua Redman 2023 sein Album „where are we“ veröffentlichte, ließ nicht nur er damit
aufhorchen, sondern auch die Sängerin auf allen Tracks: Gabrielle Cavassa. Das weltweite Echo war imposant, in Deutschland hieß es “Top-Sängerin“ (Stereoplay) und “bringen die Luft im Studio zum Flirren“
(Süddeutsche Zeitung). Bei der darauffolgenden Welttournee des Redman Quartet begeisterte die Sängerin
erneut das Publikum auch in Deutschland.
Mit ”Diavola“ gibt Gabrielle Cavassa jetzt ihren Einstand bei Blue Note. Dort kann sie erstmals auf
großer Bühne ihr Können als Sängerin und Songwriterin zeigen, sowie als Interpretin von Jazz-Standards
(z.B. “Prisoner of Love“) und klassischem Pop (“Could It Be Magic“) bis hin zu brasilianischen Songs (“To
Say Goodbye“ von Edu Lobo). Cavassas Stimme ist sinnlich und intensiv, obwohl sie mit den Melodien
und Tempi spielt, bleiben Seele und Aussage der Songs intakt.
“Diavola“ wurde koproduziert von Joshua Redman und Don Was und überzeugt auch durch brillante
Arrangements und exquisite Musiker: Jeff Parker an der Gitarre, Paul Cornish am Klavier, Larry Grenadier
am Bass, Brian Blade am Schlagzeug und Joshua Redman bei zwei Titeln am Tenorsaxofon.

Tip on sleeve.

Latin Grammy-Winning Producer Pupillo Unites Global
Artists on his new album

Co-produced by Mario Caldato Jr. (Beastie Boys), featuring collaborations with Rodrigo
Amarante, Carminho, Adrian Younge, Gaslamp Killer, Cut Chemist, Hervé Salters, and more
Drummer, percussionist and producer Pupillo, one of the most influential figures in Brazilian
music and a four-time Latin Grammy winner, releases his first original album through the Los
Angeles–based label Amor in Sound. The record brings together an impressive and diverse
group of collaborators from Brazil and abroad. Amor in Sound is run by Samantha Caldato,
the project’s executive producer and creative director, and Mario Caldato Jr. (Beastie Boys),
who co-produced the album alongside Pupillo. The project was developed in a free,
experimental environment, allowing the artist to explore the many rhythmic and sonic
territories that have shaped his career — from Northeastern Brazilian traditions to jazz, hip
hop, and cinematic soundscapes. Listen here.

The album features special appearances by Brazilian artists such as Céu, Rodrigo Amarante,
Agnes Nunes, Amaro Freitas, Davi Moraes, Alberto Continentino and Pedro Martins,
alongside a strong roster of international collaborators, including Carminho, Gaslamp Killer,
Loren Oden, Adrian Younge, Cut Chemist and Hervé Salters (known for his work with
General Elektriks). The album’s 12 tracks were further enriched by contributions from
Jeremy Gustin, Roberto Schilling, and other musicians who make Amor in Sound Studios in
Los Angeles a place of creative exchange.

Beyond his work as the drummer of Nação Zumbi, Pupillo has built a prolific career as a
producer and collaborator with some of the most important names in Brazilian music,
including Gal Costa, Nando Reis, Erasmo Carlos, Céu, and Otto, helping to shape the sound
of multiple generations. This trajectory has earned him four Latin Grammy Awards.
From Pernambuco, Pupillo is also an acclaimed composer for cinema, having written
soundtracks for films such as Arido Movie and Blue Blood (directed by Lirio Ferreira), The
Assailant (directed by João Daniel Tikhomiroff), among others. This cinematic sensibility
permeates the album, which unfolds like a film, moving through richly textured soundscapes
that cross continents and musical traditions.

Sadeira is a production trio made up of members based in both Brooklyn and Brazil and have dropped some global groove heat on the likes of Let's Play House and London-based Leng. For this one, they drop the first release from Ceci Discos in the form of the original single 'Miscigenacao'. It's a summer, deep cut sound with Balearic, MPB and jazz all colouring the swaying rhythms. Breezy vocals transport you to a coastal setting while the percussion is lively and authentic. The Jacques Renault Rhythmental remix lands more heavy but just as patiently, Diogo Strausz ups the sunshine with his piano-led reverie, and the Saidera Steppers dub is one to crank up nice and loud early in the evening.

Comeback tells the story of Ava, a 14-year-old girl trying to navigate the complex relationship between her divorced parents. Her mother, Naomi, a former successful techno DJ, is determined to revive her career and make an international comeback. Ava's father, Dominique, has withdrawn from the hectic nightlife and now leads a quieter life. As Ava becomes increasingly drawn into her mother's vibrant nightlife, she finds herself entangled in the expectations and dreams of her parents.

With a musical score by Raf Keunen and techno tracks by Jeroen De Pessemier (One Track Brain) – founder of the Belgian electro band The Subs – and the visually stunning cinematography of Sander Vandenbroucke, Comeback, shot on 16mm film, combines intimate family conflicts with the energetic, pulsating rhythm of techno.

“Oui Ou Non” by One Track Brain ft. Omani (aka Veerle Baetens) is one of the tracks from the movie "Comeback", now available on 7-inch.

Nach der Veröffentlichung von „We Still Shine“ im letzten Jahr – Tony Christies erstem neuen Album seit 13 Jahren – bringt das Jahr 2025 eine brandneue Sammlung von Neuaufnahmen seiner größten Hits! Das neue Album wurde vollständig in Nashville in einem der weltweit besten Aufnahmestudios, den Blackbird Studios, aufgenommen und enthält brandneue, reduzierte Country-Versionen seiner größten Hits, darunter „(Is This The Way To) Amarillo“, „I Did What I Did For Maria“, „Avenues and Alleyways“ und viele mehr. Unter dem Titel „A New Life“ und mit einem brandneuen Cover-Design mit großartigen Illustrationen von Gillian Martin wird dieses Album Tonys von seinen Fans geliebtes Repertoire sicherlich zu neuem Leben erwecken.

On the day of Eid al-Fitr (Sugar Feast), Sonhouse Records released Grond, a brand new record, produced by Faisal Chatar and 'Yong' Yello Staelens.

Grond (soil) tells the tragicomic story of a Moroccan brother and sister who take over their father's funeral business and want to modernise it. Instead of repatriating Belgian Muslims to their country of origin and burying them there according to Muslim traditions, they decide to import the holy soil.

Western and Arabic sounds, combined with hip-hop beats are mixed in a refined way. Faisal and Yello produced twenty songs that immediately make you long for summer. In Brussels, Tangier or simply elsewhere.

Faisal Chatar and Yello Staelens:
"Grond is about the clash between traditional Moroccan values and Brussels city culture. We tried to translate that by combining Moroccan instruments like Krakebs and Qanuns with thick hip-hop beats. It sounds as if Timbaland is eating a merguez sandwich in a Molenbeek snack bar while Aznavour sounds through a distorted FM radio."

mclusky sind eine Band, die eine Band war, keine Band war und nun wieder eine Band ist. Sie wurde Ende der 90er Jahre gegründet und löste sich 2005 nach drei Alben zum ersten Mal auf. Meinungen zu diesen Alben finden sich im Internet. Der Weg zurück zur Band begann 2014, als die Band sporadische Konzerte spielte, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Rückschlägen, die man als die schönsten Seiten des Lebens bezeichnen kann, veröffentlichten sie 2025 ihr erstes Album seit zwanzig Jahren. sporadische Konzerte gab, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Missgeschicken, die man als Teil des Lebens in seiner schönsten Form bezeichnen kann, veröffentlichte die Band 2025 ihr erstes Album seit zwanzig Jahren. Nun, im Jahr 2026, setzt sie ihre musikalische Reise mit weiterer neuer Musik in Form dieses 6-Song-Mini-Albums fort. Der Zeitpunkt dieser Veröffentlichung fällt mit einer US-Tournee im Frühjahr 2026 zusammen, die nach ihrer Australien-Tournee im Januar und einer Reihe weiterer Tourneen aus dem vergangenen Jahr rund um den Globus stattfindet. Die Rückkehr der Band wurde mit Begeisterung aufgenommen, insbesondere von der Presse, wo Medien wie NPR schwärmten: ,Progressiver, ungewöhnlicher, frecher Post-Punk mit echtem Sinn für Humor und Grandiosität. Diese Musik ist einfach voller Kreativität", und Pitchfork sagte: ,Mclusky, bekannt für ihre explosiven Live-Auftritte, klingen auf ihrem Comeback-Album genauso laut... Viel Spaß dabei." Das Album enthält vier neue Songs, die im Herbst 2025 aufgenommen wurden, sowie einige Songs aus ihrer nur digital erhältlichen Comeback-EP aus dem Jahr 2023.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Album #2 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Mauricio Kagels Acustica, komponiert für experimentelle Klangerzeuger und Lautsprecher, zählt zu seinen
radikalsten Werken. Es kombiniert elektroakustisches Tonbandmaterial mit akustischen Darbietungen und
verkörpert Kagels Idee des instrumentalen Theaters, in dem Klang, Gestik und Präsenz der Darsteller zu
einem einzigen musikalischen Akt verschmelzen. Das Werk erkundet ein erweitertes Feld der Musikalität
und nutzt erfundene Instrumente, um den Klang von traditionellen Aufführungskonventionen zu befreien.
Die Vielzahl globaler Klangquellen spiegelt die Vielfalt seiner Kindheit in Buenos Aires wider, verwandelt
Chaos in spielerische Ordnung und betont die Autonomie jedes einzelnen Interpreten innerhalb eines kollektiven Ganzen. Mit Acustica schuf Kagel eine einzigartige lateinamerikanische Antwort auf die europäische
Avantgarde: eine lebendige, demokratische Klangwelt voller Erfindungsreichtum und Menschlichkeit.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl

Album #1 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luc Ferraris Presque Rien Nr. 1 und Société II zählen zu den radikalsten Werken der Avantgarde des
20. Jahrhunderts. Mit Presque Rien Nr. 1 leistete Ferrari Pionierarbeit bei der Verwendung von Umgebungsaufnahmen als vollständiges musikalisches Material – er nahm die Geräusche eines kroatischen Fischerdorfes im Morgengrauen auf. Ohne Manipulation markierte dies einen entscheidenden Wandel hin zum
klanglichen Minimalismus und beeinflusste Generationen von experimentellen Künstlern.
Im Gegensatz dazu verkörpert Société II, komponiert für Klavier, Schlagzeug und Ensemble, Ferraris politisch aufgeladene, theatralische Seite. Entstanden inmitten der sozialen Umwälzungen der späten 1960er
Jahre, inszeniert es eine feministische Allegorie, in der die Interpreten um die Vorherrschaft wetteifern und
dabei Struktur, Improvisation und Satire miteinander verbinden.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

Album #3 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Tōru Takemitsus Quatrain und A Flock Descends into the Pentagonal Garden sind Beispiele für seine
Synthese aus westlichen Avantgarde-Techniken und japanischer Ästhetik. In Quatrain evoziert Takemitsu
durch fließende Veränderungen von Klangfarbe und Atmosphäre das japanische Konzept von ma – dem
Raum zwischen den Dingen. Er verglich das Werk mit einem Emaki, einer Bildrolle, die Szene für Szene
entfaltet, wobei jede musikalische Idee unabhängig ist, aber dennoch miteinander verwoben ist.
A Flock Descends into the Pentagonal Garden erweitert diese Ideen zu einer zirkulären, nichtlinearen
Klangwelt. Sein „flock”-Motiv, das zuerst in der Oboe zu hören ist, taucht in ein schimmerndes harmonisches Feld ein, das von den Streichern geschaffen wird – den „garden”. Hier wird Takemitsus Zeit- und
Raumgefühl eher immersiv und zyklisch als progressiv.
Gemischt und geschnitten von den originalen analogen 1-Zoll-8-Spur-Masterbändern von Rainer Maillard
und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl

Nach einem turbulenten Jahrzehnt, in dem er häufiger im Gefängnis als auf der Bühne oder in einem
Aufnahmestudio anzutreffen war, begann Tenorsaxofonist Dexter Gordon mit einem neuen Vertrag bei
Blue Note Records eine erstaunliche Karriere-Renaissance. Mit den im Mai 1961 im Abstand von nur drei
Tagen in Rudy Van Gelders Tonstudio in Englewood Cliffs aufgenommenen Alben “Doin’ Allright” und
“Dexter Calling” untermauerte er seine Rückkehr zu alter Form mit Bravour. Hervorragend unterstützt von
einem fein besetzten Quartett, wechselte der spielfreudige Saxofonist auf “Dexter Calling” mühelos von
energiegeladenem Swing zu atemberaubenden Balladen.

Another Country is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill. Recorded, like all of its predecessors, in their hometown and with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), it is replete with the poetry of private vistas, eavesdropped dramas and confusing winds. These are classic Cindy concerns, and yet, as always, contain new mystery and charm to somehow feel like quiet revelations each time. Another Country is both opaque in its intentions and specific in its presentation, and as such presents the kind of truth that keeps the listener on the search for answers just out of reach.
"The title of this record, Another Country, refers to the James Baldwin novel of that name. The book has a kind of drama that makes sense to me. When I look around, the obvious explanations are not enough. The miasma of feelings and ideas that is supposed to account for it all, doesn't. Baldwin washes past that to longings that begin to explain. Cindy songs come out of the x-rays my particular brain makes out of what I see and experience. What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full color, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean."
Cindy is Karina, Staizsh, Will & Oli. Another Country will be released on 1st May 2026 via Tough Love.

The brand- new album from Hiss Golden Messenger and the first release with Chrysalis Records. I'm People is a vivid, deeply human album born from a period of rupture, renewal, and vast American wandering. Written across Bolinas, the North Carolina Piedmont, and a Santa Fe motel room, the record traces the artist's search for clarity through landscapes both external and internal. These songs move through heartbreak, aging, fatherhood, desire, disillusionment, and the hard- won hope that remains after the spirit has been scraped bare.

Produced with Josh Kaufman at Dreamland, a decommissioned church outside Woodstock, the album carries the warmth of musicians playing live in a circle, stained- glass light filtering across guitars, drums, and upright bass. Contributions from Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes enrich a sound world that feels immediate, vulnerable, and fully alive. "I'm People is an intensely human record, and so one that needed to feel immediate, vulnerable, and fully dancing; something you could touch, sing along to, know about, recognize, relate with. I know what the record is to me and I bet it's not so dissimilar from what it's about to you, at least in the broad strokes: The heartbreak and exhilaration, the absolute black comedy of being a person on this razor's edge that is America circa 2025. What other choice do we have than to be hopeful?" - MC Taylor on I'm People. Hiss Golden Messenger is a Grammy nominated artist based in North Carolina, with multiple Album Of The Year and Best Americana Album awards, reaching #2 in the Americana Charts and performances and tours across the world, including the UK and Europe + performances on US TV; Late Night With Seth Myers.

"Wer hätte gewollt, dass wir eine neue Extrem-Metal-Band gründen? Nun, vielleicht tatsächlich jemand, aber das ist diesmal nicht der Fall, denn wir haben etwas ganz anderes auf dem Teller..." Die nachdenkliche Stimme gehört dem außergewöhnlichen Gitarristen Markus Vanhala (Insomnium, Omnium Gatherum). In der neuen düsteren Band CEMETERY SKYLINE wird Vanhala von Keyboarder Santeri Kallio (Amorphis), Schlagzeuger Vesa Ranta (Sentenced, The Abbey), Bassist Victor Brandt (Dimmu Borgir und viele mehr) und Sänger Mikael Stanne (Dark Tranquillity, The Halo Effect) verstärkt. "Mit CEMETERY SKYLINE begeben wir uns in bisher unbetretene musikalische Richtungen - in jene dunkleren Gassen, die uns am Herzen liegen, die wir aber bisher nicht wirklich durchwandert haben. Und wir sind kollektiv sehr begeistert!" Eines der Schlüsselwörter, Gothic, wurde bereits erwähnt. "Wir alle teilen eine tiefe Liebe für den Goth-Rock der 80er und 90er Jahre - egal, ob es sich um eher synthiegetriebene oder härtere, gitarrenlastige Sachen handelt. Du kennst das mit den besten Bands von The Sisters of Mercy bis Type O Negative", sagt Santeri Kallio, der sich das Songwriting mit Vanhala teilt. "Aber ist CEMETERY SKYLINE eine Gothic-Band? Vielleicht bis zu einem gewissen Grad, aber das ist sicherlich nicht die ganze Geschichte. Wenn ihr die vielfältige Musik von CEMETERY SKYLINE irgendwie beschreiben müsst, tut uns einen Gefallen und nennt uns Botschafter des melodischen, melancholischen und dunklen Rock. Danke." Der Inhalt der Texte ist tief in eine düstere Gothic-Atmosphäre eingebettet. Das von Stanne geschriebene Konzept - zum ersten Mal in seiner bemerkenswerten Karriere verwendet Mikael während des gesamten Albums Clean Vocals - taucht unwiderstehlich in die paradoxe Welt der "nördlichen Einsamkeit" ein. "Die Texte sind tief verwurzelt in der selbstgewählten Einsamkeit der nordischen Menschen, ihrem anti-sozialen Verhalten und ihrem düsteren Sinn für Humor... Beim Schreiben der Texte habe ich mir diese Besonderheit zu Nutze gemacht, die man als den skandinavischen Gothic-Lifestyle bezeichnen könnte", sagt Stanne. "Nordic Gothic" ist erhältlich als: Ltd. CD Digipak, als 180g LP sowie als digitales Album.

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."

LA-based producer Real Bad Man and Detroit rapper Boldy James return with their third collaborative album, Conversational Pieces, out now via Real Bad Man Records. The project features the singles “Come Back Around” featuring DC polymath dreamcastmoe, and “It Factor” featuring El-P. Their creative chemistry has never been clearer: this new album sees the duo pushing into fresh sonic territory through an expanded production palette that Real Bad Man continues to evolve and experiment with.

Recorded immediately after their 2022 album Killing Nothing and revisited in 2023 following Boldy’s serious car accident, Conversational Pieces is a deliberate, reflective body of work. It captures two distinct periods in the artists’ lives—documenting their growth as musicians, fathers, and long-time collaborators. The album’s artwork, along with the accompanying single art, draws inspiration from Rorschach inkblot tests—abstract visuals that invite interpretation and spark conversation, mirroring the album’s introspective nature.

Released in 1979, Tete Mbambisa's Did You Tell Your Mother delivers the ultimate blend of African groove with American modal grace, making it one of the all-time classic albums of South African jazz. With Mbambisa presenting original compositions at the piano alongside Basil "Mannenberg" Coetzee on tenor sax and flute, the acoustic quartet featured here is rounded out by Zulu Bidi from the band Batsumi on bass locking in with Dollar Brand drummer Monty Weber. This 2026 reissue presents a flat transfer of the master tapes with album artwork restored using illustrator Hargreaves Ntukwana's original ink drawing.

A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career took off. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's solo recordings from the 1970s, produced by Rashid Vally for the independent As-Shams/The Sun record label, document his creative peak as a recording artist and have contributed to earning him an honorary doctorate and a place among the figureheads of South African jazz history.

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

‘UK House Sermon’ stands proudly alongside many US house fables and its delivery pays homage to the likes of The Streets, ‘Weak Become Heroes’, Ashley Beedle and Earl Zinger’s ‘Ghost Dancers’ and Daft Punk’s ‘Teachers’.

The 'UK House Sermon' trilogy is a behemoth of a project. The original concept of saluting the trailblazing UK House DJs was conceived by producer/remixer/DJ, Dan The Drum. He enlisted the amazing team of Stuart Patterson narrating, Carmy Love on vocals and musical maestro, Darren Morris on co-production and all additional instrumentation.

Legendary remix combo, X-Press 2 have waded in and rolled up their remixing sleeves to deliver two massive slabs of prime time house niceness. The 'Wild Pitch' remix is a dance floor destroyer of epic proportions with the 'Give Thanks' remix creeping up on you like a thief in the night. A magnificent brace of musical interpretations. Hats off to everyone involved.

LP with printed Innersleeve with Linernotes by Eddie Piller (Acid Jazz) The compilation series “DJ's Choice” was launched in 2008 and has already enjoyed the participation of several high-profile curators, such as Keb Darge, Marc Hype, and DJ Suspect. A few years before the death of Unique Label founder Henry Storch in 2018, a DJ's Choice edition was created with his long-time friend and fellow DJ Eddie Piller. Unfortunately, it never came to fruition—as is so often the case, life had other plans, and sadly not all of them were pleasant. However, the idea was never completely forgotten, and with the help of Eddie and Henry's DJ partner in crime Sandra (Frollein Taube), a list of tracks that were on Henry's quick-select list for his sets was finally compiled.

Produzent, Multiinstrumentalist und Lazy Robot-Labelbetreiber Tom Funk veröffentlicht sein funkiges und souliges Debütalbum - mit 10 Tracks von P-Funk und Neo-Soul bis zu Einflüssen von Marvin Gaye, James Brown und Lonnie Liston Smith. Mit gefeierten Gästen, darunter die britische Soul-Legende Omar Lye-Fook, David Mrakpor (Blue Lab Beats), Keyboard-Virtuose Matt Cooper, der Londoner Sänger Andre Espeut und die langjährigen Lazy-Robot-Partner Valentina Russo und Brae Leni aus Arkansas.

Kritikerstimmen:
- "Ein absolut großartiges Album." – Colin Curtis
- "Unglaublich!" – Reuben James, Jazz FM
- "Was für ein wunderschönes Stück Musik!" - Nick Hosier, Stomp Radio

Repress!

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.

Auf ihrem zweiten Album erweitern Psyché ihre einzigartige Mischung aus Groove und Psychedelia um eine subtile politische Dimension. In Psychés Vision dient ihre Heimatstadt Neapel als pulsierender Schmelztiegel, in dem Klänge aus Nordafrika und dem Nahen Osten auf die Echos ferner Küsten wie Brasilien und Kolumbien treffen. Ihr Sound bewegt sich zwischen Cosmic Funk und Desert Blues, Cumbia, Dub und Jazz und wird durch den Einsatz analoger Synthesizer und treibender Basslines getragen. Die LP gewinnt dank der Zusammenarbeit mit dem tunesischen Sänger Ziad Trabelsi und der türkischen Sängerin MERVE (Altın Gün) an internationaler und politischer Bedeutung. Psyché II ist die Essenz einer Reise durch Kulturen und Identitäten: ein Album, in dem die gegenseitige Befruchtung und ein nomadischer Geist die Grundpfeiler eines zeitgenössischen Sounds bilden – verwurzelt im Mittelmeerraum und gleichzeitig weltoffen.



b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


b 02: Hurriya (We Must Resist) feat. Ziad Trabelsi


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] 02: Hurriya (We Must Resist) [feat. Ziad Trabelsi]


[b] A2 | Hurriya (We Must Resist) [feat Ziad Trabelsi]

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

Getreu seinem Namen ,Extraordinary" erweitert Gareth Donkins zweites Album die Bandbreite seines virtuosen Soul-Pop-Songwritings nicht nur auf akustischer Ebene, sondern auch auf einer zutiefst persönlichen Ebene. Ein Schritt weiser und selbstbewusster, frisch aus einem Feature auf dem neuen Album von De La Soul, lässt der in London lebende Singer-Songwriter und Produzent vergangene Konstrukte hinter sich, um die Gegenwart mit seinem bisher ausgereiftesten, umfangreichsten und beeindruckendsten Werk zu feiern, das mit verspieltem Charisma und modernem Glanz an Disco-, R&B- und Funk-Größen anknüpft. Er sagt: ,Bei ,Extraordinary` geht es darum, sein Leben selbst in die Hand zu nehmen, neue Erfahrungen und Abenteuer anzunehmen." Donkins bahnbrechendes Debütalbum ,Welcome Home" aus dem Jahr 2023 fand von BBC Radio bis Billboard (,ein Soul-Genie") großen Anklang und brachte ihn zum ersten Mal zum SXSW. Dennoch war die Saison von Rückschlägen und Herzschmerz geprägt. Zunächst streckte er seine Hände nach der Fantasie aus mit der kathartischen Suite Escape EP. Dann, mit klarem Kopf, engagierte er ein Traumensemble, um seine nächste Vision zu verwirklichen, darunter ESME, Kiefer, UHMEER, Shaan Ramaprasad und Howard Lawrence von Disclosure . Donkin hat sich einen Namen als Old Soul gemacht, als Ein-Mann-Band in der Tradition von Prince und Stevie Wonder, der oft in den sozialen Medien zu sehen ist, wie er mit verblüffender Leichtigkeit Songs zusammenstellt. Wie seine früheren Werke fängt auch ,Extraordinary" dieses unbestreitbare Talent und seinen Charme ein. Was das Album auszeichnet, ist die Weite, in der diese Tugenden zum Tragen kommen. ,Es klingt einfach größer, aktueller", fügt er hinzu. Von vereinenden Hymnen bis hin zu dramatischen Erklärungen entfaltet Donkin eine Art von Optimismus, der nur durch harte Arbeit an sich selbst entstehen kann.

Obwohl es sich nicht eindeutig einem bestimmten Genre zuordnen lässt, hat ,A Way In" was von Afrobeat, Cumbia, Salsa, Jazz, Reggaeton und Soul - eine Mischung aus kraftvollen Rhythmen und geheimnisvollen Melodien, die Mitchum Yacoubs zweites Album in der Welt der Groove-Musik hervorstechen lässt. Zwischen synkopierten Dance-Tracks, ätherischen Klanglandschaften und gleichmäßigen Backbeats finden sich Geschichten über Angst, Liebe, Aufstand und Heilung. Zehn Tracks, die den menschlichen Geist offenbaren und feiern. Yacoub hat das gesamte Album selbst aufgenommen, produziert und abgemischt und damit den sorgfältig geschichteten Sound sichergestellt, den die Fans seines Debüts ,Living High in the Brass Empire" so schätzen. Wir treffen wieder auf Travis Klein, Bradley Nash und Wesley Etienne, seine unnachahmliche Bläsersektion, die man weder auf Platte noch auf der Bühne verpassen sollte. Mit den aufstrebenden Stimmen von Divina Jasso und Lourdes Iri auf der Hälfte der Tracks mangelt es ,A Way In" nicht an herausragenden Singles, die dich von morgens bis abends begleiten werden.

In 2026, the sample alchemist returns to his first love with his 11th album, Endless Smile 2. A 16-track project conceived as a tribute to his landmark 2015 album Endless Smile, which featured his iconic tracks “Betty” and “Qu’attendez-vous de moi”.

Born from a desire to return to the essentials, Endless Smile 2 focuses on instrumental compositions enriched with samples and organic textures inspired by the 70s. The album develops a warm and sun-soaked atmosphere, crossed by the melancholic touch that defines Degiheugi’s musical universe.

Recorded between 2023 and 2025 in his studio Endless Smile Records and mixed by his longtime collaborator Mr. Gib, the album opens with the trip-hop anthem “The Last Opening”. Far from being a simple introduction, it acts as a true gateway into Degiheugi’s new sonic journey. Keyboards set the tone, the horn section led by N’Zeng invites listeners into the groove, while guitars and organic keyboards immerse us fully into his musical world. The scene is set: he’s back.

Among the standout tracks, “Ain’t Goin Down” delivers a reggae-influenced groove driven by a message of hope, while “Vem O Mar” (feat. Hugo Kant) explores funk and tropical soundscapes. “Ipanemax”, a nod to the classic “The Girl From Ipanema”, and “Ouh Baby” extend this Brazilian atmosphere, while “Savoir Danser” leans toward oriental textures and “Juanita Bonita” ventures into a bold fusion of cumbia and dub.

The album also reveals Degiheugi’s signature melancholic side. An addictive loop settles deep into the listener’s mind as “Sympathique et sympa” balances nostalgia with urban groove. The haunting strings of “Naked” and the soul ballad “She Worries” respectively reflect on mortality and the fragility of romantic relationships. Guest artist Miscellaneous addresses gender-based violence on “Love Is Blind”, telling the story of a woman trapped in a toxic relationship.

Endless Smile 2 closes with “Enivrez-vous”, an outro inspired by Charles Baudelaire’s poem, bringing the album to a contemplative conclusion. With this release, Degiheugi masterfully completes a musical journey that began ten years ago.