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The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Laura Nyro was an astonishing talent. She was born into a musical family in The Bronx, NY in 1947; her father, Louis Nigro (pronounced Nigh-gro), was a jazz trumpeter, and music was her coping mechanism during a difficult childhood. By the time she was 8 she had taught herself to play piano and was composing her own songs, and during high school she would sing with a group of Puerto Rican friends, harmonising on street corners and in subway stations.

Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.

Jasmín returns to fabric Originals with the second instalment in her four-part series, Concrete Summer / Skeletal.

Following her debut release It’s Girls Night / Long Hair, the Dutch-Argentinian producer delivers two stripped-back, percussive techno cuts shaped by the architecture, tension and atmosphere of cities after dark.

Concrete Summer opens with a primordial pulse: saturated drums and feverish shaker rhythms lock into a raw, hypnotic groove. On the flip, Skeletal pushes deeper into the night, pairing a driving kick and syncopated percussion with distorted drones and mounting pressure.

Sparse, physical and deeply immersive, both tracks leave space for the dancer to complete the picture, continuing Jasmín’s singular exploration of stripped-back techno and the nocturnal worlds at the heart of her ongoing collaboration with fabric.

Nonclassical are proud to release Nneka Cummins’ Ivor Classical Award-winning finding gills (when they try to drown you), pairing the original orchestral work with its remix, finding gills realms and possibilities.

Originally commissioned and composed during Nneka’s time on nonclassical’s Artist in Residence programme and premiered by Sinfonia Smith Square in 2025, the work marks their first large-scale exploration of fixed electronics alongside chamber orchestra. Built entirely from its source material, the remix dissolves the perceived sacredness and permanence of orchestral music, stretching, warping and reassembling its fragments into a fluid electronic form.

Drawing on fragments of earlier compositions, Finding Gills embodies both destruction and creation, embracing the spirit of metamorphosis. Inviting the listener to sit in moments of dissonant discomfort and distress, an emerging sense of hope gradually reveals itself through radiant strings and spiralling melodies. Hinting at a sense of tiredness that is continually renewed, sparks of new life blossom within a shifting orchestral landscape where memory, experimentation and survival coexist.

The title alludes to the Afrofuturist mythology of Drexciya, imagined by Detroit duo James Stinson and Gerald Donald, in which the descendants of pregnant African women who were thrown overboard during the transatlantic slave trade adapted to breathe underwater, creating a new civilisation beneath the sea. Nneka draws on this subtle reference as they are inspired by the deep creative alchemy of transforming horror into vibrant and powerful myth.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

In August 2025, Lee Bains decamped to the Cherry Street Tavern in Chattanooga, Tennessee, a scene known for holding a light for collective good and personal freedom, in order to record a live album. Over that weekend, a group of anti-war activists, union workers, queer rights organizers, inclusive pastors, and people of goodwill—old-time folks—came from Tennessee, Alabama, and Georgia to gather at the Cherry Street Tavern. That weekend, that small group of people on Cherry Street, just like innumerable other groups that day and throughout history, demonstrated to each other and to the microphones, that, in 2025, the South was comprised of free people, no matter what. Free South 2025. Free South 2026. Free South forever. Lee Bains is a poet and songwriter from Birmingham, Alabama, who since 2012 has released four studio albums of what Rolling Stone calls “Southern gospel punk," and will publish his debut poetry collection Work Lunch with Hub City Press in 2026 after several of the poems were first published by the New Yorker in 2021. A cult songwriter forged in independent scenes, his work has carried him all over the U.S. and Europe, has received acclaim from the likes of Rolling Stone, The New York Times, NPR, The New Yorker, and The Guardian, and has led him to be a supporting musician for other artists like Lonnie Holley, Moor Mother, and Algiers. Lee has lent his work to support striking coal miners, immigrants’ rights groups, abortion funds, and anti-racism organizations. He has performed and read at Emory University, the University of Mississippi, Tulane University, Auburn University, and The Royal Institute of Technology (Stockholm, Sweden). He lives in Atlanta, Georgia, where he works between tours as a handyman.

Als Post Animal ihr neues Album IRON aufnahmen, waren zum ersten Mal seit fast einem Jahrzehnt alle sechs Originalmitglieder wieder zusammen im Studio. Das Ergebnis ist die Verkörperung von 30 Tagen voller Kameradschaft und grenzenloser musikalischer Entdeckungsreise – ihre erneuerte Verbundenheit ist unerschütterlich. Das Album nutzt die neue Schärfe, um Genregrenzen zu überwinden und erweitern, von Synthpop über Folk und Vintage-Radiorock bis zu spannungsgeladener Psychedelia. IRON versetzt den Hörer direkt in den Raum der Band – freizügig und experimentell, aber dennoch präzise gespielt. "Das Zusammentreffen all dieser kreativen Kräfte war wie geschärftes Eisen," sagt Sänger/Bassist Dalton Allison. "Wenn wir nah beieinander sind, machen wir uns gegenseitig besser."

Roughly two years after the release of their initial statement of intent, debut single “Toutpartout PT2” with its hypnotic ripples, Andi Haberl and Florian Zimmer aka Bella Wakame have successfully channeled the magic of a 2024 live recording (captured at Berlin’s Donau115 & Silent Green) into their first proper studio offering. You can hear inspirations ranging from Bitchin Bajas, Jeremiah Chiu to Groupshow (Jelinek, Leichtmann, Pekler), the hypnotic, intricate battle between form and freedom (the fun of momentary formlessness) continues to unfold over the course of 10 new tracks, featuring album guest Indra Dunis (Peaking Lights). Their first single "Shades of Nambei" was very much inspired by the wonderful band Spirit Fest and their song "Nambei".

You can either shorten the reins, or you can loosen them – and give things more slack. With Bella Wakame, it’s definitely the latter. Constantly challenging each other, they’re tapping a whole new energy. Tons of different energies.

Based on the impulsive, propulsive interplay between drums/sensory percussion (Andi Haberl) and modular synthesizer (Florian Zimmer), the frenzied, free-form results take listeners into completely new dimensions – sonic worlds that don’t really sound anything like their other musical outlets (The Notwist, SUN, Saroos, Driftmachine etc.).

Whereas most bands tend to notoriously overthink names/monikers, these guys obviously only care about the ecstatic push-and-pull that occurs once their instruments meet and overlap: it’s wildly explosive textures with a booming heart. Moving restlessly between motorik club, electro-acoustic jazz experiments, ambient excursions, and fast-paced instrumental anthems that seem to explode at the seams, one can immediately tell how much they enjoy the newfound freedom, the turbulent encounters born on the spur of the moment.

It’s all about a quick-paced exchange of friendly blows, a chasing of tails into ever-new musical terrains. Relying on just enough form for that wildness to blossom within, their just-in-time dashes continually unfold, refold, return, grow bigger – and leave you startled.

The fifth instalment in the label’s well-established Fluid Files series, this new mosaic of sun-streaked joints summons the voices of faces old and new, sewn together with that similar Chicago-typical, laid-back attitude and a thread of unstoppable funkiness.

Diving first with a slice of velvety, looped out piano house boogie on a solid French filtered house tip, Dutch outfit Fouk lays down a proper enticing number for the late summer hours, packed with elastic bass jack, anthemic stabs and a sun-kissed shimmer straight out a blissed out coastal escape. Label alum Danou P follows up with a further bouncy number, dishing out a seriously infectious mix of acid-abraded bass and warped floor dynamics, ready to knock dancers askew with its lush, synth-flooded hooks and fun-loving, oddball swing.

More on the muscular side of things, Ben Diggins clocks in with the steroid-fueled balearic hoodoo of ‘Mascotte’ - a tune built for the undying after vibes, when the sun begins to rise and the crowd’s levels of serotonin hit a new high. Prismatic and powered-up, Diggins’ track injects any heavy-lidded engine with his own concoction of driving percussion, utopian motifs and fluttering, ambient-leaning harmonics.

Rounding off this four-part sonic journey, Colombian vibist DFRA teams up with Argentinian singer Denise Izaguirre on the heavily Latin jazz-informed, ‘Impulse’. Soulful and oneiric, the song taps in both artists’ musical heritage whilst pushing for new directions through the combined use of electronic and acoustic instruments (congas, trumpet, synths, drum machine…) - contrasting and complementary, shaping an entirely new and singular vision that is drenched in a bittersweet blend of warm melancholy and bracing hopefulness

Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.

Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.

Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.

Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.

Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.

Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.

Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Crooked Colours present Dirt Road Gold.

The fourth album from the prolific Australian outfit, the record signifies the next chapter for the acclaimed Crooked Colours; dreamy, poignant and unapologetically emotionally vulnerable.

As a body of work Crooked Colours (Philip Slabber) effortlessly genre-hops, from alternative euphoric builds to upbeat melodies to electronic stabs alongside his instantly recognisable heartbreaking vocals, stacked to perfection.

Key singles ‘Pink Limo’, ‘Come Thru’ and ‘I’m All Yours (feat. Georgi Kay)’ upholding the original elements Crooked Colours have become known for; yet with a modern 2026 approach proving an ever-evolving sonic escape.

Title track ‘Dirt Road Gold’ steps outside the traditional Crooked Colours sound; guitar plucks, raspy vocals and train rhythm snare. Truly highlighting Slabber’s storytelling ability in that space.

Bookended by ‘Oxford’ and ‘Honey Dog’ encapsulating the Crooked Colours aesthetic as a whole, delicate instrumentation and catchy sing-a-long hooks.

Lunfardo presents Heroica, the fifth chapter in its conceptual series, inspired by the Three Defences of Paysandú, events that remain embedded in the city’s memory and the history of Uruguay.

Among them, the Heroic Defence of Paysandú (1864–1865) stands as the most enduring symbol: a weeks-long resistance led by Leandro Gómez against overwhelming forces during the Brazilian intervention and allied advance. Across generations, these events have come to embody resistance, sacrifice and permanence.

Heroica is Lunfardo’s tribute to Paysandú, the city where the label was born.

The release explores this narrative through the work of Andrew Lagowski, one of experimental electronic music’s enduring figures. Active since the early 1980s, Lagowski has released more than 60 albums and over 10 vinyl singles, leaving a lasting mark across electronic, experimental and techno music.

For Heroica, Lunfardo revisits selected works from Lagowski’s 1995–2000 CD era, presented on vinyl for the first time, alongside a contemporary composition produced in September 2024.

Bridging archival electronics and contemporary vision, Heroica unfolds through themes of resistance, memory and permanence.

Artwork by @estudio.polar

For more info @Lunfardo.records

20 Years into the future, we return to you with the world’s illest hard drum n bass beats. In 2006, we released Counterstrike, Identity (BTK Spleen), Corrupt Souls, and Lethal & Khanage, making a 4 continent super weapon of drum n bass.
We arrive in 2026 with the hottest new talent - Rawbreaker, Anika D, paired with legends such as Jaise, Submerged, and inimitable voice of Flowdan. Disciples of the Unreal II is our return to wax also, with a 2x12" mastered hot for the DJs and distributed worldwide.
Each artist contributes a piece of the hard sound in their own fashion - from the roughneck beats of Medium, Rawbreaker, Submerged, and Scartat, to the Sinthetix-fueled neurofunk of Code2 and Anika D, and a foray into industrial techno from Slave to Society’s rework, and landing in the world of original Jungle sound with Jaise. From every corner - we come correct with the drum n bass intellect.

The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.

Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.

Bad Company has helped shaped the sound of an entire rock era with iconic powerhouse rock anthems and popular ballads. Having unearthed the original multi-track tapes and discovered previously unreleased tracks, takes, and mixes the band has remastered their first two albums to create new Deluxe Editions.

Singer, songwriter and multi-instrumentalist Rodgers, along with guitarist/songwriter Mick Ralphs, bassist Boz Burrell, and drummer Simon Kirke released the band's second album Straight Shooter in April 1975, 40 years to the month of the new deluxe edition. The album rose to #3 on the U.S. album chart and was certified 3x platinum behind the hit singles Feel Like Makin' Love' and Good Lovin' Gone Bad' as well as the rock radio staple Shooting Star.'

All bonus tracks on the Deluxe LP version are previously unreleased. Among the standouts is a stripped-down version of Shooting Star,' and a remix of Good Lovin' Gone Bad' with alternative guitar and vocals tracks.

Side One
1. Good Lovin' Gone Bad
2. Feel Like Makin' Love
3. Weep No More
4. Shooting Star

Side Two
1. Deal With The Preacher
2. Wild Fire Woman
3. Anna
4. Call On Me

Side Three
1. Good Lovin' Gone Bad (Alternate Vocal & Guitar)*
2. Feel Like Makin' Love' (Take Before Master)*
3. Weep No More (Early Slow Version)*
4. Shooting Star (Alternate Take)*

Side Four
1. Deal With The Preacher' (Early Version)*
2. Wild Fire Woman (Alternate Vocal & Guitar)*
3. Anna (Alternate Vocal)*
4. Call On Me (Alternate Take)*

Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.


Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.


In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.

opo’s 666ridims (2020 - 2026), compiled by J.TRIPP, brings together tracks from his 666ridims netlabel, reflecting on the singular sound worlds of some of his solo work. Like a discovery made by neutrino sensors, opo’s tracks research the transformation of rhythm, swing, and structure, aiming for a new grid. Sketchy and raw, processing emotions and experiences, regaling stories, and asking questions, opo relates in trance verse. All tracks here breathe his focus on improvisation, experimentation, and collaboration. Some of the beats featured on 666ridims (2020 - 2026) are outlines for freestyles and songwriting ideas, a practice formed during a long-distance music conversation with illustrator, printmaker, painter, designer, and maker Billy Bigwood. Other tracks are more club-oriented, like speculative genres programmed in odd meters. Japanese Barcelona-based DJ Hanakito contributes to one track, using samples and chops sourced from her vinyl imports.

Through Afroelectronic experimentation and diasporic narratives, opo encodes his soul's past and future through his music. Encoded, activated, returned. Initiate only when you receive permission from all your mental fragments. Keep transmissions in mind and dislodge and follow the command cluster's trail. Strongly influenced by sci-fi, ancestral afro musics, jazz, performance art, and food, as musical lines and shards of meaning cascade, 666ridims (2020 - 2026) is a minimalist dive into strange meters, polyrhythm, and the transcendence of ideas. Fast, slow. Exhilarating. We don’t discover physical laws; we just collaborate on them.

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1 | Black Power (German version) [feat Donna Summer]

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal of
city pop, Japanese fusion has been rapidly rising since around last year.
Widely known as a support member for YMO and also popular on the overseas club music scene through Colored Music, her cuttingedge dance-pop unit with Atsuo Fujimoto, keyboardist, composer, and vocalist Ichiko Hashimoto released this, her second solo work, in
1985. Released on DOMO, the label headed by Kazumi Watanabe, and naturally produced by Kazumi Watanabe himself, who also plays
guitar on the album.
A truly crossover work of remarkable freedom, moving across fusion, techno, piano pieces, danceable music, classical, Japanesque
sounds, bossa nova, ambient, and more. Her fleeting singing voice is wonderful as well.

Albert Bouchard is best known as one of the founding members of Blue Öyster Cult. The original band sold millions of albums for Columbia Records with such
classic songs as “Don’t Fear the Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burning For You”. As a songwriter, he wrote many BÖC songs including the very popular “Astronomy” (which was covered by Metallica on their 1998’s release Garage Inc) and the live staple “Cities on Flame with Rock and Roll”, which he also sang lead vocals.

Albert’s famous cowbell on “(Don’t Fear) The Reaper” was the basis of the popular SNL skit with Will Ferrell and Christopher Walken, which has gained over 32 million views and spawned the phrase “More Cowbell”. Imaginos IV–Rhyme Of The Starclock sees Albert continuing the story of Imaginos, a concept album about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The album weaves scripts and poems by the late Sandy Pearlman. This is the follow up to the initial Trilogy and goes back to a young Imaginos. It features guests Blue Coupe, Ross The Boss (Dictators), Joe Cerisano (Silver Condor, TSO), and many others. The first single “Four Winds Bar” is due out July 31st, with the follow up single “Germany Minus Zero” coming on August 28th.

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

Iker is back with "Sinkronia". A gripping takes on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker's attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca's Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao's UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work. "Iker Munduate is an artist and musician who brings a delicate sense of composition and design_ Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura (Derek Walmsley, The Wire Dec'24)"

Life Creates Itself is the new album by Bill Baird, releasing September 25th, 2026 on Royal Oakie Records. After years of restless wandering that took him from the Bay Area to India to Abbey Road and back again, Baird has returned home to San Antonio, Texas. Inspired by Lone Star legends Doug Sahm and Roky Erickson, the album inhabits a world where outsider country, avant-garde pop, and psychedelic folk dissolve into one.


Produced by longtime collaborator Jasper Leach (Tony Molina, Color Green) and mastered by indie-rock legend KRAMER (Galaxie 500, Daniel Johnston, Will Oldham), Life Creates Itself was recorded at Sear Sound in New York City in a single remarkable day — fitting for an album as indebted to Arthur Russell and Captain Beefheart as it is to Sir Douglas Quintet and Townes Van Zandt. The sessions brought together a constellation of collaborators around Baird and Leach, including Pedrum Siadatian (Allah-Las, PAINT), Phil Carluzzo, Austin Day, Oliver O'Haver, Jordan Johns, Michael Vattuone, Clara Kennedy, and Carluzzo’s dog Ernie.


Lead single "Yanaguana" — the original Payaya name for San Antonio, meaning either "land of many waters" or simply "where I am right now" — serves as a thesis statement for the album, a restless soul reckoning with what it means to finally come home. Meanwhile, "Karma Loan" is a fuzzy, sprawling psych track that spilled out of Baird during a deep immersion in Bach that features cello by Clara Kennedy and closes with a sound collage of spiritual gurus hawking easy paths to enlightenment. Then there's "Horse Moon" — built around pedal steel that shimmers like rays of moonlight, drifting through vignettes from a late night walk across New York City, with Pedrum Siadatian's lead guitar lending the whole thing an unhurried, dreaming quality. The night they tracked it, Baird climbed to the roof of Sear Sound and watched a full moon wash the city in a warm glow.


Baird has never sounded more at home, and Life Creates Itself may be his most cohesive record yet – a songwriter record through and through that stands apart from the rest of his discography. Royal Oakie Records is proud to release Life Creates Itself on September 25th, 2026, available on vinyl LP, CD, and digital download/streaming worldwide.

Burns with brothers Brian and Ewan Mcfie at Glasgow School of Art in the early 1980s. Drawing comparisons to Simple Minds, U2 and R.E.M, their post-punk sound attracted attention from John Peel who aired their single Too Late in 1984. The band signed to A&M and released Real Surprise in 1985 which became a BBC Radio 1 Single of the Week. However, like many bands of the time, their recording deal collapsed. For decades, all that remained were those two singles and a box of unreleased demos. During lockdown, the band revisited the tapes, finally bringing a remarkable lost chapter of Scottish post- punk back to life. In 2025 the band decamped to Beetroot Studios in Airdrie with producer Stuart MacLeod to work on new material. Rhythm of Lies is released by Last Night From Glasgow on blue vinyl and CD. This album is a must have for new and returning fans alike.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

Als Dublins Gurriers 2024 ihr Debütalbum Come And See veröffentlichten, bewiesen sie eindrucksvoll, dass sie eine der drängendsten und unüberhörbaren neuen Stimmen der boomenden irischen Punk-Szene sind. Seitdem haben sie sich mit knochenerschütternden, moshpit-tauglichen Live-Shows einen stetig wachsenden Ruf erarbeitet. Come And See stellte dabei auch ihre lyrische Stärke und ihren neugierigen, gesellschaftskritischen Blick in den Vordergrund – mit Songs über digitale Verlorenheit und die ganz realen Schrecken der modernen Welt.
Das grandiose zweite Album des Quintetts heißt Nobody's Coming To Save You – könnte aber ebenso gut den Untertitel „härter, besser, schneller, stärker" tragen. Es wird am 25. September auf Play It Again Sam veröffentlicht.

Aufgenommen in Donegals Attica Studios und den Holy Mountain Studios in London, produziert von Mark Bowen (Idles) und Loren Humphrey (Geese, Cameron Winter), engineered von Chris Fullard (Idles, Sunn O)))) und gemixt vom weltbekannten John Congleton (St. Vincent, Modest Mouse, Swans) – allein das Team, das sich für LP2 zusammengefunden hat, spricht Bände. Gurriers nehmen alles, was sie von Anfang an großartig gemacht hat – die musikalische Chemie, den klugen, analytischen Blick auf die Welt – und schrauben es konsequent auf das nächste Level.

Von der vibrierenden Spannung der ersten Takte des Titeltracks, die sich in einem kakophonischen, kathartischen Finale entlädt, bis zum Ende: Nobody's Coming To Save You überführt den Geist des schwitzenden Kellerclubs in Stadiondimensionen. Das Album ist nicht nur laut – es ist dynamisch. „Shades" schickt industrielle, kantige Gitarrensplitter in einen brachial-rohen Hardcore-Chorus; „Drones" ist ein druckvolles, langsames Aufbäumen mit einem Drop, der jeden Moshpit zum Kollabieren bringt. „Pins" zeigt eine lässigere, melodischere Seite – irgendwo zwischen Grunge und Trip-Hop –, während „Party Lines" pure, unersättliche Dance-Punk-Ekstase ist. Wer sich fragt, ob die Band ihr Ziel erreicht hat, das Album „wie eine Ohrfeige" wirken zu lassen: Ja, die sitzt.

Mit Nobody's Coming To Save You haben Gurriers ihre Ambitionen in neue Höhen getrieben – und liefern dabei auf ganzer Linie.

Zum 30-jährigen Bestehen gönnt sich das Hamburger Dub-Label Echo Beach ein multidimensionales Porträt seiner Heimat- und Hansestadt Hamburg. Musikalisch hat das Label bereits die ganze Welt bereist und Dub-Sets aus UK, Südafrika, Neuseeland, New York, Jamaika und Germany veröffentlicht. King Size Dub - Hamburg ist die erste Album-Compilation, die sich exklusiv der Dub-Musik aus Hamburg widmet. Schon als das Label mit einer Compilation mit UK Dub die Bühne betrat, gab es mit Soundhaudegen wie Silly Walks und Dub Me Ruff, Projekten um den Producer Matthias Arfmann sowie Bands wie Dub Division und Di Iries eine vitale Dub-Szene in Hamburg, die im Lauf der Jahrzehnte ebenso wilde Blüten trieb wie outernational das Echo Beach Label, wobei es durchaus zu Überschneidungen und Kreuzungen kam. Nun ist die Zeit der Ernte gekommen: Für die Vinyl-Version hat sich das erste Dub-Label am Platz mit dem nicht nur für Dub-Heads besten Plattenladen der Stadt zusammengetan und jeweils eine Rille voller Versions, Specials und Exclusives aus den Hamburger Studios gepresst.

Japanese crossover and fusion are hot again now. As either an outgrowth of, or a spin-off phenomenon from, the global reappraisal
of city pop, Japanese fusion has been rapidly rising since around last year.
This is the 1978 debut album by Carioca, one of Japan’s leading Brazilian fusion units of the 1970s and 1980s.
The group began as the backing band for Kiyoshi Hasegawa, and on this debut release they used the name "Samba Calioca." True to that
band name, they were quite unusual at the time for presenting samba and bossa nova with a resort-flavored sound, and they also
produced specialists such as drummer Antonio Ishida and guitarist Masami Sato. This highly club-popular first album also features a
diverse lineup of guest musicians including Masayoshi Takanaka, Ryuichi Sakamoto, Shuichi "Ponta" Murakami, and Shigeharu Mukai.

There are some first times you never forget. The first time one hears Syd Matters’ captivating voice is one of them.


From “End & Start Again”, his first single in 2003, Jonathan Morali’s warm, soulful vocals and timeless melodies revealed an artist in a league of his own. Success in France and abroad was immediate and has never waned.
Four albums followed between 2004 and 2011, along with a host of unforgettable songs: “Black & White Eyes”, “Obstacles”, “To All Of You” or “I Might Float” left their mark on an entire generation, racking up nearly 200 million streams and 100,000 physical sales. Drawing equally from the songwriting of the 60s, the creativity of the 70s and the modern synthetic era, Syd Matters has developed a unique musical universe, building a loyal and ever-growing audience over the years.


On stage, accompanied by his band, audiences recall intense concerts where the artist and his musicians deliver performances that were at once epic and intimate. Lush and spectacular on stage, their music never lost its center of gravity, gaining even in depth. Syd Matters toured France and Europe (England, Germany, Scandinavia...) for nearly ten years, as well as in the United States and Latin America. In 2011, the tour for his album Brother Ocean culminated in Paris at the mythical venue l’Olympia.
Jonathan Morali then took a step back from the spotlight but remained just as prolific, writing for film, theater, radio, and television and collaborating over the years with directors such Éric Rochant, Rémi Chayé, Thomas Litli, Patrick Mille, and Mélanie Laurent to name but a few. When scoring for films, the musician gives free rein to his desires and intuitions. He works with the very fabric of sounds and their underlying emotions, as if freed from the constraints imposed by the song format.


Between 2015 and 2019, he also composed the soundtracks for the remarkable video games Life Is Strange and Life Is Strange 2, which were massive global hits. Several Syd Matters tracks appeared in the game, and the success was such that it revived the band’s career, introducing their music to a new audience.


After an extended hiatus, Syd Matters will make a major comeback with a new album - their fifth - set for release in September 2026 on Créature - also home to Flora Fishbach and Chassol. They will then tour France and Europe, returning to the legendary stage of the Olympia on November 17, 2026, where they will perform their new songs. And others that we know by heart and haven’t forgotten.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms
and repetitions of domestic life for collaborative album, 'Routine' - out September 25

Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn't set out to make an album. Instead, as the title 'Routine' suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. 'Routine' blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.

Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded 'Sun Arcs', pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album 'Repair Techniques' written by Birch and Carøe.

'Routine' emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell's home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late '70s and early '80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. "I'm very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music," Dungan explains of a process which allowed the duo's individual styles to drift apart and merge together seamlessly. "I think the process was definitely capturing moments in time, but over a long time," Carøe adds. "It was a bit like improvisation, but with time stretched."

The music floats with grace and humility, remaining sophisticated yet acutely introverted.
Whether on 'Clouds', where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through 'Routine 1', the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising "line-in and headphones" would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.

Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on 'Hymn' and 'Chords', in a treated, stylistic approach akin to Mabe Fratti, while 'Silence' draws to a close with a gospel touch. Dungan's harp-motion zither flourishes reveal more classical connotations on 'Reunion' with inspiration of Bedroom Community's Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.

'Routine' then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)