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Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Jennifer Touch release her next LP 'Aging at Airports' on Fabrika Records. The idea for the record title came before the music even existed as Touch was spending an increasing amount of time in airports while touring. In her own words: "It felt like I waste a large part of my life waiting for the next show to come, to entertain and perform my music and build timeless moments with others. This waiting, the slowly ticking time at the gate, was in complete contrast to what I want to do as an artist: to be in flux, to create things that will last forever. The airport, as a busy hub, was like a symbol of this ambivalence. And a reminder: every second, whether waiting or on the move, I have to accept that I am fading, that my creative power, my face, and my body are fading. As a (performing) artist, everything feels like a strange contrast. While you want to stay true to yourself and speak authentically from the soul, you are also expected to appear forever young, and powerful. Artists are often wanted to distract people, but creating this art forces me to confront my own transience. I feel the struggle to fit into this powerful artificial framework that the world has set and the desire to break free from it."

Release 006 Eatherwaves from Deenamic on the Swiss label Imprint Léman Records.
With previous releases on respected imprints such as Neroli, Visions Recording, Freebeat, Mother Tongue, and most recently Mate Records, Deenamic returns with a powerful 3-track EP, blending organic textures with dancefloor-driven energy.
On the A-side, Sometimes sets the tone with a deep and atmospheric feel. Built around rich, heavy chords inspired by early ’90s Chicago deep house, the track creates an immersive and introspective vibe perfect for easing into the journey.
On the B1, Mirage unfolds through a hypnotic, repetitive melody that takes us straight to the Motor City. With its jazzy harmonies and deep chord progressions, it delivers a smooth yet captivating groove.
Closing the EP, Wacid Sabi brings a rawer edge. Driven by gritty drums, crunchy hi-hats, and deep chords, the track balances rough textures with a late-night groove, making it a perfect weapon for after-hours moments.

This special collector's edition is available in a strictly limited run of only 250 copies. The vinyl version is pressed on transparent vinyl and features metallic paper packaging along with a printed inner sleeve made from dyed paper stock. The entire release was designed by the exceptionally creative graphic designer Weronika Lipniewska, resulting in an edition that is as captivating visually as it is musically.

EY AY (Deluxe Slay Jazz) is the second album by Piotr Checki - an artist who, following the intimate, home-recorded debut PE, returns with something radically different: a living, spontaneous work captured in real time. If PE was a personal document of moments enclosed within a controlled studio environment, EY AY is its opposite - a sonic organism that breathes, pulses, and unfolds in the here and now.
The album was created in just two weeks during a period of intense inspiration. Ch?cki developed a series of compositional sketches which were then expanded together with drummer Tymek Papior and pianist Marcel Balinski during a single six-hour recording session. Crucially, the entire album was recorded as one-take performances. No overdubs, no edits, no second attempts. It is a document of pure presence - a moment that can never be repeated.
The subtitle Deluxe Slay Jazz carries an additional personal layer of meaning. It serves as a subtle yet significant nod to one of Checki's greatest passions: ski jumping. The initials "DSJ" may also evoke the cult classic ski-jumping computer game released in 1999, beloved by an entire generation of players.
With EY AY, Checki redefines his approach to music-making. Instead of constructing rigid structures, he places trust in the process. Instead of production, interaction. Instead of perfection, authenticity. This is music that does not strive to be finished - it simply exists.

Originally released in 2004, Because Of My Dream is a quietly overlooked gem from the early-2000s Dutch underground. Produced by Amsterdam DJ and producer Angelo D’Onorio, a longtime presence in the city’s club circuit including Mazzo, Roxy and Paradiso, the record blends rolling House rhythms with analog synth textures to create a deep, late-night atmosphere.

Though it circulated among a small circle of DJs at the time, the release never reached the wider audience it deserved. Its patient grooves and dreamy progression reflect D’Onorio’s hardware-driven approach to production and the understated emotional pull of Dutch House from that era.

Two decades later, Anacalypto Records brings Because Of My Dream back into circulation, rediscovering and reintroducing this forgotten dancefloor moment for a new generation of DJs, dancers and selectors.

Lello Di Franco aka L.D.F. leans fully into his curatorial instincts here, and the result is less a traditional “producer ep” and more a cohesive, late-night DJ narrative. World Beats Vol. 2 doesn’t try to grab you instantly it unfolds, patiently, like a deep set in a small, packed club where the focus is on groove rather than spectacle. The collaborations are the real backbone: Byron the Aquarius injects looseness and jazz DNA his touch is immediately recognizable in the swung rhythms and slightly off-grid keys. These moments feel alive, almost jam-session-like. Tilman brings polish and restraint. His contributions tend to be more hypnotic, smoothing transitions and keeping the flow meditative. Trinidadian Deep adds emotional weight his Afro-deep sensibility introduces warmth and a sense of space that elevates the project beyond pure club functionality. Fire Drums II close the ep, an electronic/percussive track with a tribal and hypnotic feel. It combines intense drum rhythms with dance and worldbeat sounds, creating an energetic and ritualistic atmosphere. World Beats Vol. 2 is a refined, deeply musical project aimed at listeners who value texture, groove, and atmosphere over instant hooks. It’s less about standout singles and more about immersion.

For the 27th instalment of Big Trouble Records, Cryme steps in with a hypnotic overload of house holiness. Thumping, breakbeat-influenced drum patterns attach to Detroit synths, stabs, and pads.

Ziegelstr. is home to the studio and former headquarters of Berlin-based label Seven, run by Cryme and ultimately the meeting point between Cryme and Big Trouble’s head honcho Andre Zimmer, culminating in Cryme’s release on the label. Throughout its length, The EP nods to Detroit and early UK house whilst planting itself firmly in the core of what Berlin stands for today.

The late, great J Dilla is one of the greatest hip-hop producers of all time, in part because his ear for music
was so diverse and expansive. As Dilla's mother Ma Dukes explains, "He didn't come with a limited capacity, and real producers produce, produce, and produce. There are no formats for genius workers…just non-stop creations."
Now, a fresh batch of those creations is available to the world, in the form of the official J Dilla release Dillatronic. This 2LP edition from Ma Dukes and Vintage Vibez Music Group includes the full Dillatronic collection – over 40 rare instrumentals that showcase Dilla's undeniable electronic influences.

Shakedown’s anthemic 'At Night' has been a firm fixture in record bags since it first landed, built around that unmistakable, hypnotic vocal hook and a groove that's kept dancefloors moving for years.

It's one of those rare tracks that transcends eras — equally at home in a peak-time festival set as it is in a late-night basement club — and its staying power has made it a go-to reference point for DJs and producers alike.

Freshly reissued now compiling some of its biggest remixes , original and the sought after accappella. Purple Disco Machine brings his signature disco-house sheen and radio-friendly polish to the original's DNA. Peggy Gou then flips it entirely on its head with her "Acid Journey" remix, injecting squelchy 303 acid lines and a more raw, hypnotic energy that nods to house music's warehouse roots. Kid Crème's Club Mix sits somewhere in between — a tool-friendly, dancefloor-focused reworking built for maximum impact in a DJ set. Rounding out the package are the Original mix, for those who want the source material in all its untouched glory, and an Accapella, giving DJs and producers the vocal stems to mash up, edit, or sample as they see fit.

K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".

Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".

Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".

Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".

Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".

French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".

Second Skin is Nene H's declaration of liberated identity. Across nine tracks, Nene traces the metamorphosis from conformity to authenticity that unfolds after a breakup. They trace a step-by-step transformation: the shedding of imposed narratives and the layering of a new, liberated self. The result is a sonic diary of emancipation, where musical ideas move through noise, South West Asian modalities, trap, future bass, house, trance, minimal and deconstructed club music fusing and mutating freely. With their second album, Second Skin, Berlin-based artist Nene H deepens their commitment to radical honesty through sound. Where their debut was a tribute to their late father and a processing of personal grief, the second album turns inward toward identity, the fracturing and reassembling of the self that follows the dissolution of a long-term relationship. They carefully infuse shattered Southwest Asian motifs with their vocals. Vocals appear and disappear like traces of memory. The opening track, Where Was I, continues the story of their previous album Ali. From there, the question "where was I?" transforms into an existential inquiry. The starting point of both their personal journey and the journey of this album. After stepping through that door, the album unfolds into a deliberate balance: four deconstructed pieces and four more straightforward 4/4-driven tracks. The sibling tracks on A2-A3 and B3-B4 share the same DNA, though their destinies are not the same. Every element is placed with intention; every sound carries its own narrative thread. Each track gestures toward a different genre, a different world, yet together they form a coherent, flowing story. It's the story of closure and liberation.

Originally released by Panjabi MC in 1998 and propelled to worldwide success in 2002, “Mundian To Bach Ke” is widely recognized as one of the most influential Punjabi tracks ever recorded. Featuring the unmistakable vocals of Labh Janjua, the record fused traditional Punjabi bhangra with contemporary hip-hop production, creating a groundbreaking crossover sound that resonated with audiences across continents. Today, it remains a cultural landmark that helped introduce Punjabi music to international audiences and paved the way for the worldwide rise of South Asian artists.
Now, Spanish electronic music heavyweight Dario Nuñez joins forces with Afro House tastemaker Juany Bravo to breathe new life into this timeless anthem. The remix transforms the iconic vocal hook and instantly recognizable melodies into a high-energy Afro House and tribal-infused club weapon, blending modern production with the infectious spirit that made the original a worldwide phenomenon.
Also included on side A is the new remix by Benin-born, Brooklyn-raised DJ and producer, Amémé. Celebrated for his "AMÉMÉ House" sound, he blends deep house, tech, and ancestral African tribal percussions. The remix bridges two very distinct styles, classic South Asian bhangra and modern, spiritual Afro-house energy, all with Panjabi MC's personal blessing.
On side B the classic original version alongside the remix featuring Jay-Z !

Boy George's single "Generations of Love" has become a dance anthem. The single has been digitally released 12 times, with over 70 remixes. Mixes were created by Paul Oakenfold, Ramp, Phunk Investigation, Scream, De-Phazz, and The Scumfrog. So, like it or not, it's sure to be a hit whenever it's played on dance floors around the world.
Described as exuding joie de vivre (joy of life) and full of joy.
Suitable for clubs and house music: Praised for its laid-back, house-inspired grooves, perfect for clubs and living rooms.
One editor called it "full, smooth, and richly satisfying."
Considered a potential club hit, with critics urging people to buy it.
Smash Hits called it a "glossy, understated dance track."
Ultimately, reviews describe it as a feel-good dance track that successfully blends Boy George's iconic vocals with JL & Afterman's disco-house production, creating a joyful and very catchy remix.
This vinyl also includes The Scumfrog's fabulous version.

Racing Mount Pleasant began as a group of friends and like-minded musicians in Ann Arbor, anchored at a single creative house that various members of the band have frequented and, to this day, continue to live in near the University of Michigan.

After an early album and smattering of songs under the name Kingfisher, including one beguiling and ambitious album released in 2022, the band reimagined themselves as Racing Mount Pleasant.

Now the band are reintroducing themselves under this new moniker with a beautiful, challenging self-titled debut album that draws on each member’s academic mastery of their instruments, but also a spirited defiance of conventional song structures—or even what a contemporary band looks or sounds like.

The band supported Geese in the fall and embarked on their own headline tour in 2026.

A &meless disco classic meets modern house energy as Hamilton Bohannon returns with a brand new
reimagining of “Let’s Start The Dance”, featuring the unmistakable touch of interna&onal house icon Joe T
Vannelli. This special release blends the original groove and soul of Bohannon’s legendary sound with
ontemporary club produc&on, delivering a powerful package for DJs and dancefloors worldwide. Alongside
the main Joe T Vannelli Remix, the release also includes a Classic Mix that stays closer to the spirit of the
original version and a New Corve7e old school mix. A perfect fusion of disco heritage and house music
culture, created for true lovers of groove, rhythm and &meless dance music.

Deeply rooted in dub techno but reaching far beyond genre routine, weight, atmosphere, restraint and absolute emotional pull. This is dub techno at a truly exceptional level, elegant, deeply absorbing and crafted with the kind of vision that separates strong releases from genuinely unforgettable ones. A massive record with real staying power, and another stunning transmission from Notta Records.

A true disco anthem collides with French electronic elegance as Bon Entendeur reimagine the iconic Boys Town Gang classic Can’t Take My Eyes Off You for a new generation.

Originally released in 1981/82, Boys Town Gang’s explosive hi-NRG reinterpretation of the 1967 Frankie Valli original became one of the defining dance records of the era. The track stormed to No.4 in the UK Singles Chart while dominating dancefloors across Europe and beyond, hitting the top of the charts in countries including France, the Netherlands, Belgium, Spain and Japan.

Decades later, its euphoric energy still feels timeless. Now, Parisian duo Bon Entendeur inject the record with a fresh wave of sophisticated French touch cool. Renowned for their seamless fusion of nu-disco, house, funk and nostalgic pop culture references, the duo have become one of France’s most distinctive electronic exports. Bon Entendeur have built an international following, mastering the art of blending retro emotion with modern electronic production.

Their connection to iconic French musical heritage has become a signature. Following the success of their celebrated collaboration with Jeanne Mas on Toute Première Fois, Bon Entendeur now turn their attention to another record deeply woven into France’s club culture DNA. And it makes perfect sense. Bon Entendeur tap directly into that shared musical memory, delivering a remix that feels both nostalgic and effortlessly contemporary.

The result is a dazzling crossover of generations and styles: disco emotion, uplifting grooves and sleek French electronic sophistication wrapped around one of the most instantly recognisable hooks ever recorded.

French touch meets disco immortality. Et voilà.

a A1 Bon Entendeur Remix Ben Liebrand 12" Edit

Franky Rizardo delivers a straight-up dancefloor weapon with Shinjuku. Already taking over clubs and airwaves across the globe, Shinjuku is rapidly shaping up to be one of the defining records of the summer. The track built huge momentum before its official release, generating more than 71.1 million TikTok views through clips from Rizardo’s club and festival sets. Driven by a rolling groove, punchy low-end and a direct, high-impact arrangement, Shinjuku captures the infectious energy that has become synonymous with his sound. Road-tested around the world at venues and events including Space Miami, Reframe Los Angeles and his More To Life showcases at Ziggo Dome and Coachella, the track has become a standout moment in Rizardo’s recent sets and a crowd-favourite wherever it lands. Built for peak-time impact while maintaining Rizardo’s signature groove-led style, Shinjuku feels perfectly positioned to soundtrack summer dancefloors worldwide.

Complete Body Talk ist die definitive Vinyl-Kompilation von Robyns bahnbrechender Body Talk-Trilogie. Persönlich von Robyn kuratiert, vereint dieses 2LP-Set Body Talk Parts 1, 2 und 3 zu einer durchgehenden Sammlung und enthält Fan-Favoriten wie Dancing On My Own, Call Your Girlfriend, Hang With Me und mehr. Gepresst auf Coke-Bottle-Vinyl, befindet sich das Set in einer hochwertigen Hülle mit silbermetallischem, reflektierendem Frontcover. Ein komplettes und ikonisches Package, das eines der einflussreichsten Pop-Albumprojekte der modernen Musik feiert.

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

Dies ist der Original-Soundtrack zu ,Crime 101" vom experimentellen Elektronikmusiker, Produzenten und Komponisten Blanck Mass. Das Album ist auf schwarzem Vinyl gepresst und in einer luxuriösen, foliengeprägten Hülle untergebracht, komplett mit beidseitigem Einleger. Donnernde Synth-Klanglandschaften werden mit nuancierten, charakterorientierten Themen kombiniert und schaffen so eine facettenreiche Kulisse für den intensiven Thriller. Der Amazon MGM Studios-Film unter der Regie von Bart Layton spielt vor der sonnenverbrannten Kulisse von Los Angeles. ,Crime 101" erzählt die Geschichte eines schwer fassbaren Juwelendiebs (Chris Hemsworth), dessen Serie von Raubüberfällen entlang der Autobahn 101 die Polizei vor ein Rätsel stellt. Als er die Beute seines Lebens im Visier hat, kreuzt sich sein Weg mit dem einer desillusionierten Versicherungsmaklerin (Halle Berry), die selbst an einem Scheideweg steht. Überzeugt davon, ein Muster entdeckt zu haben, rückt ein unerbittlicher Detective (Mark Ruffalo) immer näher und erhöht den Einsatz noch weiter. Während der Raubüberfall näher rückt, beginnt die Grenze zwischen Jäger und Gejagtem zu verschwimmen, und alle drei stehen vor Entscheidungen, die ihr Leben bestimmen - und der Erkenntnis, dass es kein Zurück mehr gibt. Über die Entstehung der Musik sagt Power: ,Crime 101 war ein unglaublicher Film, für den ich die Musik schreiben durfte. Im Mittelpunkt der Geschichte steht natürlich der Raubüberfall. Mir wurde jedoch sehr schnell klar, dass dies nicht irgendein Raubüberfallfilm war, sondern eher ein Noir-Film, in dem zufällig ein Raubüberfall vorkommt. Die Hauptfiguren und die Art und Weise, wie sich ihre Leben verflechten, waren in gewisser Weise wichtiger als die Action. Der Film ist natürlich stellenweise hochdramatisch, aber was mich wirklich an diesem Film fasziniert hat, war die Charakterentwicklung. Lou, Davis und Sharon sind das schlagende Herz. Ich wollte die ganze Zeit über ,klanglich bei ihnen sein`. Sowohl das Zarte als auch das Wütende mussten miteinander harmonieren."

Zunächst einmal herrscht das Gefühl, dass Post-Punk einen Sättigungspunkt erreicht hat, mit einer Vielzahl von Bands, die sich damit begnügen, die gleichen Gimmicks und Posen wie ihre Vorgänger zu recyceln. Glücklicherweise fällt Pales nicht in diese Kategorie. Bei dieser Band kann man einen Blick auf die Trends erhaschen, die sich für Gitarrenmusik jenseits bloßer Imitation abzeichnen. Der Titel der EP "The Crush" illustriert perfekt diesen Wunsch, Einflüsse aus Noise, Soul, Pop und Industrial Music zu verschmelzen, um kantige Tracks zu schaffen. Die Arbeitsweise der Band, die zwischen improvisierten Studio-Sessions und Live- Experimenten wechselt, ermöglicht es ihnen, die bestmögliche Form für jeden Song zu finden - und das funktioniert wunderbar. Célias Sprechgesang packt einen sofort. Es ist, als würde Florence Shaw von Dry Cleaning plötzlich Lust bekommen, einem ins Bein zu beißen. Die Gitarrenwellen treiben den Rhythmus voran und verleihen dem kraftvollen Refrain echte Dynamik. Zur Feier des einjährigen Jubiläums der EP CRUSH erscheint in Zusammenarbeit mit Rookie Records eine limitierte Auflage auf babyblauem Vinyl.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band (called Ashbury South) in Southern Oklahoma in late 1977. The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “We worked mostly on a budget of $ 5,000 for the entire project. Our distribution was through Tower Records in the western United States.” Ashbury's sound has sometimes been compared to Jethro Tull and the Davis brothers are indeed not too unhappy about this comparison: ”We both have a big smile on our face with that question,” they explain. “Yes, we are proud to be compared with Jethro Tull.” Ashbury's first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”The cover signifies Creation, and the choices we all make,” elaborate Rob and Randy. “The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx.”

Tiki Nation finds Truckstop Tomahawk charting new territory at the outer edges of modern exotica. Created by Robert Kress—one half of Kava Kon—the album treats tiki not as nostalgia, but as a living, evolving sound world. These tracks roam freely through imagined geographies: remote islands, half-remembered myths, roadside rituals, and sun-bleached dream states where vintage exotica collides with forward-leaning composition.

Rather than simply revisiting mid-century tropes, Tiki Nation recontextualizes them—layering cinematic arrangements, unexpected textures, and playful titles that hint at folklore, travel, and quiet surrealism. The result is music that feels exploratory and unbound, equally suited for deep listening, late-night reverie, or drifting into unfamiliar landscapes with a drink in hand.

The album’s visual centerpiece deepens this atmosphere. The cover art, Pele’s Release, was painted by Catherine Robbins, a self-taught artist and longtime Hawaiʻi Island resident who created the oil painting in her rainforest studio just miles below Kīlauea’s erupting summit. That proximity to raw, elemental power mirrors the album itself—beautiful, mysterious, and quietly volatile.

Tiki Nation stands as a bold statement of intent: exotica untethered from the past, alive in the present, and pointed firmly toward uncharted horizons.

FLO are leading the modern revival of the British girl group — and doing so at a scale not seen in over two decades. With over half a billion global streams, the trio have delivered the highest-selling tour by a British girl group in more than 20 years, becoming the first since the Spice Girls to reach that milestone. They are also the first British girl group to receive a Grammy nomination in two decades, alongside three MOBO nominations in 2026, cementing their status as both a commercial and cultural force. Rather than simply revisiting the past, FLO are reshaping the possibilities for what a contemporary girl group can be.

Comprised of Renée Downer, Stella Quaresma and Jorja Douglas, FLO’s story is one of intention, craft and deep-rooted connection. The trio had long been aware of one another through theatre school circles, social media and shared creative worlds before coming together as a group in 2019. That early familiarity quickly grew into a sisterhood, shaped behind the scenes through years of studio work, vocal development and trust. Raised by strong single mothers and immersed in performance from a young age, each member brings resilience, emotional intelligence and discipline into the group — qualities that underpin both their sound and their dynamic.

Individually, FLO’s balance comes from contrast. Renée is the group’s compass: composed, business-minded and creatively precise, grounding the trio with clarity and vision. Stella is the spark and the glue — sociable, emotionally intuitive and collaborative — shaped by a childhood between England and Mozambique where music was communal, expressive and felt. Jorja is the fire: outspoken, instinctive and vocally commanding, with a natural ear for harmony and arrangement. Their roles shift and evolve, but together they form a unit built on mutual respect, honesty and shared authorship.

That chemistry is central to FLO’s music. Drawing from classic R&B and soul while pushing it forward through modern production, their sound centres vocal harmony, emotional nuance and storytelling that reflects the realities of young womanhood. FLO reject the idea that strength requires emotional distance; instead, they explore power through vulnerability, confidence and control. From independence and self-worth to intimacy and desire, their writing is direct and unapologetically theirs. As Jorja puts it, FLO are “the brains, the heart and the soul” behind everything they do.

The success of their debut album marked a defining moment — not only for FLO, but for British pop more broadly. It confirmed the appetite for harmony-led, female-fronted groups operating with creative agency, and propelled FLO onto global stages, from sold-out headline tours to major festivals and international television. Along the way they have earned respect from R&B legends and peers alike, performing during Grammy Week for icons including Mariah Carey, Brandy and Chaka Khan, and showcasing their vocal chemistry on NPR’s Tiny Desk — a moment that further underlined the trio’s technical precision and emotional depth.

With their next chapter, Therapy At The Club, FLO expand this emotional honesty into a fully realised creative universe. The concept reimagines the club not just as a place of nightlife, but as a site of release, confession and self-possession — encompassing the moments before, during and after the night out. From mirror affirmations and pre-game chaos, to late-night Uber conversations, dance-floor catharsis and the clarity of the morning after, Therapy At The Club captures how women process desire, heartbreak, confidence and healing in real time, together. It is both fantasy and reality: cinematic, fashion-led and emotionally raw, grounded in sisterhood as a form of survival.

Sonically, the new music leans into dark, euphoric R&B and pop with sharper edges, built on vocal mastery and diaristic storytelling. Lead single “Leak It” sets the tone for the era — playful, charged and unapologetically self-aware — exploring what happens when desire spills over, secrets surface and control is reclaimed. Across the new songs, FLO move fluidly between intimacy and euphoria, turning the club into a space where vulnerability is power and feeling everything is the point.

As a trio built on discipline, joy and deep creative trust, FLO represent a new model for the British girl group: one rooted in authorship, harmony and cultural impact. Balancing softness with strength and ambition with authenticity, they are shaping the future of R&B and pop on their own terms. FLO are not looking backwards — they are setting the standard for what comes next.

Limited red vinyl repress of the 2011 album 'Necropolis Transparent' from grindcore 'supergroup' Lock Up. Featuring the line-up of Shane Embury (Napalm Death, Brujeria), Nick Barker (Cradle of Filth, Dimmu Borgir), Tomas Lindberg (At The Gates) and Anton Reisenegger (Pentagram).

Gold & Black Yolk Vinyl. 11 bit studios and Black Screen Records are teaming up for the soundtrack release of the iconic game success Frostpunk 2 on vinyl. For the first time the award-winning score by Piotr Musial can be enjoyed in its entirety on LP and for the occasion a luxurious set was created with the music on gold and black "yolk" vinyl, packed in a gold embossed gatefold sleeve. Develop, expand, and advance your city in a society survival game set 30 years after an apocalyptic blizzard ravaged Earth. In Frostpunk 2, you face not only the perils of never-ending winter, but also the powerful factions that watch your every step inside the Council Hall. "Frostpunk 2 isn't all about the change. It's about respecting the legacy so you may expect the return of your favourite motifs." - Piotr Musia? The atmosphere of the Frostpunk series (11 million players worldwide) would not be the same without the epic music by Piotr Musia? in which desperation mixes with poignant melancholy. Without question the same composer had to return to create the OST for the sequel. The music of Frostpunk 2 still evokes the same feelings of hopelessness and despair, yet has much more space to it. As the city in the frozen wastes grows so does the music that surrounds it matures in an exceptional way. Dive once more into the post-apocalypse with this orchestral masterpiece and_keep warm.

Der von der Kritik gefeierte Fotograf und in Paris lebende, aus Algerien stammende Künstler Mohamed Bourouissa hegt seit langem ein tiefes, alles umfassendes Interesse an Klängen. ,LILA" ist sein Solo-Debüt, ein selbst bezeichnetes ,musikalisches Objekt", das die wichtigen Beziehungen in seinem Leben auflistet; jeder der Tracks des Albums ist einer Person gewidmet (und nach ihr benannt), an die er dachte, als er das Album komponierte. Mit Gastauftritten von französisch-senegalesischen Künstlers Le Diouck und der italienischen Avantgarde-Künstlerin Valentina Fanigliulo (alias Mushy und Phantom Love) wirkt das Album wie ein Tagebuch hypnagogischer Reflexionen, das mit schwerelosen Synthesizern, herzzerreißendem Auto-Tune-Gesang und dissoziierten Beat-Sequenzen ein Bild von Bourouissas innerer Realität zeichnet. Emotional aufgeladen und verwurzelt in der Ästhetik, die Bourouissa mit seiner Verbundenheit zu Klang, Menschen und Kunst verbindet, ist es so komplex und vielschichtig wie jede seiner gefeierten Installationen oder Ausstellungen. Bourouissas erste erkennbare klangliche Referenz war ,Temps Morts" aus dem Jahr 2009, eine bewegende Videoarbeit, die er nach dem legendären Debütalbum des französischen Rappers Booba benannte, und seitdem ist er seiner Intuition gefolgt und hat nach und nach herausgefunden, wie er Klang nicht nur in seine Werke integrieren, sondern ihn in den Mittelpunkt stellen kann. 2017 arbeitete er gemeinsam mit dem libanesischen Free-Improv-Gitarristen Sharif Sehnaoui und Sina Araghi (alias Sina XX) an ,Si Di Kubi", einer Compilation, die experimentelle Klänge aus der arabischen Welt in den Vordergrund stellte, und sein Weg wurde klar. ,In diesem Moment wurde der Klang zu einem integralen Bestandteil meiner künstlerischen Praxis", erklärt er. Bourouissa arbeitete 2021 mit dem französischen Sounddesigner und Programmierer Jordan Quiqueret zusammen, um herauszufinden, wie sich die von der Akazie erzeugten Frequenzen in Rhythmen auf ,Brutal Family Roots` umsetzen lassen, wobei er Gedichte des Waddi-Waddi-Rappers MC Kronic und des ägyptisch-australischen MC Nardean integrierte. Später arbeitete er mit Fanigliulo an ,Haral!" - einem Duo-Projekt, das dem Künstler endlich das Selbstvertrauen gab, seine Fähigkeiten anzunehmen und seinen eigenen Produktionen Vorrang einzuräumen. Sogar seine jüngste Ausstellung ,SIGNAL" im Palais de Tokyo, Bourouissas erste Retrospektive, wurde ähnlich wie ein Album zusammengestellt, wobei der Künstler besonderen Wert auf die musikalische Logik ihrer Struktur und die ihr innewohnenden Rhythmen legte. ,Ich sehe Klang als Träger von Geschichte und Erinnerung, manchmal traumatisch", sagt er. ,Die Arbeit mit Frequenzen, Geräuschen und Atemzügen eröffnet einen Raum für Heilung, eine kathartische Möglichkeit. ,Und genau diese Philosophie leitet ,LILA`, von den hallenden Klavierakkorden und Chor-Echos von ,INTRO` bis hin zu den mikrotonalen Summtönen und verschleierten Rhythmen, die sich spiralförmig um das kurze, bewegende ,OUTRO` winden. Es ist ein Album, das sich schwer einordnen lässt; es gibt Spuren von Pop in ,HFC", einer beatlosen Suite aus modularen Schluckaufgeräuschen und biomechanischen Schreien, die in Richtung Kakophonie übergeht, und Überreste von Clubmusik, die an den Fenstern und Wänden des schweißtreibenden ,MG" zurückbleiben, in den zitternden Trommelwirbeln und Le Dioucks schrillen Ausrufen. Der rote Faden, der sich durch das Ganze zieht, ist die Tatsache, dass Bourouissa in der Lage ist, eher ein Gefühl als einen Klang darzustellen. Mit einer Palette, die er im Laufe des letzten Jahrzehnts stetig verfeinert hat, bewegt er sich schimmernd durch eine persönliche Landschaft, die sich in ein lebendiges, atmendes klangliches Ökosystem verwandelt. Auf ,AF" schweben gespenstische FM-Arpeggios unheimlich um seine lässigen, herzlichen Worte, und auf dem beunruhigenden ,SEUM" kontern mehrschichtige Synth-Drones sein verzerrtes Crooning mit elektrisierenden xenharmonischen Akkorden. Instrumentale Dunstwolken schweben durch angespannte rhythmische Ausbrüche auf ,MN", und als Fanigliulo auf dem Titeltrack auftaucht, rückt das Album in den Fokus, während warme, hoffnungsvolle Pads einige von Bourouissas eindringlichster Texte. "What did you say, why should I cry", wiederholt er in die Leere hinein und presst die Worte durch metallische Verzerrung und ungleichmäßige Beats. Es ist Musik, die so greifbar ist, dass man sie fast berühren kann.

“Give Me Joy” is a high-energy, modern rework of “Oil in My Lamp”, taking a familiar, nostalgic hymn/school assembly tune and bringing it into a contemporary context.

It was written specifically for Satellites (the UK’s fastest-growing youth festival) and debuted live to 5,000 young people, where it immediately connected, creating genuine moments of joy, freedom and British childhood nostalgia. That live response sits at the core of the song.

Not only were Derek Cannon and Hardy Thrower a music /songwriting duo from San Diego in California, they were also cousins. Its not often our paths come across such a duo that didnt sing on their own compositions.

Derek Cannon a prolific Trumpet player and Hardy a lyricist put these tracks together circa 1981 with a view to getting them a record deal. They paid for the sessions themselves and went into Golden track studio's located in Santee East San Deigo with a host of singers and musicians.

What came out was just two stunning mid temp hanuting ballad songs with exquisite playing and vocals. From the opening west coast waves crashing on the into of "Think It Over" you are already closing your eye's and painting a picture of the unfolding love story. James Higgins was hired for the vocals on this track and delivers such subtle tone's that are complimited by keyboards by Bill Santos.

Then wait until the flute solo by Ken Abady. Boy i fucking love this song. Its what soul music should be about. Love it stuff like this got recorded in 1982 when their heads could have easily been turned by what was happening in the music world.

"Im In Love With You" is slightly more uptmepo but not by a whole heal. Cannon And Thrower were far too soulful to just throw a 4/4 drum beat on the hope of a top ten winner. They cut way more deeper and soulful than that. Roosevelt Carter was hired for this vocal performance and not letting the duo down performs a beautiful take of the duo's love song. I think special shout out must go the female backing singers of Julie Reyes, Cynthia Hammond and Jamice Garcia.

The two songs were sent to none other than Lou Rawls in hope he may sign them to his record company. This never happened and the tape was later sold on an estate sale of Lou's. The buyer was Christian Peintner who was so kind to lend us the tapes and make this 45 happen. So thanks to him for allowing us to preserve the Cannon And Thrower legacy.

By the time Mayday Parade began work on Sugar, the closing installment of their three-part album series, they had pushed themselves further than ever before.Following Sweet (April 2025) and Sad (October 2025), the pop-rock quintet committed to a relentless cycle—write, record, tour, repeat—building a body of work that captures the full scope of their sound across nearly 30 songs.

Sugar brings the trilogy to a close in powerful fashion, emphasizing both reflection and forward momentum through the driving emo pulse of first single “Blame It on the Youth,” the hypnotic piano ballad “What Happens Next,” the glossy melodic groove of “Two Hearts,” and the nostalgic energy of “Sweet Sad Sugar,” which reflects on the Tallahassee roots that shaped the band.
Just as importantly, the project marks the beginning of a new era defined by autonomy. Released independently, the set sees Mayday Parade taking full control of their creative output—a full-circle moment for a group that first built its audience by selling CDs in Warped Tour parking lots and quickly became a leading voice of the late-2000s emo wave thanks to gold- and platinum-certified singles like Jamie All Over and Miserable at Best.
It's this willingness to chase something ambitious, no matter how daunting, that has defined them from the very beginning. Now, with the trilogy complete, Mayday Parade find themselves in a position few of their peers can claim: still creatively restless, still evolving, and still finding new ways to win.

The Unsung Adventures of Punch Brothers is a highly strategic, physical-format priority scheduled for release on July 24, 2026, via Nonesuch Records. This document has been professionally designed to serve as an in-store info sheet to justify why this title demands a prominent listing and prime shelf space in your store. Core Commercial Arguments For Your Inventory:High Physical Media Affinity: Punch Brothers possess an exceptionally loyal, audiophile-leaning fanbase that heavily prioritizes purchasing physical LPs and CDs rather than relying solely on streaming platforms. Grammy-Winning Prestige & New Lineup Buzz: As previous winners of the Grammy for Best Folk Album (for All Ashore), this release marks a monumental shift—their first-ever all-instrumental record and the studio debut of acclaimed fiddle virtuoso Brittany Haas. It serves as a natural conversation starter for acoustic, classical, and bluegrass buyers. Massive 28-City Tour Traffic: The band's largest tour since 2019 spans from summer into late autumn 2026, targeting iconic institutions like Carnegie Hall (NYC), major folk festivals, and regional hubs. Local tour stops are critical touchpoints to align with your regional endcaps and point-of-sale displays. Premium Production Appeal: Engineered by recent Grammy-winner Joseph Lorge (Guilford Sound Studio), the pristine sonics will make this a staple for high-fidelity test spins and vinyl showcase walls.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.

Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. She would leave the band somewhere in 1969 to join Fleetwood Mac, and was replaced by Paul Raymond of UFO and Michael Schenker Group fame. They signed to the legendary British blues label Blue Horizon in 1967.

100 Ton Chicken is the band's third studio album from 1969 and offers a nice balance of blues standards and originals penned by the band's only constant member Stan Webb, who is still active to this day. It features the single "Tears In The Wind" and a cover of Davey Graham’s folk masterpiece "Anji".

100 Ton Chicken is available as a limited edition of 750 individually numbered copies on green vinyl.