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(Platipus 30 Years vinyl part 8/12, remastered audio) The journey continues with the release of Platipus 30 Years – Volume 8, another essential chapter in the anniversary vinyl series paying tribute to the legendary UK label that shaped the sound of trance and progressive music worldwide.



This edition showcases four more iconic cuts from the Platipus vaults: the electrifying Poltergeist – Vicious Circles (Union Jack Remix), the deep and driving Clanger – Seadog (Original Mix), the unmistakable energy of Union Jack – Spasm (Original Mix), and the atmospheric masterpiece Art of Trance – Kilamanjaro (Original Mix). Volume 8 continues the legacy of Platipus as a beacon of quality, artistry, and timeless dancefloor magic, making it an unmissable addition for vinyl lovers and collectors.

French producer Fièvre drops his new EP *"Party Again"*, a bold fusion of dubstep and dub techno, featuring iconic grime MC Killa P. The project kicks off with an original mix laced with yardie vibes, followed by a deep, hard-hitting 2-step version. Special guest Hyas—one of the most exciting names in France’s breakbeat scene—jumps in with a razor-sharp, irresistibly catchy drum & bass remix. With *"Party Again"*, Fièvre delivers a UK-flavored EP built for sound systems!

Four cuts of unapologetic, immediate Jungle that capture Tim Reaper’s frantic energy and Fracture’s deadly sonics — a perfect balance of aggression and detail. No holds barred, examined with a fine-tooth comb. Precision Pandemonium. Alongside the music, the collaboration extends to artwork, with each label’s iconic logo reimagined in the other’s style. This visual partnership spans the 12” label and sleeve design, as well as an extensive range of streetwear merch.

Fracture says:

I’ve known Ed for over 15 years, going back to the forum days of Subvert Central and Dogs On Acid. Even then, his approach to Jungle was authentic and compulsive. He’s stayed on that path with unwavering focus, never chasing trends—just pure, raw Jungle. What he’s built with Future Retro London is so desperately needed in this day and age: a space where music and community come first, shining a light on artists and DJs often overlooked by mainstream channels that favour gimmicks. His passion for Jungle is infectious, and I’ve always wanted to work with him so doing a full label collaboration feels completely right. Working with Ed is a real eye opener - he’s so full of ideas and the speed at which he can generate patterns is scary. Watching him fly around his laptop, chopping breaks and writing basslines is like watching a Grandmaster play speed chess—always on, never off. Shout out Tim Reaper each and every. An incredible DJ as well.

Tim Reaper says:

I think this is probably the longest ever I've spent on any release for Future Retro London, clocking in at just over 3 years of back & forth between me & Fracture in the making of this. There's a lot of backstory behind this project, so excuse my ramblings below.

The story starts with me hearing Sully playing a tune by Fracture called "Booyaka Style" which I really liked and thought would be great to release. I reached out to Fracture about it and found out later that he already made plans to include it on an album project (0860) that he was working on at the time which later came out on his label Astrophonica. He asked if I would be up for sending him any tunes to be considered for release on Astrophonica, but in response to this, I suggested a joint label project that both of us would have tunes on & he seemed keen to do it.
Few months later, I got back in touch to ask if he had done any tracks for this release but he was still busy with other things and instead sent me a track he had been working on, with the suggestion of us collaborating on it. We finished a track together that we both liked & felt as if it was a good starting point for the release. We then got a few more collabs done with a fair bit of back & forth, but upon reflection, he felt as if they could be a lot better than what they currently were and so, the release started to change in format a bit. Fracture suggested that we should meet up in his studio and work on some tunes together in person, with the aim of getting a few bits done over a bunch of sessions and getting it all sorted out in a much quicker timeline. Thankfully, this actually worked, we managed to get some collabs done that both of us are very happy with (even managing to sample a recording of Blackeye from a set from a Future Retro London event!)

Thanks to Fracture for his co-operation & perseverance with this release, helping to see it through to the end & not allowing it to be anything less than the best possible version of itself, thanks to Mark at Sequence for his role in helping with the logistics/manufacture of this release, thanks to Utile for assisting on the design on this release and most importantly, a very special thanks to all the obstacles along the way that I faced in the making of this release, which helped me appreciate getting to this point so much more than I ever could have!

Is this Psycvhedelic Speedcore ? Is this Double kick 130 BPM Techno ? Is This Funky Flashcore ? Is This Cavage Party Time ? Is This the Return of The Revenge ? Is This Hardcore Music ? Is This avaible as Wave or Mp3 as well ? Is This a way to say I love Samba ?

Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!

Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.

Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.

Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Where we welcome you to the Fourth installment of 'Divine Harmonics" Featuring Kuniyuki Takahashi. Music produced in collaboration with friends
Here we present Part one of a Two Part Series.

Recorded in a full-fledged Recording Studio in Brooklyn New York, the idea behind this current project was to assemble a few admires of Kuniyuki's music and invite them to participate in the composition.
The musicians on this project include master percussionist composer Lekan Babalola on African Drums and Percussion, Lead Guitarist James Bergeau , Joaquin Joe Claussell Main Voice and Percussions; And of course, the artist himself Kuniyuki Takahashi and Acoustic Piano, Keyboards and Drum Programming.
Artwork Created by the one and only artist Akemi Shimada.

So Fades the Light is an eerie horror thriller that makes for unsettling watching. That is no small part thanks to the equally haunting score from composers Blair French (an ambient and Balearic producer from the Detroit area) and Dave Graw (a fellow Motor City musician and visual artist), who forgo melody in place of atmosphere. It means their soundtrack is a living, breathing presence that's less about music a more of a sort of ghost that refuses to leave. Graw and French sculpt a world of distortion, static and whispered tones that feel dug out of crumbling ruins. It’s bleak, patient and unrelenting, always pulling you deeper into the lead character Sun’s fractured memories and the menace of her past. As a standalone release, it’s equally gripping: a record that blurs ambient, horror and noise into one oppressive atmosphere.

So Fades the Light is an eerie horror thriller that makes for unsettling watching. That is no small part thanks to the equally haunting score from composers Blair French (an ambient and Balearic producer from the Detroit area) and Dave Graw (a fellow Motor City musician and visual artist), who forgo melody in place of atmosphere. It means their soundtrack is a living, breathing presence that's less about music a more of a sort of ghost that refuses to leave. Graw and French sculpt a world of distortion, static and whispered tones that feel dug out of crumbling ruins. It’s bleak, patient and unrelenting, always pulling you deeper into the lead character Sun’s fractured memories and the menace of her past. As a standalone release, it’s equally gripping: a record that blurs ambient, horror and noise into one oppressive atmosphere.

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Vinyl comes with a 20-page handmade booklet, an individually signed and kissed handkerchief of Cindy (some of them even have her teardrops on them) and a huge fold-out poster! Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

50th Anniversary Reissue on limited edition 180g Yellow Marble. Recorded in front of a live audience at the Record Plant Recording Studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits" greatest classics like "Warm Beer, Cold Women" and "Eggs and Sausage" with a crack jazz ensemble backing him up and some of the greatest stage patter ever committed to record.

On the record New Chapter, sound from all directions of the sky is transformed as it flows through the bodies of the musicians. The source material is Viola Klein’s solo record Confidant and the collaboration with the Sabar Ensemble Diop from Saint Louis, titled We. Whodat in Detroit, Kassem Mosse in Leipzig, Nídia in Lisbon, and Viola Klein in Cologne and Dakar reshape the places where Deep House, Leftfield, Kuduro, and Mbalax originated and/or continue to thrive: the USA, Germany, Portugal, and Senegal.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

With Michaela Melián's LP "music for a while", a-Musik is releasing the first album by the visual artist, co-founder of F.S.K., and solo musician since "Monaco", which appeared on Monika Enterprise in 2013. While her last releases, Electric Ladyland (2016), Music from a Frontier Town (2018), and Tania (2022) were created as part of exhibitions and sound installations, "music for a while" is Melián's fourth autonomous LP, characterized on the one hand by her unmistakable dreamlike sound along the interfaces between dark chamber music, solemn ambient techno, and cinematic sound art.

As with her previous albums, there is also a wonderful avant-pop cover version—this time of the track “My Other Voice” (1979) by the Sparks. On the other hand, music for while, whose cover is adorned with Melián's photographs of the clouds above her new home of Marseille, spreads a comparatively ominous mood – one that is nevertheless appropriate given the circumstances in 2025 – thanks in part to the sedate, almost ticking drum sounds of co-producer Felix Raethel. Once again, the multi-instrumentalist, supported by Ruth May on violin and Elen Harutyunyan on viola, weaves her recordings of various string instruments — cello, guitar, bass, and zither — into fascinating, lurching, looping, and almost hypnotic soundscapes, but atonal synthesizer sounds in tracks such as “traverse benjamin” and “märchenwald” open up the music to electroacoustic and experimental music. The concluding cover version of Irving Berlin's “they say it's wonderful” (1946) rounds off one of this year's most impressive releases in an incomparably groovy and melancholic way.

Five years after the enigmatic Phylax Society, the ever sonic wanderer Sutja Gutierrez returns with Asystole Flatline, a new full-length odyssey to be released on Lumière Noire Records. Gutierrez delivers a work that slips between worlds - part reverie, part vertigo - haunting the threshold between what"s ending and what"s yet to come. With Asystole Flatline, Lumière Noire reaffirms ist commitment to fearless, genre-defying voices that challenge conventional boundaries.

Kreisch! The Lemonheads kehren mit ihrem ersten Studioalbum mit ausschließlich Originalmaterial seit fast 20 Jahren zurück. Nach Jahren des Schreibens, des Umherziehens und des Neuanfangs sowie der Veröffentlichung der Single "Fear Of Living" kehrt Evan Dando mit 11 Original-Lemonheads-Songs zurück. Seit langem in Arbeit, geprägt von wechselnden geografischen Gegebenheiten, entstanden mit einer Reihe willkommener Gäste, ist es eine kühne, melodische Bestätigung einer der markantesten Stimmen des Alternative Rock. Dandos Wohnsitz in Brasilien, wo ein Großteil des Albums aufgenommen wurde, hat ihm in den letzten Jahren einen ruhigen Perspektivwechsel ermöglicht - eine Chance, sich neu zu orientieren, sich wieder zu verbinden und seine Songs endlich in den Fokus zu rücken. Das Ergebnis ist ein Album, das sowohl frisch als auch vertraut klingt: verwurzelt in den Merkmalen der besten Arbeiten der Lemonheads, aber erweitert durch jahrelange Lebenserfahrung und eine neue Umgebung. Love Chant wurde von dem brasilianischen Multiinstrumentalisten Apollo Nove produziert und bringt alte Freunde und neue Partner zusammen: J Mascis (Dinosaur Jr), Juliana Hatfield und Tom Morgan sind wieder mit an Bord, zusammen mit dem Produzenten Bryce Goggin (Pavement, Antony and the Johnsons), Erin Rae aus Nashville, John Strohm von den Blake Babies und Nick Saloman von The Bevis Frond. Und Adam Green von der New Yorker Kultband The Moldy Peaches ist als Co-Autor an dem lockeren Country-Abstecher "Wild Thing" beteiligt. In den letzten Jahren hat sich der Einfluss von The Lemonheads noch verdeutlicht, Acts wie MJ Lenderman, Courtney Barnett und Waxahatchee haben Dandos Songs gecovert und loben die emotionale Klarheit, den melodischen Instinkt und die ironische Intimität, die seine Texte auszeichnen. Diese generationsübergreifende Resonanz macht Love Chant zu mehr als einer Rückkehr - es ist eine Erinnerung an das, was diese Band in erster Linie ausgemacht hat und jetzt noch um einen späten Höhepunkt erweitert wird. Inklusive der Vorab-Singles "Deep End" und "In The Margin". "The Lemonheads' ability to merge punk rock's energetic simplicity with lush, melodic hooks is both timeless and influential." Pitchfork. CD (Digipak) oder LP (embossed vinyl sleeve artwork)

Kreisch! The Lemonheads kehren mit ihrem ersten Studioalbum mit ausschließlich Originalmaterial seit fast 20 Jahren zurück. Nach Jahren des Schreibens, des Umherziehens und des Neuanfangs sowie der Veröffentlichung der Single "Fear Of Living" kehrt Evan Dando mit 11 Original-Lemonheads-Songs zurück. Seit langem in Arbeit, geprägt von wechselnden geografischen Gegebenheiten, entstanden mit einer Reihe willkommener Gäste, ist es eine kühne, melodische Bestätigung einer der markantesten Stimmen des Alternative Rock. Dandos Wohnsitz in Brasilien, wo ein Großteil des Albums aufgenommen wurde, hat ihm in den letzten Jahren einen ruhigen Perspektivwechsel ermöglicht - eine Chance, sich neu zu orientieren, sich wieder zu verbinden und seine Songs endlich in den Fokus zu rücken. Das Ergebnis ist ein Album, das sowohl frisch als auch vertraut klingt: verwurzelt in den Merkmalen der besten Arbeiten der Lemonheads, aber erweitert durch jahrelange Lebenserfahrung und eine neue Umgebung. Love Chant wurde von dem brasilianischen Multiinstrumentalisten Apollo Nove produziert und bringt alte Freunde und neue Partner zusammen: J Mascis (Dinosaur Jr), Juliana Hatfield und Tom Morgan sind wieder mit an Bord, zusammen mit dem Produzenten Bryce Goggin (Pavement, Antony and the Johnsons), Erin Rae aus Nashville, John Strohm von den Blake Babies und Nick Saloman von The Bevis Frond. Und Adam Green von der New Yorker Kultband The Moldy Peaches ist als Co-Autor an dem lockeren Country-Abstecher "Wild Thing" beteiligt. In den letzten Jahren hat sich der Einfluss von The Lemonheads noch verdeutlicht, Acts wie MJ Lenderman, Courtney Barnett und Waxahatchee haben Dandos Songs gecovert und loben die emotionale Klarheit, den melodischen Instinkt und die ironische Intimität, die seine Texte auszeichnen. Diese generationsübergreifende Resonanz macht Love Chant zu mehr als einer Rückkehr - es ist eine Erinnerung an das, was diese Band in erster Linie ausgemacht hat und jetzt noch um einen späten Höhepunkt erweitert wird. Inklusive der Vorab-Singles "Deep End" und "In The Margin". "The Lemonheads' ability to merge punk rock's energetic simplicity with lush, melodic hooks is both timeless and influential." Pitchfork. CD (Digipak) oder LP (embossed vinyl sleeve artwork)

With Until Night Comes, Larry June and Cardo reconnect to deliver a nocturnal cruise through laid-back luxury and introspection. The album feels like a slow ride through the city just after sunset—windows down, sky fading from gold to indigo, and a calm confidence guiding every turn. It’s Larry at his most self-assured and reflective, balancing the cool ease he’s known for with sharper focus and deeper pockets of honesty. Cardo’s production is smooth and expansive—built on warm basslines, polished synths, and sample chops that stretch like the dusk. Together, they create a cohesive soundtrack for night owls, hustlers, and anyone chasing peace in motion. The album continues to refine their seasoned partnership, evolving into something even more purposeful. No wasted energy, just clean living, big vision, and a reminder that progress doesn’t stop when the sun goes down. Features include E-40, Black C, Don Toliver, Payroll Giovanni, HBK, Wiz Khalifa & Richie Rich. Good Job, Larry.

The Lemonheads tease new material with this super limited 12" single. Rekindling the near-perfect pop for which they're famed, the single focuses on the light and dark balance of their impending new album Love Chant that will be released on Fire Records this Fall. Beautifully ill-balanced, `Deep End' and `Sad Cinderella' traverse the highs and lows of life, perfectly illustrating Evan Dando's esoteric musical taste. `Deep End' is a churning riff monster with light-the-blue-touch-paper guitar breaks by J Mascis of Dinosaur Jr, a compulsive fist-in-the-air piece of timeless punk pop, the perfect soundtrack for bumming a cigarette. Co-written with Australian sparring partner Tom Morgan of Smudge, featuring J. Mascis and Juliana Hatfield! Meanwhile, the exclusive flipside is straight out of the Gram Parsons and Emmylou Harris songbook; a cover of the late, great Townes Van Zandt's `Sad Cinderella', it's a song for the romantics, a tearjerker that could have made its way onto Neil Young's `Harvest', or any aching George Jones opus; filled with regret and remorse, it's a beautifully brittle duet between Evan and Erin Rae. So, two slices of the born-again Lemonheads - a mature phoenix rising from the ashes of this legendary band who've been away way too long.