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Which musical artists influenced David Bowie? Which records did he listen to over and over again during his youth and beyond? Who were his favorite songwriters and composers? What were his favorites? And in the case of such an artist, unique in his genre from the beginning to the end of his career, is the term “influences” the right one? As we delved into Bowie’s work, we learned that, even if he was the type to pick and choose from all over the place, he drew most of his inspiration from himself

Sabine McCalla creates her own version of multi-cultural American roots music. It's a sound that crosses borderlines, pulling everything from Brazilian samba to southern soul to British rock & roll into its orbit. On Don't Call Me Baby, Sabine filters those influences through the lens of her Haitian heritage and her music community of New Orleans, creating a debut album that's every bit as multi-faceted as the woman who wrote its songs.

The daughter of first-generation Haitian immigrants, Sabine was raised in the suburbs of New York City, where she grew up alongside her sister Leyla McCalla (Sons of Our Native Daughters, Carolina Chocolate Drops). Introduced to chamber music at an early age, Sabine began playing classical violin in orchestras, music camps, and conservatory classes as an 8 year old. Back at home, she filled her head with Motown classics, girl group hits, Bob Marley albums, Beatles standards, and Haitian folk music. It was a wide constellation of sound that spanned more than a half century, and Sabine made it all her own, drawn to the connections binding everything together.

Don't Call Me Baby shines a light on those connections. The follow-up to her critically-acclaimed Folk EP, whose pre-war sound earned her a slot at the Newport Folk Festival in 2019, the album transcends genre and generation, creating a raw, rich mix of country, R&B, folk, and soul that exists on its own timeline. Co-produced by Sam Doores of the Deslondes and featuring a cast of New Orleans’ most spirited and gifted (including guest vocals from Riley Downing, Leyla McCalla, and The Lostines), Sabine McCalla reaches beyond her beloved New Orleans Americana scene with Don't Call Me Baby, building a bridge between the world-spanning sounds that have captured her attention.

We Mean It, Man! If you're receiving this message, you are a writerly/music/culture person who wants to know more about the new Gogol Bordello album the band just unleashed. It's called We Mean It, Man! And it's out on February 13, 2026 via Casa Gogol Records. Gogol frontman and spiritual figurehead Eugene Hutz calls it the band's "post punk revenge." It's a fitting description. We Mean It, Man! #was co-produced by Nick Launay, whose 40+ year run of musical partners reads like the Great Canon of avant-teasing rock: Idles, Nick Cave and The Bad Seeds, Public Image Limited, Gang Of Four, the Yeah Yeah Yeahs (he did the one with "Heads Will Roll" on it. Dude is the Quincy Jones of the underground). And Adam "Atom" Greenspan (Nick Cave, Idles, Refused, Amyl and The Sniffers).

Santa Somnia is an imaginary saint, shaped like a medieval folktale figure, who steals the sleep and childhood creativity of his victims to feed a kingdom of oblivion and torment. The album's lyrics follow the journey of a protagonist stripped of rest and innocence, wandering through a decaying dreamworld reminiscent of Dark Souls, Bloodborne, and Elden Ring. Santa Somnia becomes an allegory of lost hope and the crushing weight of adulthood, drawing further thematic influence from the bleak darkness of Kentaro Miura's Berserk. Santa Somnia is a sonic trip through a crumbling psyche-- drenched in despair and shadows-- ruled by the struggle against madness brought on by sleeplessness, the inner torment of depression, and the inevitable, sometimes merciful, pull of death.

The influence of FromSoftware and Berserk emerges through the album's cryptic, oppressive storytelling, where the line between nightmare and reality barely exists. While rooted in the band's earlier works, the sound of Santa Somnia blends the crushing weight of doom metal with classic and thrash metal elements and injections of punk- rock melody, mirroring the emotional instability and mental agony woven throughout the lyrics.

Santa Somnia is an imaginary saint, shaped like a medieval folktale figure, who steals the sleep and childhood creativity of his victims to feed a kingdom of oblivion and torment. The album's lyrics follow the journey of a protagonist stripped of rest and innocence, wandering through a decaying dreamworld reminiscent of Dark Souls, Bloodborne, and Elden Ring. Santa Somnia becomes an allegory of lost hope and the crushing weight of adulthood, drawing further thematic influence from the bleak darkness of Kentaro Miura's Berserk. Santa Somnia is a sonic trip through a crumbling psyche-- drenched in despair and shadows-- ruled by the struggle against madness brought on by sleeplessness, the inner torment of depression, and the inevitable, sometimes merciful, pull of death.

The influence of FromSoftware and Berserk emerges through the album's cryptic, oppressive storytelling, where the line between nightmare and reality barely exists. While rooted in the band's earlier works, the sound of Santa Somnia blends the crushing weight of doom metal with classic and thrash metal elements and injections of punk- rock melody, mirroring the emotional instability and mental agony woven throughout the lyrics.

From the opening notes – arriving as if in mid-air – to its final, cheerful burblings, Sean Mac Erlaine and Caoimhín Ó Raghallaigh’s Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other’s worlds with a sense of veneration, and a sense of joyful wonder.
Here, Mac Erlaine (This is How We Fly, Quiet Music Ensemble) and Ó Raghallaigh (The Gloaming, This is How We Fly) meet on common ground developed over 20 years of playing together, with Mac Erlaine’s musical language rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way.
In this place, Mac Erlaine and Ó Raghallaigh’s music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of ‘Cantandor’, the lyrical wanderings of ‘Swallow Dive’, or the flirtations with finding a groove in ‘Reverse Burst’.
The palette of instruments speaks to the album’s feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d’amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesiser, vocals and alto saxophone; and with Ó Raghallaigh bringing his signature hardanger d’amore sound plus a turn on the flute and live electronics, too.
With the title echoing a well-worn Dublinese expression for “friend”, Old Segotia plays out with ‘Oiche Crua Sna Sleibhte’ (A Hard Night in the Mountains), with ornithologist Seán Ronayne’s field recordings of birdsong rising out of the musicians’ playful explorations, offering a taste of life echoing music, echoing life.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

2LP-Erstauflage auf farbigem Loser-Vinyl: "BIO PETROL" Disk 1 und "MAGENTA" Disk 2. "¡Simpatico! (Remastered and Expanded)" bringt das lange vergriffene zweite Album von Velocity Girl aus dem Jahr 1994, "¡Simpatico!", mit einem superfrischen Mastering und einer Menge Bonus-Tracks aus der "¡Simpatico!"-Zeit endlich wieder raus. Das Originalalbum klingt besser als je zuvor und wird durch ein komplettes Album mit B-Seiten und Raritäten ergänzt. Velocity Girl wurde um 1989 an der University of Maryland außerhalb von Washington DC gegründet, mit dem Gitarristen Archie Moore (Black Tambourine), dem Gitarristen Brian Nelson (Black Tambourine), dem Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), dem Bassisten Kelly Riles (Starry Eyes) und der Sängerin Sarah Shannon (Starry Eyes, The Not Its). Die Band kombinierte englisch inspirierten, lauten Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem Pop-Songwriting im Stil der 60er Jahre. Eine Killer-Single auf Slumberland und ununterbrochene Tourneen erregten die Aufmerksamkeit der Indie-Rock-Kenner, und bald darauf unterschrieb Velocity Girl einen Vertrag mit Sub Pop auf einer Motorhaube in Hoboken, New Jersey. Nach der Tournee zur Unterstützung ihres Debüts ,Copacetic" verbrachte die Band den größten Teil des Jahres damit, eine Reihe von Songs für ein zweites Album zu schreiben. So hatten sie noch nie gearbeitet - es war eine neue Erfahrung, Zeit und Budget (vom Label!) darauf zu verwenden, ein Album zu produzieren, das kein selbst produziertes Punkrock-Studioalbum war. Nachdem sie ihr neues Material monatelang im lauten Stil von ,Copacetic" gespielt hatten, waren die Bandmitglieder von den Songs begeistert, wollten sich aber von der rauen, amateurhaften Atmosphäre ihrer früheren Alben lösen. Und ihre Einflüsse waren diesmal etwas anders: weniger My Bloody Valentine und Wedding Present, mehr New Order. Jemand bei Sub Pop brachte die Band mit John Porter zusammen, dem ehemaligen Mitglied von Roxy Music, der The Smiths, Billy Bragg, The Alarm und eine Reihe anderer Acts der 80er Jahre produziert hatte. Sie trafen sich während einer Tournee in Los Angeles. Er erklärte sich bereit, das Album in einer dreiwöchigen Session in den Cue Studios in Falls Church, Virginia, zu produzieren. Er war genau das, was die Band brauchte: ein Redakteur, Arrangeur und Zuchtmeister. Als er gnadenlos jeden unnötig wiederholten Takt herausschnitt, merkte die Band, dass sie sich zu einem klareren Sound hingezogen fühlte und fast komplett auf die laute Gitarre verzichtete, zweifellos beeinflusst durch Porters Präsenz. Velocity Girl waren super zufrieden mit dem Ergebnis, und ,¡Simpatico!" kam im Juni 1994 raus. Diese erweiterte Neuauflage enthält eine Reihe von Songs, die einige Monate nach den Albumaufnahmen in den Inner Ear Studios in Arlington, Virginia, aufgenommen wurden. Die Sessions lieferten spielerisch-experimentelle B-Seiten für die Singles des Albums, zwei Cover-Songs (das New-Order-Cover ,Your Silent Face" und ein Beach-Boys-Cover) für eine Single auf Merge Records und einen Compilation-Track.

They disbanded in 2015, much to the chagrin of their dedicated fanbase, leaving behind a highly influential body of work, including two gold- selling albums (United Paper People and Hymns for the Nonbeliever) and a slew of hit singles such as "Opinions Won't Keep You Warm at Night," "Do-Do's and Whoa-Ohs," and "Dinosaur." In mid-2025, alongside the vinyl reissue of Hymns for the Nonbeliever-- which reentered the Australian Album and Vinyl charts at #1-- Kisschasy released their first new music in sixteen years. "Lie to Me" and follow- up single "Parasite" both offer a modern edge to the band's trademark sound: blistering guitars, hammering drums, razor-sharp lyrics and, of course, irresistible hooks. It can now be revealed that these two songs form part of a larger body of work: a long-awaited fourth album.

Titled The Terrors of Comfort, the collection of ten brand-new songs finds Kisschasy at the peak of their creative powers. Band member Daz Cordeux describes the album as "raw, alive and commanding" and "the closest you're ever going to get to the true essence of our band." The Terrors of Comfort, Kisschasy's first new album since 2009, will be released on February 13, 2026

The story follows a protagonist through an alternate-history space race, imagining a future where humanity settles on the moon and leaves a dying Earth behind. Musically, the record delivers the tight, energetic, hook-driven sound that appeals to fans of Delta Sleep and Snooze. This special edition includes the 10" record in a proper 10" outer sleeve and a custom 12" slip mat in its own 12" outer sleeve. The artwork of the 10" aligns with the slip mat design to create the appearance of an ink or blood stain when displayed together. Only 50 copies were produced.

Lonewolf marks its 20th release with a split EP from LOG_IN and SHKEDUL. Both artists deliver hypnotic, forward-thinking techno, driven by mantra-like repetitive patterns designed to move the body and free the mind.

You‘re feeling great, just bought new records and you’re ready to toss ‘em on the decks and let ‘em spin. Nevermind your bank account has you on a strict diet of yum yum noodles instead of that expensive, slow, regional stuff you normally get. „Anyway it was a good choice, I love records. It’s an investment..“ you are telling yourself while sliding the record out of its sleeve. „Cheap Fast Worldwide“ — black letters on a white background. You put the needle on the disc.

Punchy drums bathe in lush chords and you’re pulled into a smooth, lounge vibe. Tonight it’s caviar, not yum yum noodles. A playful bassline bounces in, with a nod towards disco roots and a modern twist. An unmistakable cheesy 90s melody is the cherry on top.

Aptly named, the inner track on this side greets you when a „One, two, three, quattro“ rings out over a tight, breaky groove. Meanwhile, rather deep, monotonous pads carve out space for your mind to wander…

As you flip it over, things start to shift. Strange melodies and dirty drums tease the unknown. Out of nowhere, the pitch drops, and a low, driving bassline takes hold. It pushes forward with a relentless energy that keeps you on the edge, unsure of what’s coming next.

A highly sophisticated fade out leads you to the last track — a raw and infectious drum groove laced with choppy vocal snippets and warm crackles. Stripped back, yet the beautiful chords slice through, adding depth and the right sense of movement, taking you deeper into the night.

Dear friends, What’s left of a genre when you drop the posturing and keep nothing but feeling, space and rhythm? Freudenthaler answers that question straight up with a stripped-back, no-nonsense take on UK garage. With a sharp ear for space, swing and restraint, he boils the sound down to its core — nodding to the golden age of sound system culture while lacing it with the jazz-tinged touches that run through his productions. The result is a record that feels both timeless and personal. Freudenthaler plays with expectations, flips them neatly, and leaves just enough room between the beats for the atmosphere to breathe and the dancefloor to lock in. One for lovers of vinyl, heavy sub and subtle moves. Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

This debut 12" is a real statement of intent from The Aries Project, aka the ongoing creative collaboration of Collin Suttles and moe.BPM. The sound is rooted in house music's classical values of inviting groove, heartfelt warmth and a sense of patience, but all shot through with a modern and cosmically minded confidence. The Jules.NYC dub of 'You Need A Rock' is pure peak-time persuasion, all forward momentum and locked-in swing, while 'Someone Who Dances' keeps things closer to the body, riding a supple rhythm with soulful ease. Flip it over and 'Keep Me' (Lucky.Moe dub) strips the palette back to let deep chords and spacious keys stretch out hypnotically. 'When I See You' with Toni's Son closes on a celebratory note and Latin disco energy in a deep house framework.

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

Im Gegensatz zu den früheren Alben der Lost Boys, die innerhalb eines bestimmten Zeitraums produziert wurden, entstand „Pale Bloom“ langsam und versuchte, einen Schöpfungsmythos in seinem Bernstein einzufrieren – eine Ursprungsgeschichte, die uralt und komplex ist, voller Geheimnisse und Metaphern, die weder einer Klärung noch eines Endes bedarf. Jede Veröffentlichung der Lost Boys wagt sich in neues musikalisches und lyrisches Terrain vor. Von allen greift „Pale Bloom“ am weitesten zurück in die Kindheit und findet unbewusst die Rhythmen und Erzählstile, die in den Zwängen einer religiösen Erziehung verwurzelt sind. Beim Durchforsten der vergessenen Akkorde, Refrains und Melodien aus alten Kinderreimen und Volksliedern entdeckten sie den Wunsch, diese überlieferten Klänge in Richtung persönlicherer Wahrheiten zu verändern. Dieser Impuls ist auf dem gesamten Album präsent und in Krugers ebenso klangvoller wie euphorischer Stimme zu hören, wenn sie die verschiedenen lyrischen Formen um ihre eigene Sehnsucht, Trauer und Begierde herumlegt und sie darauf vorbereitet, in der üppigen und großzügigen Subversion der erinnerten Rhythmen der Band zu landen. Im Gegensatz zu ihrem Auftritt auf „Heaving“ und „A Human Home“ sind die Streicher hier weniger affektiert und haben einen eher düsteren und ernsten Charakter angenommen. Sie streben nach einer komplexen Art von Himmel, der durch das Gewicht und die Bodenständigkeit der Grooves ermöglicht wird, die sowohl stoisch als auch ausdrucksstark sind. Die Gitarren bewegen sich frei zwischen weitläufigen, voluminösen Räumen und sind ebenso knirschend wie sanft. Kruger nahm das Album mit ihren Bandkollegen und ihrem engen Mitarbeiter André Leo über einen Zeitraum von sechs Monaten in verschiedenen Studios in Berlin auf. Das Album wurde von Simon Ratcliffe gemischt.

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change,as Nelson Mandela was released from prison and kwaito began to emerge. Althoughthey did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognised as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witnessto an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.