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On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.



Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.



Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.



“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.



Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

BRIDGE - WAITING PATIENTLY b/w LOVE’S IN YOUR CORNER

Paul Tillman Smith is a significant figure within in the music community of The San Francisco Bay Area, California. His connections and collaborations read like a who’s who of famous musicians.

As leader of 70s Buddah Records group VITAMIN E and then BRIDGE, the subsequent band cut an album in 1981 for the CBS distributed Bang label that never saw the light of day.

It was released by First Experience Records as a double LP and CD in 1999 and is recognised as being one of the finest unreleased discoveries within its genre.

IZIPHO SOUL revisit the album and release two gems from this magnificent body of work.

WAITING PATIENTLY - Modern Soul with all the right ingredients - lead vocal Derick Hughes, backing vocals courtesy of The Satin Shadows, driven along by Butch Haynes’ conga playing. Presented here as an extended version crafted by Phil Ward.

On the flip - LOVE’S IN YOUR CORNER (Remastered) featuring the supreme voice of Debravon Lewis (RIP) and Larry Sampson. There’s importance in documenting this great song, as this demo paved the way for the Norman Connors’ version.

TX2, AKA Evan Thomas, prides himself on injecting authentic stories and experiences from his own life into his lyrics. As someone who is a member of the LGBTQIA+ community himself, he admits he hasn't always fit in. His songs document that experience, but really - his stories are about all of us, penned for anyone who has ever felt alone. Per usual - the singer is willing to cause a little chaos with his new track, if that's what it takes to draw attention to important societal issues. With his tracks, he's making his voice heard loud and clear. "10 years ago I started TX2, and when the project first started I was the joke of my hometown. I was bullied by my entire hometown, and told by family that I would never make it. Years later I am still the joke, but now a punching bag for the entire internet. I've practiced what I've preached and consistently talked about mental health awareness, safety, and LGBT rights just to be made fun of and seen as `one of the most hated artists'. This world is filled with vultures, and I'm sure everyone can relate." Six track debut EP available as CD & LP

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

Debut solo album from guitar player of Calicos. The result is a record that balances melancholy and raw intensity, where vulnerability is never far from power.Aäron Koch's voice cuts straight through, while the band builds a sound that feels both timeless and urgent, echoing The Veils, My Morning Jacket and Strand of Oaks.



For years, Aäron Koch was the guitarist in other people's bands. Writing intricate riffs and odd time signatures came naturally, but the thought of writing a simple song, a verse, a chorus, a melody that could stand on its own, felt out of reach. He tried and failed, discarded demos, and pushed himself through the humbling exercise of writing "bad songs" just to learn the craft.

'For Once', his debut album (out via Unday Records), is the unexpected outcome of that long struggle. What began as an exercise became a set of songs that refused to stay in the drawer. Months after recording rough sketches, Koch listened back and realized they weren't throwaways after all. With a small heart, he shared them with friends, musicians from bands like Calicos, Uma Chine and Tin Fingers, who immediately heard their potential and joined the project.



The result is a record that balances melancholy and raw intensity, where vulnerability is never far from power. Koch's voice cuts straight through, while the band builds a sound that feels both timeless and urgent, echoing The Veils, My Morning Jacket and Strand of Oaks.

"This music is about weaknesses and vulnerability," Koch says. "Autobiographical really, something I only realized once the album took shape."



That honesty struck a chord. In 2024, after only a handful of shows, Aäron Koch reached the finals of Humo's Rock Rally and was invited to open for Belle & Sebastian at a sold-out Ancienne Belgique. Now 'For Once' shows why: it's the sound of someone learning to write songs the hard way, and discovering in the process that he has something entirely his own to say.

Smith & Liddle are two young artists from the North of the United Kingdom who have never been to the desert and whose mere existence was a long way off the horizon in the 1970s, yet their music wouldn't be out of place on the FM waves in a Cadillac driving through the California desert at that time.

"Songs For The Desert" is Smith & Liddle's debut album, a collection of great songwriting, beautiful harmonies and wonderful musicianship that also offers an unashamedly a large dose of nostalgia harking back to some of the best eras there ever was.

These songs were created during one of their hometowns rainiest year, offering the duo an escape via their creations, dreaming of being transported to California at a time when the music scene there drifted from legendary stars of Laurel Canyon to the soft rock icons of Fleetwood Mac and The Doobie Brothers.

Elizabeth Liddle & Billy Smith grew up 25 miles away from each other in small towns but only met when Billy was on the lookout for a vocalist years later. The chemistry between the pair was instant, and over time their intertwined musical sensibilities evolved into something unique.

Following years of swapping records and building a transcendent musical connection, Smith & Liddle worked alongside producer Josh Ingledew to record 9 songs that blend Soft Rock, West Coast soul & 60s beats to produce their debut album "Songs For The Desert".

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

In between the folds of ceremony and commonality lies a perennial spring of musical expression.

A statement along the time continuum, or a testament to the resilient resourcefulness embedded in that truth, forms the philosophical approach of this album – the first outing of Dídac.
Studying an extensive archive of instruments, artifacts, and field recordings at the Musée d’ethnographie de Genève—a space steeped in folkloric gesture – Dídac encountered a cosmos of liturgical music and folk song. Anchored in reverance for tradition and transformation alike, this album navigates the old-world Mediterranean lore through a post-modern ambient lens, threading drone, gentle rhythm, electroacoustic textures and the crude tactility of archival material into one woven tapestry.

Under the guidance of Dr. Madeleine Leclair, Dídac was invited to work within one of the world’s most extensive ethno- musicological archives—L’AIMP. In the saturated basements and tape-lined backrooms of the museum, he submerged himself in the sounds of ritual and rural life: wax cylinders from the Eastern Mediterranean, tapes of liturgical hymn, the worn edges of communal song.
In a makeshift studio on the fourth floor of the museum, he sifted through the hours of material he collected, gradually discovering that the archive was no static source – It did not dictate; rather, it served as a companion—offering not answers, but questions. Not a beaten track, but a cluster of sonic clues and riddles. Samples do appear occasionally, tenderly interwoven into the dialogue of the songs. In Dídac’s self-titled debut, the past is not worn as ornament or kitsch; it is listened to and responded to. The museum, its archives, and the visit to Geneva became a foundational culisse of sorts, igniting a myriad of rough cuts and improvisational outtakes.
Dídac, or Diego Ocejo Muñoz, was born in Madrid in 1994 to a family of both Catalan and Castilian origin.

Brought up in a religious household, the influence of the Catholic Church innately shaped the social fabric, schooling and daily life. This lingering dominance led the adolescent Diego into a path of rejection of everything sacramental, promptly resorting to subversion in the shape of grafitti, skateboarding and underground music. Only later in life, after a rigorous venture as an acid and electro producer, the Church re-emerged before him in new light, invoking a deep fascination for its mysticism, iconography and choral tradition.

Spain in general and Catalonia in particular, has long served as a crossroads of the eastern–western Mediterranean continuum, with many of its cultures sharing aspects of way of life and ceremony. At the MEG, Diego found himself puzzled with this realization, resulting in a sonic amalgamation that reaches farther away from the rugged mountains of Catalonia than you might perceive at first encounter.

The deeply embedded memory of rite and public ceremony, religious hymn and landscape—sieved through the undercurrent of personal re-emergence, forms the emotional topography of this album. The record does not trace this landscape; it inhabits it. Its repetitive mysticism and ambient, wide-eyed gaze could possibly evoke (perhaps redundant) comparisons to artists such as Dimitris Petsetakis, or Popol Vuh’s late 70’s cinema scores.
The delicate lines between the sacred and the secular – between memory and re-invention – serve as a cipher to understanding this album in its entirety. Titles like Malpàs Mines or Pantocrator’s Portal Outro nudge toward a folkloric and devotional bedrock—places where labor and spirituality coexist, where names preserve both dust and veneration.

Nevertheless, this is far from mere nostalgia. It is a reclamation — singing alongside the spirits of the past, nurturing what still hums beneath the soil. It is an intimate reflection on tradition, rebellion, adolescence, ceremony and fantasy – a pastoral contemplation on what once was and what is to be.

‘A Tremendous debut. Skilfully blending folk, country and other styles, Woof’s eponymous debut album features thoughtful songwriting, adroit musicianship and her remarkable, crystalline vocals’ - 4/5 RECORD COLLECTOR

‘Enchanting. Whether playing almost solo or with a full band arrangement, Wooff is never less than mesmerising’ - 4/5 SHINDIG!

‘Her spectral voice and acoustic guitar lead abstract stories of loss, yearning and self-exploration, nimbly embellished with pedal steel, organ and strings. ‘The Waltz Of Winter Hey’ and ‘Lefty’s Motel Room’, with its allusive nod to Townes Van Zandt, are outstanding’ - 8/10 UNCUT

‘Launching herself fully onto the scene, she beguiles with tales of love, loss, hope and womanhood, wrapped up in a beautifully strange gothic romanticism’ - FOR FOLK’S SAKE

‘The beauty in the record is not merely based on Toria’s melancholic melodicism and rich delivery. It can be enjoyed in the juxtaposition between the singer’s darker, more eerily gothic instincts and the soothing, reassuring presence of instruments like pedal steel and cellos.’ - KLOF

In the late 1970s and early 1980s, South Shields, England's politically motivated punk band, The Angelic Upstarts, saw considerable chart success. Jimmy Pursey of Sham 69 produced their debut album, Teenage Warning (1979), which peaked at No. 29 on the UK Albums Chart and featured singles like "I'm An Upstart" (No. 31) and Teenage Warning (No. 29).
Their third album, 2,000,000 Voices (1981), reached No. 32, while their second, We Gotta Get Out of This Place (1980), peaked at No. 54. Angelic Upstarts Live (1981), a live album, did well as well, peaking at number 27.
Two of the Angelic Upstarts' singles made it into the Top 40, and seven of their singles made it into the UK Top 75. Their early work was marked by sociopolitical critique and unadulterated intensity.
‘Live at The Basins Nightclub’ recorded in 1987 represents a unique summary of that undertaking as well as capturing a rare snapshot of the Upstarts during one of the less well-documented periods of their history. Incl. Sleeve notes from Dick Porter.

Autodidactic musicologist and sample collagist U turned his archival eye on the melting pot of ‘80s post-punk with his debut ‘Life Isn’t A Fountain?’ EP for Lex. He follows up with an experimental exploration of regional identity with ARCHENFIELD, a deeply personal collection of ambient music and found sound that examines the relationship between geographical space and aural histories.

To construct this record U mined a wealth of recorded material relevant to the area. With a nod to traditional music, he takes samples from these records and creates beautifully atmospheric sound pieces that are often mixed with painstakingly researched snippets to create a stirring reflection on local history and broader themes of how we interact, or even fail to interact, with English folklore today.

Pressed on 180g vinyl, the album comes with a 24-page visual companion that expands on its themes and folk stories through imagery and narrative, echoing the album’s soundscape. : The Caretaker, Oneohtrix Point Never, JG Bie1berkopf, Maxime Denuc, Leon Vynehall

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.'

DJ Support: Luke Una, Justin Robertson, Trevor Fung, Leo Elstob, Bill Brewster , Sean Johnston, Duncan Gray, Nathan Gregory Wilkins and DJ mag Balearic album of the month.

Limited edition double vinyl release of Jezebell’s debut new-Balearic epic, which stylishly weaves the history of eclectic club bombs through 16 tracks of downtempo, electro dub, and acid chug.

After the huge, and now sold out, never to be repressed debut album release, Jezebell come again with their second instalment, delivering their trademark Balearic and chuggy, electro-tinged dancefloor bizness in the form of Jezebellearic Beats Volume 2. You get the vibe of the artwork, the Jez crew have the class. These won’t be around for long. One press only. Buy or Cry.

Limited edition BROWN & BLACK SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1989 vinyl reissue includes 2 bonus tracks. "...one of the best examples of melodic hardcore just a step away from emo. The album is excellently played and is full of breathtaking anthems that, from time to time, even wink at metal soundscapes." - Debaser - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Berlin-based Swedish singer-songwriter Nadya Albertsson returns with her most personal work to date, Swaying, released via Rebecca"s Records. Blending diaristic storytelling with lush, layered instrumentation, the track captures a fleeting, transformative moment of queerself discovery. Serving as the first glimpse of her forthcoming debut album Half Silk Half Blade set for release in October 2025, Swaying offers an emotive introduction to the world Nadyahas crafted.

Mr Thing : "Quick story and some background on the 45 of mine that Koco posted yesterday in his stories, some of you know about this but here’s the whole scoop!
Around the time Biz Markie’s second album was coming out Westwood used to play Tribute To Scratching Part 2 using all Jackson’s/Michael Jackson samples - absolutely amazing but never came out for obvious reasons. Fast forward a few years and I’m doing my debut set on the show and I asked about it and if I could get a copy - he was very cool about it but said he couldn’t let me have it, which was fair enough, although he DID play it on the show when it aired when he interviewed me. Fast forward a bit more and the Hot Chillin’ 12” comes out and even that is what sounds like a radio rip pressed on the record.

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting

Nevertel, are set to release their Epitaph Records debut album, entitled Start Again. The Florida-based trio - comprised of vocalist Jeremy Michael, rapper/guitarist/producer Raul Lopez, and guitarist Alec Davis - are a rare breed in an era saturated with genre tags and algorithm-chasing playlists. Drawing on a cocktail of nu-metal nostalgia, hip-hop grit, and EDM adrenaline, their sound feels less like a blend and more like a carefully controlled detonation. It"s a vision honed through years of DIY hustle and an unshakable commitment to quality over trend. Bonded in adolescence over music and late-night gaming sessions, the trio turned those formative obsessions into a full-fledged project that has steadily built a digital groundswell. From self-releasing two fulllength albums and a pair of EPs to amassing over 1.5 million streams per week, Nevertel"s trajectory reflects a slow burn in a culture obsessed with instant virality. Citing touchstones like Linkin Park and Bring Me The Horizon, the band pays homage to the titans of their youth while shaping something unmistakably their own: emotionally raw lyricism, razor-edged riffs and breakdowns. It"s equal parts catharsis and chaos. Now signed to Epitaph Records as of 2023, Nevertel are poised to enter their next chapter with momentum at their backs.