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Friends of Jesse Malin: I Would Do It For You – Vol. 1 brings together musicians from the worlds of rock, punk, Americana, and the underground to celebrate one of modern rock's most respected songwriters. "I've been a fan of Jesse Malin for decades now so I was thrilled when Valley Lodge was asked to be a part of the tribute album,”says Dave Hill. The song originally appeared on D Generation’s 1996 album, No Lunch. "'Too Loose' has always been one of my favorites—a great and timeless rock song that we had a blast re-interpreting." Produced by Lyle Hysen, Friends of Jesse Malin: I Would Do It For You Vol 1. is the first in a two-volume series of nearly 80 songs (!) recorded by Jesse’s friends and community. Proceeds from the album will benefit Malin’s healthcare as he recovers from a paralyzing spinal stroke. Vol. 2 will feature Thurston Moore, Willie Nile, and many more. "Friends, collaborators, and artists from every corner of Jesse's world wanted to be involved," says Hysen. "The songs just kept coming. What started as a single collection quickly grew into something much bigger, encompassing almost the entire Malinverse. We're excited that this is only the first chapter." The compilation features contributions from Amanda Cross, Bebe Buell, Trapper Schoepp, Valley Lodge, Danny Sage, James Maddock, Gogol Bordello, Ursa Minor, Sami Yaffa, Prima Donna, Das Damen, Rene & Grace Mata, Dead Milkmen, Cat Popper & Sasha Dobson, Robinlee Garber, The Seashore Sharks featuring Jesse and Alexei Sanoff, Derek Cruz, Jill Fiore, Matt Madly & Co., Davey La, American Dream, Joe McGinty, Randy Schrager, Stephen Chopek, Ben Foley, and Kelley Swindall. Friends of Jesse Malin: I Would Do It For You – Vol. 1 will be available digitally, on vinyl, and as a deluxe double-CD edition. The vinyl release features twelve tracks across two sides and includes a download code for the complete digital collection, while the CD edition presents all 26 songs across two discs.

An emotional transmission wrought with the persistence of existence. Anasisana returns to Noir Age for his third release with the label. For Self Exploration, the Tunisian artist is focused here on existential alchemy; processing grief, encountering the unknown, and (possibly) experiencing growth through his simplistic and downtrodden approach to sound composition.

Anasisana constructs a plaintive sonic trajectory; leading in with harsher passages before settling into the restrained yet powerful ambient approach that we have come to love about Anas’ work. A skeletal, leftfield grunge deconstruction, echoing the corridors of HTRK’s darkest secrets crossed with the perpetual bliss of Isorinne, Canadian Rifles, or the warped dementia of The Caretaker.

A palindrome hypnotic.

Anasisana’s music has been published by labels such as Vaagner, Casement Exchange, Perfect Aesthetics, Trust Collective & Amulet of Tears.

Limited edition cassette with Rispgraph cover and newsprint insert.

REBIRTH is the debut EP from grime/nu-metal sensation Native James, the Ipswich-based artist making his way through festival stages such as Glastonbury and Download and support slots for everyone from letlive., Skidred, and Don Broco to Hyphen, Bob Vylan and Nova Twins. This non-stop onslaught of energy features fan-favourites "Hammer" and "Power".

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

- 2026 repress - Molekul is taking its claim in the underground techno scene, teaming up with the next-gen artists on this 6 tracks compilation built for the dancefloors. Each artist delivering their own signature sound and personal energy, making this release unique.

MEMPHIS, TN — Fat Possum Records and Hi Records are proud to announce the first vinyl pressing in half a century of Ann Peebles' 1975 album Tellin' It, fully remastered and recovered from the Hi Records vault, where it had sat untouched for decades. Available on vinyl in stores September 11, 2026 and can be pre-ordered now and also available streaming everywhere now. 
Peebles was at the height of her career when she recorded Tellin' It — coming off her biggest hit, "I Can't Stand the Rain," the year before. Produced by Willie Mitchell at Royal Studios in Memphis, with the grooves that defined the label's sound, backed by Howard Grimes' drumming and the Memphis Horns. 

"Peebles and Mitchell don't just recast "Rain" 10 different times—instead, they lean into the supple support laid down by the Hi Rhythm Section, who have plenty more uptempo grooves to offer." Andy Beta, Bandcamp
The original master tapes were sent to John Nicholson at Nashville Tape Transfer for their first listen in fifty years. From there, the project stayed close to home: remastered by Clay Jones in Taylor, MS, then back to Memphis for lacquers cuts by Jeff Powell (Take Out Vinyl), and was pressed & plated at Memphis Record Pressing.

Essex punk duo The Meffs return with their second album BUSINESS, due this September via Frontiers Label Group, following their 2024 release What a Life. After a huge 2025 touring with major acts, selling out shows across the UK and Europe, and playing festivals like Glastonbury, 2000 Trees and Download, Lily (vocals/guitar) and Lewis (drums) headed into the studio with producer Dan Weller to create 11 of their most intense and politically charged tracks yet. Blending frantic punk energy with sharp commentary on the music industry and modern life, BUSINESS captures the raw sound of their live shows while showcasing the band’s anger, vulnerability and refusal to be pigeonholed.

To mark their 10th anniversary, ground-breaking, JUNO Award-nominated and SOCAN Award-winning Toronto duo cleopatrick are releasing 4 cleopatrick EPs. The aptly-named collection features four iconic EPs spanning their history as a band - "14," "the boys," "DOOM," and "SCRAP" -- available on vinyl for the first time ever. The two-disc set is pressed on Petrol Blue vinyl and is available via their own Nowhere Special Recordings/Thirty Tigers.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Neun Songs, gepresst auf 100 einseitig bespielte 12 Inches mit bedruckter B-Seite. New tricks by old pricks. Schnell, dreckig und verdammt eingängig - Gen-Y-Punk-Hymnen für Fans von Amphetaminen und all den großartigen Bands, deren Name mit "The" beginnt. Das namenlose Debüt ist der perfekte Einstieg in die Welt von Cheap Shots. Neun Songs voller Energie, rotziger Hooks und Melodien, die sich sofort im Kopf festsetzen. Die Band verbindet Punk, Garage und Power Pop zu einem Sound, der gleichermaßen vertraut wie eigenständig wirkt - als hätte man ihn schon einmal gehört, ohne genau sagen zu können, wann:

[f] 6Waiting for the Catch (Feat. Issy Ferris) [Liquid Gold Version]

Das Indie-Pop-Trio almost monday aus San Diego – Dawson Daugherty (Gesang), Cole Clisby (Gitarre)
und Luke Fabry (Bass) – präsentiert mit „THANK GOD IT’S ALMOST MONDAY“ bereits sein zweites
Album.
Die 13 Songs verbinden die energiegeladene Leichtigkeit der Band mit einer neuen emotionalen Tiefe. Nach
intensiven Tourneen und persönlichen Höhen und Tiefen entstand ein Album über Freude, Verlust, Freundschaft, Nostalgie, Dankbarkeit und den Mut, seinen eigenen Weg zu gehen.
Musikalisch entwickelt die Band ihren Sound weiter und arbeitete dafür mit Simon Oscroft und Chase
Lawrence zusammen. Zu den Highlights zählen die Singles „leaving is easy“, „no more regrets“, „french
kids“ und „better late than never“. Die erste Single des neuen Albums „No More Regrets“ ist bereits im
Mai erschienen und hat auch in Deutschland schnell die Airplay Charts erobert.
Nach dem vorherigen #1-Hit „can’t slow down“, einer ausverkauften Welttournee und Auftritten bei Lollapalooza, BottleRock und Outside Lands knüpfen almost monday mit ihrem neuen Album an ihre bisherigen
Erfolge an.

Petrozavodsk is a heavy drone trio based in Porto and Barcelona. They add dub, experimental and improvisational elements to a crushing, drone metal sound.
“Forest Fire” is the band’s vinyl debut, and is a more concentrated, expansive, and heavy offering following their debut tape “Winter War”.
Side A kicks off with “Forest I”, a collaboration with electronic artist Container AKA Ren Schofield (US/UK). The noise/rave veteran remixes the band’s guitars into a hot bubbling swampy mess that feels very alive, propulsive, punishing, yet fun – Container fans would know.
“Forest II” is all dubbed-out drone-rock, with blackened guitar, monotonous low thrusts, and a snare that is coming from an extremely far distance – everything echoing and shaking, dubwise almost-noise effects from the drum kit eroding in wide stereo.
Side B is one longform piece “Fire” with slow-motion guitar washes, and a bass that sounds like a high rise falling down. It nods to the genre’s touchstones (Boris’ “Amplifier Worship”, Sunn O)))) while carving its own path. A downtuned wall of heavy sound.
Recorded in Catalunya and Portugal, all amps turned up high. Mixed and mastered by Moa Pillar in London, with additional mixing on “Forest II” by the band’s guitarist Anton Vasin.
Guitar: Anton Vasin
Bass: Matvei Podgornov
Drums: Ivan Zoloto

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

Originally released digitally in 2021, "TOP SECRET GRAND PRIX" is a genre- blending project that fuses the nostalgic warmth of "oldies but goodies" with the high energy pulse of Drum & Bass. 8 tracks ranging from 60s soul to JOE JACKSON and a slowed down JAMIROQUAI.

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

Bonobo alias Simon Green returns with "Distance In Static", his new album, which will be released on September 11, 2026, by Ninja Tune.

On "Distance In Static", Bonobo collaborates with a characteristically impressive lineup of artists, including Arooj Aftab, Joy Crookes, Nilüfer Yanya, Ichiko Aoba, Nicole Miglis (Hundred Waters), and Aanya Martin. The lyrics are written in English, Urdu, and Japanese, while historical Iranian samples and guzheng recordings stand alongside Bonobo's carefully crafted instrumental sounds. These were created during recording sessions in Los Angeles, Tokyo, London, and beyond: a significant part of the album was completed at Neil Young's legendary Broken Arrow Ranch in California, where he had retreated for several weeks earlier this year.

The album's title - "Distance In Static" - aptly describes Bonobo's current situation: it evokes images of distorted transmissions and fleeting frequencies, memory fragments and glimmers of meaning that echo through more than two decades at the forefront of electronic music. He sees the traces of his work reflected in a younger generation rediscovering trip-hop, downtempo, and experimental electronic music of the 1990s from a contemporary perspective. "I think the beginning of my work is relevant to younger people today," he says. "I liked the idea of listening for a distant signal - finding something in the noise," he continues. The entire album conveys the feeling of a search for transcendence: music that hovers between intimacy and vastness, the familiar and the unknown.

Within the universe of "Distance In Static", there is also a sense that this album marks something truly monumental. It is a moment of transition, a celebration of Bonobo's 25th anniversary, but perhaps also his last album in the traditional sense: with numerous guest contributions and a multi-year world tour with a full live band.

Whatever comes next, one thing is certain: "Distance In Static" is arguably Bonobo's best album to date; as ambitious and forward-thinking as ever and a reminder of why he has influenced so many people so strongly for so long.

,AFRO-DISCO MAKOSSA" ist das erste Album auf Linear Labs, das ausschließlich für die Tanzfläche gemacht wurde, und Younge ist wie kein anderer dafür geeignet, es zu produzieren. Er ist nicht als Außenseiter zum Afrobeat gekommen, um ihm Tribut zu zollen. Über sein Schwesterlabel Jazz Is Dead hat er bereits dazu beigetragen, zu definieren, wie moderner Afrobeat klingt. Seine Sessions mit Tony Allen (Mitbegründer des Genres selbst) und dem Highlife-Pionier Ebo Taylor haben nicht nur sein musikalisches Vokabular geprägt; sie brachten zwei gefeierte moderne Klassiker hervor. "Afro-Disco Makossa" ist das, was passiert, wenn derselbe Künstler eine ganz andere Frage stellt: Was hätte ein ghanaischer Produzent im Jahr '76 gemacht, wenn er sich daran gemacht hätte, eine amerikanische Disco-Platte für seine Heimatstadt zu produzieren? Das Ergebnis ist ein klangliches Patchwork aus Afrobeat, Funk und Disco, gemacht für den DJ jeder Ära.

With a breathtaking pair of intimately interrelated new albums, he applies that bold passion to an uncharacteristically pared-down setting, then transforms those stunning sounds via a startling process of sonic reinvention. ResoNation Trio convenes a new chordless trio with master improvisers Scott Colley on bass and Nasheet Waits on drums. The album's contemplative explorations feel like a departure from the raucous spirit that characterizes so much of the trumpeter's work, yet the trio discovers such an audacious beauty and celebratory gusto in these sparse environments that the music feels uniquely Bernstein's. It is also a rarity in his oeuvre for featuring Bernstein - whose mastery of the little- used slide trumpet has become so central to his sonic identity - exclusively playing valve trumpet and flugelhorn. In parallel with this captivating trio excursion, Bernstein handed the recordings over to his longtime collaborator, the pioneering producer Scotty Hard, to reimagine the album through his own iconoclastic lens. The result is the uncategorizable Ultra Resonance, which finds Hard breaking down the ResoNation Trio session into its constituent parts and redeploying them as the elements of a wholly original, mutant creation. The project will be released on June 5, 2026 via Royal Potato Family as a double vinyl or CD package containing both albums, and separately on digital streaming platforms.

It’s been one hell of a wild ride for Wine Lips. Originally formed in Toronto back in 2015 as a part-time project between Cam Hilborn (vox, songwriter, guitar) and drummer extraordinaire Aurora Evans, Wine Lips quickly escalated into a full-blown, full-time, full-on international phenomenon. Their debut album took them across North America followed immediately by an intensive and unexpected tour of Hong Kong and China in 2018. They released their massive “Stressor” album the very next year (2019) to rave reviews and massive critical acclaim. Multiple tracks from Stressor charted across North American and European radio, while several songs ended up being featured in broadcast and Netflix series. Endless touring ensued. Then 2020 happened. The band used their mandatory downtime to fully dedicate themselves to crafting their groundbreaking third full-length “Mushroom Death Sex Bummer Party” (recorded by Simon Larochette at The Sugar Shack). The record was released in October 2021 and then shit really hit the fan. The international music press lost their collective minds, penning over 250 glowing features and super positive reviews spanning 35+ countries. At the time of writing, the album blew past 40 Million spins on Spotify alone.

The vinyl release of MDSBP is currently in its 7th pressing with 9 different colour variants. The lead track “Eyes” has been licensed to a metric ton of films, series and video games including ABC’s The Rookie, Hockey Night In Canada and Population 11. Even more endless touring ensued, except this time the venues were huge and mostly sold-out. The 2024 follow-up album “Super Mega Ultra” was an absolute beast. Recorded by Simon Larochette at The Sugar Shack in Ontario, the album packed 12 ramped-up supersonic ear-scorching auditory delicacies and racked up millions of plays.

First track will direclty show-up a geography. The Obscur 07 first track : a killer ! Bloody Acid Anonymous brain-digger... It never let you down... Keeping on... Acid Fantasy !
A2 is a Deviant Behavious 01 repress. Skanking Hardtek :)

B1 is a self-remix of the Mackitek HS 07, getting it even more ACID !
And B2 is again a remix from Mackitek HS 07. Going to a more slamming tom/snare breaky way.

All repressed tunes are remixes or somehow remastered...

Surprises !

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Natalie Imbruglia ist Millionen von Menschen mit ihrem weltweiten Hit "Torn" bekannt, einer der bis heute prägendsten Songs der Neunziger. Damit begann eine außergewöhnliche Erfolgsserie, die u.a. 2 BRIT Awards, 3 Grammy-Nominierungen, 8 ARIA Awards und 7 Mio. verkaufte Exemplare ihres Debütalbums "Left Of The Middle" umfasst. In jüngerer Zeit stand sie durch Auftritte an der Seite von Olivia Rodrigo erneut im Rampenlicht. Jetzt ist der perfekte Moment für ein neues Kapitel: ihr neues Album Algorithm mit der Lead-Single "Upside Down".

Algorithm zeigt Natalie Imbruglia in einer neuen Ära – geprägt von Selbstermächtigung, Freiheit und kreativer Erfüllung. Das erste Album der australisch-britischen Pop-Ikone seit fünf Jahren ist eine echte Tour de Force: ein zutiefst persönliches Werk, das eindrucksvoll daran erinnert, warum wir uns ursprünglich in ihre Musik verliebt haben. Es erscheint in einer Zeit, in der sich der kulturelle Zeitgeist wandelt und Popmusik wieder stärker zur Tanzfläche tendiert – mit einer Ausrichtung, die sich an den eleganten Pop-, Disco- und House-Elementen von Robyn orientiert.

Nach dem UK-Top-10-Comeback mit Firebird (2021) meldet sich Natalie Imbruglia auf Algorithm voller Energie und Tatendrang zurück. Sie ist Co-Produzentin und -Autorin jedes Songs, neben namhaften Kollaborateur:innen wie MyRiot (London Grammar), David Sneddon (Lana Del Rey), Fraser T Smith (Adele, Stormzy, Sam Smith), Gary Lightbody von Snow Patrol, Anu Pillai (Lewis Capaldi), Tobie Tripp (George Ezra), Mark Crew (Bastille, James Arthur) und Dan Priddy (Rag’n’Bone Man, Bastille). Im Anschluss an die Veröffentlichung des Albums wird Natalie Imbruglia ausgewählte Festivaltermine spielen und auf Tour gehen.

Mit "Strange Horses" präsentiert Downpilot-Mastermind Paul Hiraga sein achtes Album und zugleich eine seiner persönlichsten und vielschichtigsten Arbeiten. Zwischen atmosphärischem Guitar-Pop, feinsinniger Americana und introspektivem Songwriting reflektiert Hiraga die Herausforderungen einer Welt im rasanten Wandel. Die Songs erzählen von menschlichen Beziehungen, inneren Konflikten, sich verändernden Landschaften und den Kräften der Natur. Dabei vereint Strange Horses eingängige Melodien mit emotionaler Tiefe und klanglicher Vielfalt. Von intimen Balladen bis zu weitläufigen, traumhaften Arrangements entfaltet sich ein Album voller Wärme, Nachdenklichkeit und musikalischer Eleganz. Ein zeitloses Werk für Hörerinnen und Hörer, die anspruchsvolles Songwriting und atmosphärische Klangwelten schätzen.

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

Nintendo and Laced Records are linking up to bring the sweeping music of The Legend of Zelda™: Breath of the Wild to vinyl records with this 8LP box set featuring nearly four hours of music.

This collaboration marks the first time a Nintendo soundtrack has been commercially released on vinyl outside of Japan. This box set features heavyweight LPs that come in printed disc inners and spined inner sleeves, all housed in a rigid board dual slipcase. All packaging is adorned with archival artwork by the team behind The Legend of Zelda: Breath of the Wild. Each disc side is sequenced around a theme, reflecting players’ adventures in the game, whether exploring Hyrule, battling enemies, freeing the Divine Beasts from Calamity Ganon’s hold, or unlocking the mysteries of the Shrines. The unforgettable music of The Legend of Zelda: Breath of the Wild introduced bold new musical textures to the series, while embracing classic themes. From the first spine-tingling piano notes of “Main Theme” to the final choral-orchestral stirrings of “Epilogue”, the soundtrack follows the ups and downs of Link’s epic adventure. Each element of the game enjoys a distinct musical palette, including the iconic minimalist piano of the open world, the alien sounds of Sheikah technology, the tension-filled rhythms of enemy encounters, and the orchestral grandeur of the Divine Beast battles. The pieces were composed by Manaka Kataoka, Yasuaki Iwata, Hajime Wakai, and Soshi Abe. Along with this wonderful soundtrack on vinyl, fans can experience the full digital soundtrack for The Legend of Zelda: Breath of the Wild by downloading the Nintendo Music app.*

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she’s become a consistent presence and voice in the city’s underground, collaborating with artists like Parris, Ciel and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack and DJ Mag.

2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super and Shanti Celeste. Described by Dazed as ‘an embarrassment of riches’ and by Mixmag as one of the best albums of the year, in Eden’s words it was simply ‘a tragicomedy in seven scenes and an interlude’. She’s downplaying things: to us it was a rich tapestry that explored everything from fleeting moments in smoking areas to the Madonna-whore complex. Both, for better or worse, still make the world go round.

On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing – it’s an expansion and a tightening at the same time. Inspired by epic literary works like Homer’s Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden’s words: 'This work is a narrative and sonic expedition - part myth, part memoir - that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it
had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalised belief that love must come through sacrifice, even at the cost of one’s selfhood.'

For this special release, Barcelona’s Lapsus and London’s Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

Die schwedische Künstlerin Sibille Attar kehrt mit ,Amor Fati" zurück, ihrem ersten englischsprachigen Album seit fünf Jahren. Attar, die bereits von Pitchfork, Stereogum, The Line of Best Fit, Clash und BrooklynVegan gelobt wurde, hat sich als eine der faszinierendsten und von Kritikern am meisten gefeierten Stimmen des alternativen Pop in Schweden etabliert. ,Amor Fati" - äußerst unabhängig und komplett in Eigenregie produziert - begann als Versuch, ein reines Liebesalbum zu schaffen - offenherzig, euphorisch und ungekünstelt. Doch während sich die Songs entfalten, beginnen sich emotionale Gewissheiten zu verschieben. Das Album, das in Schweden, Belgien, Deutschland und den Vereinigten Staaten entstanden ist, beschäftigt sich mit Intimität, Sehnsucht, Vertrauen und den seltsamen Wegen, auf denen sich Liebe im Laufe der Zeit neu formt. Es beginnt euphorisch, wird schnell kompliziert und weigert sich, sich für irgendjemanden der Einfachheit halber zu vereinfachen - vielleicht weniger beruhigend, aber dafür umso lebendiger. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan ENG Swedish artist Sibille Attar returns with Amor Fati, her first album in English in five years. Previously praised by Pitchfork, Stereogum, The Line of Best Fit, Clash, and BrooklynVegan, Attar has established herself as one of Sweden's most fascinating and critically acclaimed voices in alternative pop. Fiercely independent and entirely self-produced, Amor Fati began as an attempt to make a pure love album -open-hearted, euphoric, and unguarded. But as the songs unfold, emotional certainties begin to shift. Written across Sweden, Belgium, Germany, and the United States, the album explores intimacy, longing, trust, and the strange ways love reshapes itself over time. It begins in euphoria, gets complicated fast, and refuses to simplify itself for anyone's convenience - less reassuring, perhaps, but far more alive. "madly wide-eyed, swooning songs" - Pitchfork "leaps out of the speakers so vibrantly that the band seems to be playing in the same room with you" - Stereogum "a masterpiece in artistic misery" - The Line of Best Fit "mournful and absolutely gorgeous" - BrooklynVegan

Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.

This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.

What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.

With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”

“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, June 2026, MCR

Long Slow Distance is an album about finding peace, and making peace where it can’t be found. It’s inspired by change, grief, acceptance, forgiveness, love, and running.

Dawson began running around the same time he started making records. At this point it’s unclear where one practice ends and the other begins. The album’s title has become the ethos he’s embraced for all things in life.

Long Slow Dance unravels the woven collage of his previous work. Here each song consists of three long guitar takes, panned across the stereo-field with minimal overdubs. “I remember my grandmother always kept a rain barrel on the farm. Just a simple vessel that served as a means for gathering water for the garden and the flowers. I wanted to instill that sentiment on this record. Other than some panning and recreational EQing, the computer was just a vessel to gather sounds.”

There is a distant grace to the album. A soft expanse, a quiet contrast. Guitars dissolve and then recalibrate. Sparse melodic motifs bloom and fracture. Warm chords clash and make amends. Alpenglow textures shimmer against tones that feel weathered by salt air. The songs are lightly propulsive, yet drift at a glacial pace. Fields and artifacts ground the material, like keeping your eyes on the horizon. Long Slow Distance feels intuitive, sentimental, and like Dawson is one step closer to whatever distance he is chasing.
Downloadable Assets

Felix Walworth wurde in der Broome Street geboren. Bevor sie zu einer festen Größe in der New Yorker DIY-Szene der 2010er Jahre wurden, bevor sie ihr Markenzeichen - das auf einem Keyboardständer montierte BMSS-Schlagzeug - einführten, bevor sie eindringliche Reflexionen über Identität schrieben, die ihnen eine Kult-Anhängerschaft unter den Kids auf Tumblr einbrachten, waren sie ein Kind, das in den verschiedenen Stadtbezirken aufwuchs und eine Stadt liebgewann, die schließlich bis zur Unkenntlichkeit veränderte. ,What's Up" ist Walworths viertes Album als Told Slant, unter diesem Namen haben sie seit 2012 eindringliche Alben mit weitläufigem, nervenblanken Indie-Rock veröffentlicht. Das ist ihr New-York-Album: eine Sammlung von Songs darüber, wie man zusehen muss, wie sich die Heimatstadt verändert, und wie man spürt, wie sie einen im Gegenzug selbst verändert hat. Es ist ein Album über die Hingabe an ein prekäres Musikleben und all die Schönheit und Demütigungen, die damit einhergehen. Während es auf den ersten drei Told-Slant-Alben um Selbstreflexion und den Versuch ging, als Künstler zu überleben, handelt ,What's Up" davon, was passiert, wenn man sich ,fast schon manisch dem Projekt des Selbstausdrucks und der Subkultur in einer der feindseligsten Umgebungen der Welt" verschrieben hat und sich mit all den Menschen, Orten und Träumen auseinandersetzen muss, die auf diesem Weg verloren gegangen sind. In Songs wie ,Manhattan", ,Draw Blood", ,Three Anchovies" und dem Titeltrack fängt Walworth Trauer, Wut, Hingabe und flüchtige Momente der Verbundenheit ein und zeichnet das Verschwinden geliebter Stadtviertel, DIY-Räume, Freundschaften und Lebensweisen mit gleichermaßen schwerer und humorvoller Hand nach.,What's Up" ist zudem das bisher kollaborativste und abenteuerlichste Album von Told Slant. Es entstand über einen Monat hinweg in einem provisorischen Studio im Upstate New York und wurde größtenteils auf einem Acht-Spur-Spulenband aufgenommen - damit ist es die erste überwiegend analoge Veröffentlichung des Projekts, an der Hannah Pruzinsky, Jonny Baker, Ceci Sturman, Hellen Ballentine, Emily Sprague, Mari Maurice und Elijah Wolf mitgewirkt haben. Die Songs entstanden zum Teil aus Walworths Arbeit als Porträt- und Straßenfotograf während der Pandemie, als er die Straßen, Parks, Veranstaltungsorte und Ladenfronten, die sein Leben geprägt hatten, erneut besuchte - nur um festzustellen, dass viele davon verschwunden waren. Dieses Gefühl des Verlusts zieht sich durch das gesamte Werk, das mit ,Still Water" (2012) begann, sich über ,Going By" (2016) und ,Point the Flashlight and Walk" (2020) fortsetzte und seit langem von schmerzlich ehrlichen Songs über Selbstfindung, Freundschaft, Sterblichkeit und den langsamen Verlust der Verbundenheit mit der Gemeinschaft geprägt ist. Auf ,What's Up" richtet Walworth diesen Blick nach außen und dokumentiert nicht nur ihre eigene Beziehung zu New York, sondern auch die Kosten des Bleibens, des Schaffens und des Glaubens an eine Stadt und eine Musikkultur, die sie mitgeprägt haben.

In honour of the 40th anniversary of David Lynch's 1986 masterpiece Blue Velvet, Varèse Sarabande is excited to present a new vinyl edition of Angelo Badalamenti's music for the film. Lynch and Badalamenti, who both passed away in 2025 after decades as one of cinema's most iconic creative collaborators, forged a singular sonic world from Twin Peaks to Mulholland Drive. This new edition presents the soundtrack composed and conducted by Badalamenti in a special collectible Rainbow Foil jacket.

Die Schweizer One-Woman-Elektro-Punk-Sensation TARANJA WU ist sowas wie das Bindeglied zwischen Suicide, Ian Svenonius, Sedlmeir und Voodoo Rhythm"s Beat-Man - und doch ganz anders und ganz eigen. In der einen Hand die Gitarre, in der anderen ein gut geladenes Mass an Haltung, mit der sie ihren Tarif durchgibt. Ihre Abrechnung feiert sie mit punkig-scheppernden Gitarren, sägenden Synthesizern und unerbittlichem Gehämmer. Dazwischen ertönen Signale, als hätte jemand das Weltall angezapft und beschlossen, es tanzbar zu machen. Ihr zweites Album ALL MESSED UP ist ein Trip durch kontrollierte Abstürze, ein Album wie ein schöner Fehler: süß genug, um näherzukommen, scharf genug, um zu bleiben, serviert mit einem Lachen, das man nicht ganz einordnen kann. Ein Tanz in surrealen Bildern und ein Cocktail aus musikalischem Wahnsinn, der ebenso süchtig macht wie beunruhigend ist. Und das alles garniert "With a Dash of Trash". Klingt ungemütlich? Ist es auch, aber höllisch tanzbar.

Erscheint auf schwarzem Vinyl.

Ob als Sänger und Gitarrist der benzinbetriebenen Rockband The Almighty, als Frontmann der wiederbelebten Thin Lizzy und ihrer späteren Inkarnation Black Star Riders oder als gefeierter Solokünstler – ihn treiben seit jeher Eigenschaften an, die immer seltener werden: Ehrlichkeit, Leidenschaft und Emotion. Genau diese Qualitäten sowie Warwicks unermüdliche Hingabe zur Musik haben ihm über Jahrzehnte hinweg Erfolge in den Charts beschert, darunter mehrere Top-10-Alben.

Nachdem ihm kürzlich in seiner Heimat Belfast der Lifetime Achievement Award des Ards International Guitar Festival verliehen wurde, baut Warwick sein musikalisches Vermächtnis in diesem Jahr mit seinem elektrisierenden neunten Soloalbum Fire And Vengeance weiter aus. Das Album zeigt einen Musiker auf dem Höhepunkt seines Schaffens. Auch textlich bewegt er sich auf höchstem Niveau – als Poet der Arbeiterklasse verbindet er in seinen Songs autobiografische, beobachtende, politische, zynische und zugleich zutiefst persönliche Elemente. Für das neue Album arbeitet Warwick erneut mit seinem musikalischen Partner Keith Nelson zusammen, dem ehemaligen Gitarristen von Buckcherry, der bereits das 2025 erschienene Blood Ties mitproduzierte, mitschrieb und einspielte. Darüber hinaus enthält das Album Gastauftritte von Musikern, die mit Def Leppard, Blackberry Smoke, Whitesnake und The High Kings verbunden sind. Fire & Vengeance erschließt subtile neue musikalische Wege, ohne sich jemals von dem kraftvollen, unverwechselbaren Sound zu entfernen, mit dem Warwick sich einen Namen gemacht hat.

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

Recorded in 1997, upon The Shadow Ring’s return from their final US tour, Lighthouse captures the group at their most stripped-down and visionary. Graham Lambkin’s fractured texts conjure Folkestone’s haunted coastline—Vikings, the Morgawr, a fading Britain, the pull of the sea—under the sway of Alternative TV’s Vibing Up the Senile Man (Part One), the mechanical vernaculars of Robert Ashley and Mark Perry, and the deflated humor of Dad’s Army and It Ain’t Half Hot Mum. Originally issued in 1999 on Scott Foust’s Swill Radio, this lost masterpiece—a stark, lo-fi world of home recording and concrète capture—is once again available on vinyl. For fans of Alan Titchmarsh, David Croft, Harry Pussy, and Idea Fire Company.

Back for its 29th (!) birthday, No Use's fifth full lenght! "Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving 'em wet sloppy ones when they come to your town." No Use for a Name was a melodic punk band from San Jose, California blending blistering skate-punk speeds with deeply melancholic, unforgettable pop melodies. What began as a scrappy late-80s hardcore act grew into a defining pillar of the 90s punk rock explosion, earning fans through relentless international touring and releases that perfectly balance grit and heart. Drawing comparisons to Lagwagon, Millencolin, and Strung Out, No Use for a Name pairs introspective, emotionally raw lyrics with fast-paced, harmony-driven arrangements built for sweaty club shows and massive circle pits. Their songs tackle alienation, broken relationships, and the struggles of everyday life, creating a connectionthat feels both intensely personal and universally cathartic. Their first two albums were released through the New Red Archives label, after which they signed to Fat Wreck Chords where they would remain, releasing seven studio albums and shifting to a melodic punk rock sound. With their fifth album `Making Friends,' the band continued to build on their momentum, delivering their tightest, most emotionally resonant, and career-defining collection of songs in 1997. 2026 it comes in brown vinyl color.

Moon Inhabitants is on of the most exciting new additions to the flourishing Norwegian jazz scene! A quintet with a playful and spontaneous approach to the composed material and a philosophy that anything can happen. The music is inspired by 60s free jazz, with a modern twist - and turns that will suprise you on this debut on Sauajazz. The result is an energy bomb with unpredictable cosmic improvisations and down-to-earth naivety! All put together by a selection of the most innovative musicians from the younger generation.