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Die britische Autorin, Produzentin, Sängerin und Schauspielerin Cynthia Erivo veröffentlicht am 06.06.25 ihr zweites Album „I Forgive You“.

Nachdem die Grammy-,Emmy- und Tony Award - Gewinnerin zuletzt durch ihre Rolle als „Elphaba“ an der Seite von Ariana Grande im Film „Wicked“ weltweit für Furore sorgte, widmet sie sich nun wieder voll und ganz der Musik.

„I Forgive You“ ist als eine Geschichte in vier Kapiteln aufgebaut, dreht sich rund um das Thema Vergebung und gewährt tiefe Einblicke in die Gefühlswelt der Sängerin und Schauspielerin, die spätestens seit ihren Bühnenauftritten bei „The Color Purple“ im Westend und am Broadway in aller Munde ist. Alle Songs sind in Co-Produktion mit dem Produzenten Will Wells entstanden.

With Street Funk, Mofak delivers a tight blend of G-Funk and modern funk, fusing West Coast vibes with French groove.



Packed with smooth talkbox, heavy basslines, and standout features (Dezzy Hollow, Jayson Cash), this EP is a sun-drenched gem for fans of urban funk. Turn it up loud.

Ein neues musikalisches Projekt des renommierten, französischen Studio-Cracks Renaud Letang mit Freunden & Familie: Feist - Connan Mockasin - Benny Sings - Chilly Gonzales - Jamie Lidell - Saul Williams - Vladimir Cosma - Philippe Katerine - Infinite Bisous - Jerry Paper - Chuuwee - Mel D. Produziert Von Renaud Letang + Chilly Gonzales. Aufgenommen In Den Studios Ferber.

Das Album eines Lebens. Oder besser gesagt eines halben Lebens, das er seit seinem 18. Lebensjahr im Schatten der Aufnahmestudios verbracht hat. Unter dem facettenreichen Pseudonym DRIFT ist 'At The Party' ein Album von Renaud Letang, einem der weltweit renommiertesten und gefragtesten französischen Toningenieure und Produzenten der letzten drei Jahrzehnte. ManuChao, Chilly Gonzales, Feist, Mathieu Booagerts, Lianne La Havas, Philippe Katerine, Saul Williams, Jane Birkin, Seu Jorge, Micky Green, Connan Mockasin und Amadou & Mariam zählen zu seinen Klienten.
Seit Jahren bereitet der Victoires de la Musique-Preisträger und Grammy-nominierte Letang heimlich mit all seinen Künstlerfreunden im Keller der Studios Ferber ein Albumprojekt vor.
Sein kanadischer Komplize Chilly Gonzales, mit dem er in den 2000er Jahren das erfolgreiche Produzenten-Tandem VV bildete, hat ihn ermutigt, seine Songs zu veröffentlichen. Renaud Letang versteht seine Kompositionen als "Driftmusik" mit einer breiten stilistischen Palette - von sonnigem Disco-Pop (At the Party, Working on Me) bis hin zu Jazz-lastigen Sounds ('Papaya', 'A Night In Waimea'), von futuristischem Hip-Hop ('Cosmic Drift', 'That's All') bis hin zu traumhaften Tracks ('Très Gentiment In Waimea'). Das Wort DRIFT, das facettenreiche Pseudonym, das Renaud Letang gewählt hat, beschreibt genau diese ständige Bewegung, die sich wunderbar in dieses kollegiale Album einfügt: Feist, Chilly Gonzales, Connan Mockasin, Benny Sings, Philippe Katerine, Jamie Lidell, Saul Williams, Infinite Bisous, Jerry Paper, Chuuwee, Mel D und Vladimir Cosma sind alle in den Credits des Albums zu finden. Eine faszinierende musikalische Reise, die sowohl an einem sonnigen Tag als auch nach Einbruch der Dunkelheit zu hören ist. Der Soundtrack des Sommers mit der Besetzung des Jahres.
Erhältlich als Digisleeve und Doppel-LP (Black Vinyl).

oop of Life is presenting the diverse palette of analog synthesizers and drum machines of Kuiper Belt. A wide range of tracks kicking off with a harsh and heavy 808 slow burner filled with 303 acid. 'Prg Select' and 'Two Voice' both drawing inspiration from the underground techno scene with pulsating beats and bleeps that truly resonates. An melancholic analog machine soul electro track with vocoder vocals closing off the EP in style.

Hand stamped black label release with an urge to break out of the algorithm and to be released on vinyl available at your specialised record store.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

The long-anticipated debut LP from Atlantik has finally arrived on Feines Tier. Hailing from Cologne, childhood friends Georg and Clemens have spent over a decade refining their passion for hardware-driven live techno.
Whether as a regular touring act, resident duo at Berlin’s legendary Sisyphos, or an opening act on Fusion’s Turmbühne, Atlantik has captivated audiences with their high-energy approach to techno.
While their sound continues to evolve, its roots remain in Cologne’s minimal techno golden era. Atlantik blends glitchy percussion, delicate melodies, and hypnotic atmospheres—always maintaining the precision and restraint of minimalism. Enjoy the journey!

Der Daniel Pemberton-Score zur RomCom "Fly Me To The Moon" von Regisseur Greg Berlanti mit Scarlett Johansson und Channing Tatum in den Hauptrollen, die im Juli 2024 in die Kinos kam und seit Dezember 2024 auf Apple TV+ läuft. Eine scharfsinnige, stilvolle Dramakomödie vor dem Hintergrund der historischen Mondlandung von Apollo 11 der NASA. Dabei balanciert Daniel Pemberton gekonnt zwischen der enormen Bedeutung der NASA-Mondmission und den komödiantischen und an Raubüberfälle erinnernden Episoden, während er gleichzeitig - mit Verweis auf Quincy Jones und dessen Soundtracks zu "The Italian Job" und "Big Band Bossa Nova" die spielerische Energie und Leichtigkeit der Spät-1960er einfängt.

Continuing in a series of studio albums, Serwed (OL & Flaty) present their new release - "V" (Five).

Stylistically, this album further develops the idea of blending aesthetics, operating at the intersection of post-club, downtempo, digital dub, electro-acoustic, neo-classical, score music, and musique concrete, creating a unique sonic space.
Catching the subtle nuances of self-reflection, this chamber-like, intimate work is primarily directed toward the subconscious and intuitive perception. The structure and form are driven by emotion, while aesthetics take a back seat, giving way to pure sense.
The compositions capture moments of insight, spontaneity, and live improvisation. Delicate yet expressive, carefree yet precise, "V" is a deeply immersive and personal experience.

Reverie is a soundtrack of atmospheric chamber music for violin, cello, and piano by sisters Rebecca Foon and Aliayta Foon-Dancoes, and marks the first full-length album collaboration between the two players/composers. Reverie melds cellist Rebecca's post-rock and semi-improvised sensibility forged from over two decades playing in DIY/indie bands like Esmerine, Thee Silver Mt. Zion, and Set Fire To Flames, with violinist Aliayta's more recent trajectory from award-winning virtuosic performer to academically-shaped explorations of interdisciplinary composition. Following several years in London at the Royal Academy and Royal College of Music, Aliayta's move to Princeton in 2023 for a Composition PhD put the sisters back on the same continent, regularly meeting and collaborating at Rebecca's Lost River studio in Quebec's Laurentian mountains. Working with co-producer Jace Lasek (Godspeed You! Black Emperor, Patrick Watson, The Besnard Lakes), the result is an immersive suite of thematic variations that balances intimacy and detail with wide-spectrum spatial lushness. Subtle electronic interventions and gently blown-out acoustics ebb and flow throughout, further conveying Reverie's overriding mission to weave a meditative pastoralism with the underlying anxiety, sorrow, and tragedy of ecocide.

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

TOD DEM DIKTATOR ist das flammende zweite Album des Berliner Trios, hervorgegangen aus der Asche der Punkband Grow Grow, das mit seiner explosiven Mischung aus Anti-Corporate-Punk, dystopischem Indie, (Post-)Hardcore und Post-Punk vollends überzeugt. Die drei Protagonisten kreieren darauf einen Sound der aus seinen wohl überlegten Worten und fein beobachteten Gegebenheiten einen Orkan aus emotional aufgeladener Empörung freisetzt. Herausgeschriene Wut, angeheizt vom Verlangen nach einem systematischen Wandel, unterlegt von ruppigen, noisigen Passagen, die durch die melodiöse und besonnene Liedführung kolossal an Relevanz gewinnen. All das erinnert nicht zuletzt an Bands wie Turbostaat, Oma Hans, Hot Snakes, Meat Wave und Pissed Jeans, ist aber so viel mehr.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

Life and Death is thrilled to unleash the electrifying debut EP from rising Irish producer Cromby, marking a bold new chapter on DJ Tennis’ genre-defying label. Packed with highvoltage energy, emotional depth, and razor-sharp house production. At its heart is “I’m Coming Back”—a radiant, hands-in-the-air anthem co-crafted with NiKi K. The track also receives a powerful rework from the enigmatic Known Artist, who transforms it into a hypnotic late-night weapon—fusing atmospheric textures with raw emotional drive. Cromby finally concludes with “One More Time”— a colorful house thumper of pure peak time energy, right on cue for the summer festival season ahead.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

Yowzers is a new album by Chicago composer, improvisor, and musical folklorist Ben LaMar Gay. Yowzers features Gay"s working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe"s Illusions. It"s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it"s safe to call this work true "Americana", despite what that word might mean to the average person in the United States.

Was vor mehr als zwei Jahrzehnten begann, bekommt nun eine neue Dimension: My Chemical Romance veröffentlichen eine Deluxe-Edition ihres zweiten Albums – mit zusätzlichen Tracks und neuen Facetten des Klassikers. Three Cheers For Sweet Revenge (Deluxe Edition) erscheint am 6. Juni 2025 – exakt 21 Jahre nach Erstveröffentlichung des Albums, das allein in den USA dreifach mit Platin ausgezeichnet wurde. Die Neuauflage kommt frisch abgemischt und neu gemastert daher – als CD, digital und in mehreren farbigen Vinyl-Varianten. Darunter auch ein großartiges 2LP-Set mit Zoetrop-Effekt. Die Vinyl-Versionen sind 3-seitig, Seite 4 ist mit einer kunstvollen Ätzung veredelt – ein echtes Sammlerstück für die MCRmy. Zum Jubiläum des heißgeliebten 2004er-Albums hat Grammy-Gewinner Rich Costey höchstpersönlich die Deluxe Edition neu abgemischt. Obendrein bekommt das Ganze ein brandneues Artwork verpasst. Und dann sind da noch die vier Bonustracks – Live-Aufnahmen aus dem Jahr 2005, seinerzeit exklusiv für die BBC eingespielt: Bislang unveröffentlichte Versionen von „I’m Not Okay (I Promise)“, „Helena“ und „The Ghost Of You“ sowie ein Live-Take von „You Know What They Do to Guys Like Us in Prison“, der ursprünglich nur als B-Seite der limitierten UK-CD-Single von „I’m Not Okay (I Promise)“ erhältlich war. Angetrieben von Hymnen für eine ganze Generation wie „Helena“ (4-fach US-Platin), „I’m Not Okay (I Promise)” (3-fach Platin), „The Ghost Of You“ (US-Platin), „Thank You For The Venom“ (US-Gold) und „You Know What They Do to Guys Like Us in Prison“ (US-Gold), wurde Three Cheers For Sweet Revenge zum Meilenstein – kommerziell wie künstlerisch. Keine zwölf Monate nach Release war die Platte bereits Platin-zertifiziert. Sie definierte Rock im 21. Jahrhundert neu – und katapultierte MCR endgültig in den globalen Musikolymp

Ting was released in 1992. The band decided to record the songs with mainly piano and percussion accompaniment. Hofstede put his guitar aside, Stips did not touch his extensive library of sounds and samples and Kloet did not played the drum-set, but played orchestral percussion instruments. Guest musicians were invited for most songs (mainly bass and cello) and on some songs 'Klangsteine' (musical stones), works of art by the Swiss sculptor Arthur Schneiter, were used. These stones could be played with mallets, which explains the title of the album. They could also be rubbed by hand to create a buzzing sound. On the album the entire band plays the stones, together with Schneiter and friend Swiss percussionist Fritz Hauser. The music is often quiet and melancholic, but also contains some strong pop songs, including the cheerful "Soap Bubble Box", the lyrics of which were inspired by the artist Joseph Cornell and the Nits classic "Cars And Cars". The lyrics are often introverted and/or abstract, even poetic and much less immediately understandable than on previous albums. Ting is available as a limited edition of 500 copies on silver coloured vinyl and includes an insert with additional pictures provided by the band.

The Sexy Drugs bezeichnen ihre Musik augenzwinkernd als "Hard Nipple Power Pop". Damit wollen sie unterstreichen, dass sie ihren punkigen Rock gerne mit Popmelodien würzen. Ihre bewegte Geschichte begann bereits Anfang 2001 im Fillmore in Kaiserslautern. Nach einigen Besetzungswechseln und drei Studioalben unterschrieb die Band Ende 2024 bei Barhill Records. Dort erscheint "Reckless Memories", das erste The Sexy Drugs-Album, das als Quartett entstanden ist. Mit diesem konnten sie auch erstmals ihre Live-Energie einfangen und auf ein Album bannen. "Reckless Memories" ist ein Album über verpasste Chancen, alte Gefühle und neue Schwierigkeiten und Probleme. Es handelt von all diesen Hochs und Tiefs in unserem Leben. Es ging den vier Musikern darum, als Band zu wachsen, obwohl zeitgleich die Welt zu kollabieren scheint. Eskapismus als letzte Chance. Oder anders gesagt: Rock'n'roll ist die Antwort. Zumindest teilweise. Und Liebe sowieso. Mehr Liebe, weniger Hass.

Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."

Now is a DIY recording & performing pop group from the SF Bay Area with a predilection for 80s UK cassette culture, pulp novels, beat groups, and b movies. "Now Does the Trick" all too well. With balance, harmony, and simplicity, Now slips their hand into the pocketbook of modfathers without being nicked by nostalgia. Harmony on every corner. "Beat Girl" playing on late night TV. The fantasy soundtracks People doing handstands at a party with Syd Barrett. Where the Soft Boys play in the background and no one crosses a picket line. Like a long walk next to the train tracks on Ringo's day out with Sunlight Bathed in the Golden Glow: A little blood in your teeth of an Andy and Edie bubblegum Dream. RIYL (Recommended If You Like): Big Star, Feelies, Felt, Syd Barrett, Robyn Hitchcock, Sharp Pins.

Die britische Alternative-Rock-Band „elbow“ veröffentlicht am 06. Juni ihre neue EP „AUDIO VERTIGO ECHO”. Bei dem Produkt handelt es sich um ein ”follow up” ihres im März 2024 veröffentlichten Studioalbums ”AUDIO VERTIGO”. Neben der Erfolgssingle „Adriana Again“ enthält die EP drei neue Tracks, die von den typisch tiefgründigen Lyrics der Band geprägt sind. Die EP wird als 12“ Colour Vinyl erhältlich sein.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

In the turbulent world of hip-hop, few artists are able to make the transition from hot young star to acclaimed rap luminary. Los Angeles emcee Blu has followed this rare path, graduating from a spot on the 2009 XXL Freshman list to an expansive catalog with more than 25 celebrated releases. Now, the talented lyricist is celebrating his remarkable journey with Forty, a new album entirely produced by influential beatsmith August Fanon, who has crafted tracks for Westside Gunn, Mach-Hommy, Tha God Fahim, billy woods, Navy Blue, and more. “This album is a celebration of me reaching 40 years of age,” Blu explains. “All the content is a reflection of where I am mentally at the age of 40.” With intricate verses packed with wisdom and maturity, the collection finds Blu and a host of guests reflecting on happiness, religion, love, knowledge, humanity, and more.
Fanon brings these tracks to life with a unique production approach, taking it back to basics with soul heavy soundscapes Blu describes as “straight loops, no drum programming or layers, just really soulful loops.” With appearances by Kota The Friend, Asher Roth, R.A.P. Ferreira, Mickey Factz, Homeboy Sandman, Chester Watson, Fashawn, and more, Forty is a timless experience from an artist who remains a vital presence in any decade of life.

In collaboration with Telekom Electronic Beats, HOMEAGAIN005 captures the spirit of this year's Home Again Club Festival 2025 with a forward-thinking selection of tracks from artists across the festival roster.
Spanning house, tech house, breaks, ambient, and progressive sounds, this 7-track VA is a deep dive into late-night euphoria, sunrise moments, and everything in between.
Side A opens with Thabo's "Cheza Mwili" featuring Nairobi's Brian Msafiri-a high-octane Afro-electronic anthem with Swahili vocals and dancefloor urgency. Miura follows with the punchy and introspective "Home Alone," while Meggy delivers pure Berlin house warmth on "Around." Soela & Module One close the side with "Obsidian," a deep, shimmering journey built for long-form sets.
On the flip, "Pull Me Back" by LUV ATTACK pushes progressive, fast-paced house to an emotional edge. Thalo Santana & Oran Ray shift gears into breaksy territory with the playful, rhythm-heavy "Sweet Potato," before All Shade rounds things out with "Something Like This"-a sleek, driving tech house roller built for peak-time sets.
Mixed and mastered by Matthias Millhoff, and adorned with artwork by Ken Hanamura, HOMEAGAIN005 is a celebration of the diverse sonic threads running through Home Again's dancefloor community.

A tangle of word and melody, old and new, NIGHTJAR evokes journeys along ghostly paths, country lanes and starlit shorelines, alive with shimmering patterns of a flowing tide. Stories of childhood, of loves and rivalries, fair maidens, cruel sisters and winged sorcerers are interwoven with glimpses of the natural world. NIGHTJAR is Liz Overs' debut solo release, having previously been signed to Atlantic in the late '90s as part of indie-dance crossover band Pocket Size, and she was also lead singer and songwriter for the Sussex-based folk band Chalk Horse Music.
Liz's haunting, unaccompanied version of The Birds in the Spring was featured in Dylan Howitt's award-winning documentary The Nettle Dress, and she performed live at several key screenings of the film in the UK.

Standard weight single black vinyl LP in picture sleeve

One of the most legendary, influential and enduring names in rock music history, SWEET, will re-release their 2012 studio album "New York Connection" via Metalville Records. The release will see the album being pressed for the first time in coloured vinyl and a special edition CD with bonus tracks not included on the original release. "New York Connection" is a selection of material that was originally written by other artists, to which the band has unmistakably put their signature sound on . So is it a boring cover album? Well, no! Not really! This time it's a little different! Aside from a decent selection of must-haves - Andy Scott, said we have also added guitar riffs, drum beats or vocal lines from our own classics where appropriate. So their rendition of "It's All Moving Faster" incorporated the guitar line from SWEET's "Burn On The Flame" while "Blitzkrieg Bop" by The Ramones used elements of "The Ballroom Blitz". Although the most obvious example is the fusion of Russ Ballard's "New York Groove" (previously covered by both Hello and former Kiss guitarist Ace Frehley) and Jay-Z's "Empire State Of Mind". Amazingly, it works!

180g schwarzes Vinyl

Tom Reinbrecht (sax), die beiden PassportɞMusiker Patrick Scales (bass) und Christian Lettner (drums), und Jan Eschke (keys) Sinnliches Kopfkino, das funky und beseelt ist

U.K. progressive post-rock supergroup Crippled Black Phoenix is a musical collective that has featured nearly 30 members in it's rotating roster. The constant driving force is multi- instrumentalist Justin Greaves (Electric Wizard, Iron Monkey Se Delan), who formed the band in 2004 with Mogwai bassist Dominic Aitchison. Creating what they describe as "endtime ballads" to signify both the slightly macabre nature of their songs & the unusual blend of styles as the final evolution in music. The band have made live shows a focus by performing in unusual venues across the world as well as using Victorian-era instruments in tandem with more modern instruments, often involving more than a dozen members onstage. In 2006, Crippled Black Phoenix released their first album, 'A Love Of Shared Disasters', followed in 2009 by 'The Resurrectionists' & 'Night Raider', but it was their fourth album released in 2010 on Invada Records - 'I, Vigilante' - an album of uncompromising soundscapes that garnered the band & album widespread critical acclaim within the media worldwide. On 'I, Vigilante', CBP create songs that feel both sky-crackingly epic & intimate at the same time. "We Forgotten Who We Are" is an 11 minute thundering storm which powers through sections of head-nodding chugging guitars to a sunrise of happy melody & back, "Fantastic Justice" is a staggering display of songwriting, with twists & turns that make the band sound like a mini orchestra - horns, strings, crashes & swoons with Greaves the dark conductor. The spoken-word opening to "Bastogne Blues" is perfectly evocative for a genuinely troubled song, CBP's command of bleakness is at it's strongest here; cinematic doesn't come close to describing the song's emotional resonance. When 'I, Vigilante' threatens to disintegrate into a black hole of misery, a faithfully screaming version of Journey's "Of A Lifetime" shows a sense of humour & some sweet guitar tones. This edition of 'I, Vigilante' is presented on black vinyl LP & is the first time the album has been released on single vinyl

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug) und Kaspar Boye Larsen (Bass) – melden sich mit ihrem neunten Studioalbum „God Of Angels Trust“ zurück, das am 06. Juni erscheinen wird. Und passend zum neuen Album wird die Band auf ausgedehnte Welttournee gehen.

Mit „God Of Angels Trust“ wirft die Band alle songwriterischen Regeln über Bord. Volbeat, die als nichtamerikanische Band einen Rekord von zehn Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, haben sich bewusst von Konventionen gelöst und neue kreative Wege beschritten. Die Begeisterung der Band, Konventionen zu durchbrechen, ist in „God Of Angels Trust“ spürbar, einem druckvollen, knackigen Album, das unbestreitbar Volbeat ist – mit der gewohnten powervollen Mischung aus eingängigen Melodien und frischer, metallischer Energie.

Dass Volbeat ein komplettes Album in gerade einmal fünf Wochen geschrieben und aufgenommen haben, ist beeindruckend. Doch was „God Of Angels Trust“ wirklich außergewöhnlich macht, ist die Tiefe, Vielseitigkeit und Fülle, die man sonst nur von Alben kennt, die zehnmal so lange in der Mache waren. Ein solcher kreativer Kraftakt erfordert absolute Konzentration, einen unerschütterlichen Flow und das Vertrauen, dem eigenen Instinkt zu folgen.

Ab Juni kehren Volbeat auf die Bühne zurück und gehen mit ihrer ”Greatest Of All Tours Worldwide” auf große Reise durch Kanada, die USA, Europa und Großbritannien.

From the newly minted SWOB label. The third chapter of SW,’s tekkNOthing featuring a dub-oriented collection of five tracks that elegantly double back on the creative foundations from which the tekkNOthingproject emerged. With tempos on the low and analogue effects spilling over valleys of rhythm, the journey concludes with ‘thxJA’, where the sheer weight of dense musical layers unveils another chapter.

65 years ago, on October 17th, 1959, Cliff Richard and The Shadows hit the No. 1 spot in the UK with ‘Travellin’ Light’. This was the first single credited to Cliff Richard and The Shadows – re-named from their original title - The Drifters.
This notable anniversary will be marked with a brand-new collection which focuses, for the first time, solely on Cliff’s output with The Shadows (or The Drifters for pre-October ’59 releases). All their classic hits are included going right the way up to their 2009 reunion; making it the most comprehensive Cliff Richard & Shadows collection to date.

"As one of the biggest albums of the ‘80s, Foreign Affair showcased Tina Turner at her very best, further cementing her position as The Queen of Rock ‘n Roll. Celebrated in this 2LP white vinyl edition (33rpm), it includes the original album fully remastered for the first time.

Foreign Affair was Tina’s third studio album since her dramatic global resurgence, following the monumental success of Private Dancer (1984) and Break Every Rule (1986), as well as her lead role in Mad Max Beyond Thunderdome in 1985. It went on to be a multi-platinum record across the world, including UK, Germany, Switzerland, Canada, Australia and many more. The biggest track to come from the album was the 80s anthem, “The Best.” The track continues to transcend generations, with one of the most recognisable choruses in music history. On top of The Best, the album is complimented by several Tina favourites, such as Steamy Windows, I Don’t Wanna Lose You and the title track Foreign Affair."

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.