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Jesse Royal was nominated for a GRAMMY award in 2022 for his second album, ROYAL Since then, he's continued a relentless touring pace, building up audiences around the world; dropped an anthemic elegy for his good friend Jo Mersa Marley ("Blessing"); and taken on an even bigger role within his community in Jamaica as a leader, mentor, and ambassador.

NO PLACE LIKE HOME is the full-length follow-up album which he has been writing and recording for the past few years. Singles released over the past two years, like "Blessing," "Light Of Mine," "Hope" (feat. Romain Virgo), and "Your Soul" are here, along with 6 new powerful tracks. New guest features include Canadian soulstress Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. NO PLACE LIKE HOME finds Jesse focused on his beloved island of Jamaica, trying to bring wisdom and inspiration especially to the youths of his country and beyond.

This curated compilation brings together the finest Brazilian bossa nova artists and international interpreters, creating the

perfect soundtrack for sophisticated cocktail moments. Featuring super classic compositions, performed by both legendary

Brazilian artists and international musicians who helped spread bossa nova worldwide, this release captures the essence of Brazilian atmosphere of 1960s cocktail lounges.

Zusammenfassung:
SLAYERs zweites Studioalbum Hell Awaits erscheint kommenden Frühling als 40th-Anniversary-Edition über Metal Blade Records. Die 1981 gegründete Band definierte mit ihrem extremen Mix aus Metal und Punk nicht nur ein Genre, sondern auch eine kompromisslose Haltung. Laut Gitarrist Kerry King ist Hell Awaits das Album, "auf dem SLAYER zu SLAYER wurden". Im Vergleich zum Debüt Show No Mercy zeigt sich die Band hier deutlich ausgereifter: komplexer, progressiver und aggressiver. Veröffentlicht 1985, war Hell Awaits ein Höhepunkt eines Thrash-Metal-Jahres voller wichtiger Debüts (u. a. Megadeth, Exodus, Kreator). Stark beeinflusst von Mercyful Fate experimentierten SLAYER mit längeren, anspruchsvolleren Songstrukturen - ein für sie einmaliger kreativer Ansatz.

Pressetext:
SLAYERs ikonisches zweites Studioalbum Hell Awaits wird nächsten Frühling von Metal Blade Records als 40-Jahre-Jubiläumsedition neu aufgelegt!
Gegründet 1981, überfielen SLAYER die Welt mit einer neuen Mischung aus Metal und Punk - schwerer, schneller und dunkler als alles andere - und setzten damit einen neuen Standard, der nicht nur ein Genre, sondern auch eine Haltung definierte. In ihrer gesamten Geschichte zögerte die Band nie, ihren extremen, fokussierten Klangangriff loszulassen. Versuchungen zum Trotz entschieden sich SLAYER immer dafür, kompromisslos brutal zu bleiben und sich dem Mainstream zu verweigern.
"Es ist die Platte, auf der SLAYER zu SLAYER wurden." So beschreibt Kerry King Hell Awaits. Und er weiß, wovon er spricht. Als Gitarrist, Co-Songwriter und Co-Texter war er gemeinsam mit Sänger/Bassist Tom Araya, Gitarrist Jeff Hanneman (R.I.P.) und Drummer Dave Lombardo im kreativen Prozess dabei und erschuf eines der größten Metal-Alben überhaupt.
Eine deutliche Abkehr von SLAYERs Debüt Show No Mercy von 1983 - und auch von allen späteren SLAYER-Alben - ist Hell Awaits zugleich ein Außenseiter und eine Festigung der Bandform. Show No Mercy war das Mission Statement, aber He

**ON RANDOM COLOUR VINYL** PRIMITIVE RING consists of Bert Hoover (bass/vocals), Charles Moothart (guitar/vocals), and Jon Modaff (drums). The Los Angeles power trio formed in September 2024 when Hoover and Moothart came together seeking a new creative outlet. In 2025, the band released four 7"s on four different labels (Greenway, In the Red, Reverberation Appreciation Society, and Fuzz Club UK). They hauled amps and drums into bars to hone the sound of the newfound brotherhood that is Primitive Ring. Rock and roll is in its essence a primal experience, and the name reflects that. Three individuals collide and egos rattle, shedding layers and growing new limbs. Archetypes flash to the rhythm of a freight train and the crown is passed hand to hand like a good luck charm, symbolic and communal. Rock and roll is for the people and Primitive Ring is for the taking. At least it will be when the band's debut LP is hurled into the future via In the Red Recordings. Primitive Ring is 11 tracks coming in just under 42 minutes. It was recorded by Mark Rains in December of 2025 at The Station House in Echo Park. The album is the genesis story of a lightning bolt flashing in the eternal drama of creation and destruction. The album showcases the distinct writing styles of each member, but the overall aesthetic is a woven tapestry demarcating the timeless meridian. The record is the spawning of a collective vision. This is something we all share, and we must remind one another how electric humanity can be.

Cosmic Journey is the new album by Little Lion Sound, bringing together the sound system's most significant releases from the past two years. The album embodies the DNA and artistic evolution of Little Lion Sound, reflecting a deep love for reggae and sound system culture, as well as a strong ability to build bridges between generations and territories.

Born from sound system culture and firmly rooted in reggae, Little Lion Sound has developed an open and modern musical vision over the years, blending contemporary reggae with hip-hop influences while always preserving the essence of the genre. Cosmic Journey perfectly illustrates this approach through a coherent and immersive soundscape, driven by deep basslines and meticulous attention to textures and arrangements. The album also stands out for the richness of its collaborations, bringing together iconic artists and rising voices from the international reggae scene. From Jamaican foundations (King Kong, Capleton) to new generations, passing through Brazil (Jô), London (Brother Culture), and Trinidad & Tobago (Queen Omega), each contributor brings their own color, energy, and signature. The project also highlights collaborations with producers from France, Costa Rica, and Jamaica, further enhancing the diversity and balance of the album.
Cosmic Journey is a true invitation into their musical universe. A celebration of creativity, authenticity, and the collaborative spirit at the heart of sound system culture, this sonic journey is designed as a complete experience where tradition and innovation meet, uniting established artists and emerging talents.

Tracklisting:

Das 2004 erschienene Album des gefeierten britischen Sängers und Gitarristen, der Nachfolger seines überaus erfolgreichen Albums »Dancing Down the Stoney Road« (2002), ist ein weiterer Erfolg. Obwohl Rea 1978 mit »Fool (If You Think It's Over)« einen Top-20-Hit in den USA landete und zahlreiche von der Kritik gefeierte Alben veröffentlichte, ist ein Großteil seines besten Materials in den USA nach wie vor unveröffentlicht oder nicht erhältlich. Wie viele Künstler seines Kalibers genießt er hohes Ansehen und zählt in ganz Europa zu den meistverkauften Künstlern. Aufgrund seiner großen Fangemeinde konzentriert er sich weiterhin auf Europa, anstatt den amerikanischen Markt zu erobern. Glücklicherweise gibt es auch in Amerika noch viele treue Fans, die ihm und seiner Musik treu ergeben sind.

Over the course of their respectively stellar careers, Jeff 'Tain' Watts, Mark Turner and Orlando le Fleming have each brought their wide-ranging musicality and powerful musical imagination to a plethora of different projects that encompass all the variety and progressive excitement of contemporary jazz Yet at the heart of their music- making is their deep understanding of the essential verities of this music, as established by the long tradition of the masters. This new vinyl- only issue of Misterioso pressed on 180g black vinyl presents three master musicians exploring the heart of that tradition - free- flowing collective improvisation over the standard repertoire, all captured in glorious sound quality exactly as it went down on the day, with no overdubs or edits.

"Burning from the Inside" ist das vierte Studioalbum der britischen Post-Punk-Band Bauhaus, veröffentlicht im Jahr 1983. Es entstand während interner Spannungen und einer Erkrankung von Sänger Peter Murphy, was zur Auflösung der Band kurz vor Erscheinen des Albums führte. Das Album zeigt eine Weiterentwicklung und Experimentierfreude der Band, gilt als nachdenklich und introspektiv. Die Platte gilt als wichtiges Werk in der Diskografie der Band, obwohl sie das Ende ihrer ersten Ära markierte.

D: Das mit Spannung erwartete neue Album von Kungs, ”Out Loud”, verspricht ein bedeutendes und
vielseitiges Werk zu werden. Es verbindet Rock-, Disco- und elektronische Klänge, genau wie die erste
Single ”Light Me Up”. Dieses Album mit 10 Titeln enthält überraschende Kollaborationen und präsentiert
den einzigartigen Stil des Künstlers.
F: Le nouvel album très attendu de Kungs, Out Loud, s’annonce comme une sortie majeure et éclectique. Il mêle rock, disco et sons électroniques, à l’image du premier single Light Me Up. Cet album de
10 titres réserve des collaborations surprises et met en valeur le style unique de l’artiste. Pour les collectionneurs, l’édition vinyle est une véritable œuvre d’art : son artwork exclusif est imprimé sur du papier
métallisé miroir, avec le titre de l’album en relief. ”Out Loud” est également disponible en CD dans une
édition collector qui est présentée dans un digisleeve 3 volets haut de gamme. Son artwork exclusif, imprimé
sur du papier métallisé miroir et estampillé du titre de l’album, en fait un véritable bijou, tout comme le
vinyle.

'Lookaftering' von Vashti Bunyan wird 20 Jahre alt. Aus diesem Anlass und zum 80. Geburtstag der Künstlerin erscheint eine erweiterte Ausgabe. Neben dem Original-Studioalbum auf Disc 1 enthält die Expanded Edition auf Disc 2 Demoversionen, alternative Takes und Live-Aufnahmen aller Original-Tracks des Albums. Außerdem begleitende Kommentare von Vashti Bunyan höchstpersönlich, Produzent Max Richter und Devendra Banhart sowie ein 16-seitiges Textheft mit einer Sammlung von Gemälden von Vashtis Tochter Whyn Lewis - Gemälde, die zufällig die Texte des Albums widerspiegeln.

Die Demos stammen aus den Jahren 2001 bis 2005 und wurden von Vashti zu Hause aufgenommen, wobei sie sich selbst auf akustischer und elektrischer Gitarre begleitete und mit Synthesizern experimentierte. Der Sound ist im Vergleich zum fertigen Album natürlich etwas zurückgenommen, doch die Live-Version von Lately, aufgenommen bei einem frühen 'Comeback'-Konzert in Los Angeles im Jahr 2006, mit der gleichen Instrumentierung wie auf dem Album, ist absolut perfekt.

Es ist eine wunderbare Erfahrung, die Demos und die endgültigen Versionen nebeneinander zu hören, während man die Sleeve Notes liest. Man erfährt und hört, wie sich die Songs und das Album entwickelt haben, und Vashti und Max Richter (der das Album produziert und auch darauf gespielt hat) erklären, wie alle beteiligten Künstler (Devendra Banhart, Johanna Newson, Adem Ilhan, Robert Kirby und Mitglieder der Band Vetiver), die von Vashtis Originalalbum 'Just Another Diamond Day' von 1970 berührt waren, die Gelegenheit ergriffen, dabei zu sein.

Swan is a warm, melodic, and emotionally direct album, blending guitars, pedal steel, and synths, with wry, heartfelt songwriting reminiscent of MJ Lenderman and David Berman- but with a distinctly antipodean voice. Fazed on a Pony is the alt country/indie rock recording project of New Zealand songwriter Peter McCall. Swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall's mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound. Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesizers. While there is a diversity of style, the album is rooted in the hallmarks of McCall's music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

Carlos Dafé (born October 25, 1947) is a singer and songwriter from Rio de Janeiro, recognised as one of the iconic voices of the Brazilian samba-soul era. Born into a family of musicians and trained at the conservatory, he rose to prominence in the 1970s alongside Tim Maia, Cassiano, and Hyldon, shaping the sound of Rio Noir with his warm baritone voice and soulful phrasing. His 1977 album, Pra Que Vou Recordar, became a cult classic among collectors and DJs worldwide, earning him the title of "Prince of Brazilian Soul." Still active today, Carlos Dafé remains an essential reference for artists exploring the boundaries between samba, soul, and MPB (Brazilian Popular Music). Released in 1977, Pra Que Vou Recordar reveals Carlos Dafé at the peak of his art, blending samba-soul, MPB, and the warm groove of the 1970s Rio de Janeiro scene. Surrounded by some of the city's finest musicians, Dafé showcases his baritone voice in deeply melodic arrangements and a series of songs that have become fan favourites. An album imbued with soul and elegance. The sound of BrazilianBlack music at its most sincere and timeless.

Since their ground-breaking US debut the Amigos have lived a double life. In their hometown of Caracas, Venezuela, they"ve hosted underground club nights for years (the most recent called "Super Sancocho Variety"). Then, insouciant single-entendre songs like "Sexy" and the doggy-style anthem "Ponerte En Cuatro" landed them on MTV and radio, and before long, the six young men found themselves pop idols. It wasn"t hard, but their hearts remain on the dance floor and in the clubs. AREPA 3000 is live instruments, start to finish. "Electronic music tries to simulate human sounds," says the guitarist. "It"s really easy to buy a groove box or an 808 to make us sound like techno. So we try to get those sounds from our instruments, to go the other way. Make the human sounds sound electronic. When we do our club shows, I"ll spin before our set and we"ll add live instrumentation. We can play four, five hours like that.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

"Dieses Jahr feiert "Dirty Old Hip Hop" sein 20-jähriges Jubiläum, und wir feiern mit einer Neuauflage dieses absoluten Klassikers. Das ursprünglich 2006 erschienene und für die Worldwide Awards nominierte Album ist eine meisterhafte Sammlung von Tracks von Marc Mac (4hero). Mit den Musikern Somatik und Luke Parkhouse sowie den Rappern Voice und Capital A hat Marc Hip-Hop-Breaks & Beats neu interpretiert und in Grooves eingebettet, die den gesampleten Original-Tunes Tribut zollen. Dieser postmoderne Ansatz hat ein Album mit zeitloser Musik hervorgebracht, das Epochen überdauert und gleichermaßen frisch wie vertraut klingt. Und es funktioniert einfach." - Bob Hill. Remastertes 180g Doppelvinyl.

Kr!z steps up for his sixth label contribution with four chilling cuts, pushing his sound into bolder territory than ever. 'Inferno' could mean many things, but at first listen it could be interpreted as a homage to the unforgiving nature of the club experience. Stripped down to the bare essentials, these tracks showcase the efficiency of simple ideas spoken with authority.

Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings.

It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter’s night. Sound sources obscured, ambiguous, not quite what they seem.

Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium.

Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory.

Embedded within Bristol’s independent scene, Pume Orenge’s quiet debut also speaks to the duo’s shared roots in the area, and like many of Odda’s previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied.

Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labour and the chance occurrences that can arise in the process.

This is music in praise of shadows. Of the things we can’t quite see, the feelings we can’t quite grasp. Heard through the haze, or maybe not at all.

Six hard-hitting tracks, without unnecessary breathing space. The spectrum is wide, the trajectory crystal clear: from muscular Hard Dance to incisive Techno, reaching into the more radical territories of Hard Techno. Each track strikes with precision, alternating massive kicks, abrasive textures, and pressure-building rises that compress the space before impact. Direct, efficient, surgical.

An undeniable classic in Manu Kenton’s catalogue, “Arkanoid” is reborn in a revisited version by Wex 10. The remix injects additional tension, sharper and more cutting, transforming the track into a formidable weapon calibrated for peak-time intensity. A rework faithful to the original DNA, yet propelled into a more explosive dimension.

True to its identity, Mekanik Records delivers an EP that condenses power, tension, and club efficiency. No unnecessary detours, no artifice. Just the essentials: rhythm, energy, impact.

Français

Mekanik Records rallume la mèche et, cette fois, l’étincelle éclate d’un rire nerveux. Avec “Hi Hi Hi Hi Hi Ha Ha EP”, Manu Kenton livre un manifeste en six déflagrations, façonné pour les nuits denses et les dancefloors sous haute tension.

Six titres percutants, sans respiration superflue. Le spectre est large, la trajectoire limpide : de la Hard Dance musclée à la Techno incisive, jusqu’aux zones plus radicales de la Hard Techno. Chaque morceau frappe avec précision, alternant kicks massifs, nappes abrasives et montées sous pression qui compriment l’espace avant l’impact. Direct, efficace, chirurgical.

Classique incontournable du répertoire de Manu Kenton, “Arkanoid” renaît dans une version revisitée par Wex 10. Le remix insuffle une tension supplémentaire, plus tranchante encore, transformant le titre en arme redoutable calibrée pour les pics d’intensité. Une relecture fidèle à l’ADN original, mais propulsée vers une dimension plus explosive.

Fidèle à son identité, Mekanik Records signe ici un EP qui condense puissance, tension et efficacité club. Pas de détour inutile, pas d’artifice. Juste l’essentiel : rythme, énergie, impact.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!