CODA is proud to present the premiere vinyl release of Atli Örvarsson's award-winning score for the first season of Apple TV+'s SILO. The score earned an Emmy nomination and won the BAFTA Television Craft Award for Original Music, establishing it as one of the most celebrated television scores of recent years.
This definitive 2LP edition is pressed at 45RPM on Blue-in-Green Color-in-Color vinyl and is limited to 700 copies, Featuring a stunning lenticular cover, with artwork by Sara Deck and design and layout by Alan Hynes, as well as exclusive liner notes from both Atli Örvarsson and SILO creator Graham Yost.
Mit "DECADE ON PARADE" feiern The Feelgood McLouds ihr zehnjähriges Bandjubiläum - und liefern ihr bislang kraftvollstes Statement im Bereich Celtic Punk Rock. Die siebenköpfige Band aus Saarbrücken verbindet seit über einem Jahrzehnt ruppigen Punkrock mit traditionellen keltischen Instrumenten wie Dudelsack, Geige, Flöte und Akkordeon. Das Ergebnis: Songs, die nach Freiheit, Bier, Straßenromantik und langen Nächten klingen. Über 250 Konzerte im In- und Ausland haben die McLouds zu einer explosiven Live-Maschine geformt, deren Shows für kollektive Singalongs und unbremsbare Energie stehen. 2025 folgt ein besonderer Höhepunkt mit dem Auftritt beim Wacken Open Air, der ihren Stellenwert auch jenseits der Szene unterstreicht. Zusätzlichen Rückenwind bringt der internationale Einsatz ihres Songs "Saints And Sinners" in der Netflix-Serie House of Guinness. "DECADE ON PARADE" zeigt die Band gereift, lauter und entschlossener als je zuvor - ein Album voller Hymnen für Außenseiter, Nachtschwärmer und alle, die sich zwischen Tradition und Rebellion zuhause fühlen.
Previously unreleased proto-metal album by this criminally forgotten UK band. Sweaty Betty were neighbours and friends of Black Sabbath and Judas Priest, all hailing from the West Midlands region of England. The Sweatier The Bettyer, was recorded in 1974/75 and features Budgie drummer Pete Boot. Also, on vocals was future NWOBHM cult legend: Rik Staines, who went on to form Dark Star. Their debut 45: Lady of Mars is considered a classic of the genre. After several years of strenuous research, Rise Above Relics is excited to bring this long-lost jewel from the crypts of the 1970s British underground scene. Mastered and cut from the original 1/4" tapes, it is a gargantuan feast for fans of the era
The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.
Born from the Perpignan garage scene in the South of France - built on self-production, independent labels, and a strong international network - Ghost Twist bring together musicians active for decades in Perpignan"s most iconic line-ups. Its members have evolved within key bands (Beach Bitches, Sonic Chicken 4, Crank) and collaborated with Pascal Comelade, Harlan T. Bobo, and the Limiñanas, with releases on acclaimed labels like In The Red, Born Bad, Goner and Trouble In Mind. Formed in 2018, Ghost Twist developed a raw rock sound rooted in the 1960s, shaped by oriental and tropical atmospheres inspired by compilations like "Jungle Exotica" or "Las Vegas Grind". Over time, the band has broadened its sonic palette and incorporated a wide range of influences: from cumbia to the hip-hop of Cypress Hill, from Sonic Youth-style dissonances to Fela Kuti"s afro grooves, all the way to country accents.
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.
On her debut album Switchbacks, Nashville-based artist Hannah Cole finds inspiration in the image of the switchbacks – sinuous twists in the road that obscure what's ahead. For a young artist making her way in the music industry, it's a powerful image: we can't really know what's ahead for us but – as Cole has learned – you should honk your horn to tell the world you're coming, and otherwise just enjoy the ride. Melding shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia, Switchbacks is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core.
Across the ten tracks of Switchbacks, Cole swings her gaze at many unsettling aspects of the scramble toward success. Lead single "MMA" explores the ugly side of the music industry through the image of Las Vegas. On the brightly off-kilter "Give," she sings, "I feel like I've become an actor, / A TV pastor / climbing up a topless ladder," explaining that "the pursuit of success can feel like buying lottery tickets all the time for money that you'll never see." "Mechanical Bull" seethes with rage as Cole grapples with being seen as just the "girlfriend" in music settings and not being perceived as an equal to her partner, while on "Pitcher," she's paralysed in the face of wanting to achieve perfection. Later, she shrugs off the need to impress on "100 Bucks," reminding herself that she's enough for the people she loves.
Switchbacks is not only a finely-crafted debut album but also a deeply human artifact, tracing an arc that blazes like a comet to the height of ambition and then leaves you in the shimmer of self-acceptance and contentment. "Success is a moment that comes and goes," Cole concludes, "but I think the joy and experience that comes with making music is something I can take with me forever."
Confessions of a Sinner builds on the foundation of Rebirth and pushes further into the chaos: heavier, sharper, and more confrontational.
Native James continues to carve out his own lane: grime-rooted vocal delivery over full-throttle alt-metal production. Still breaking the mould on his own terms, but now with serious industry attention and a rapidly growing live audience off the back of extensive touring.
Gordi presents Nylon: an exclusive vinyl-only mixtape of unreleased new songs recorded direct to tape. This rare collection offers an unobstructed window into Gordi’s emotional well, adorned by her trade mark beguiling voice. She recorded the body of work live-to-tape in a single afternoon — with no overdubs and no edits — and played the new songs to fans on her Australian tour, selling every single advance copy before the internet knew anything about it. Now on clear vinyl.
The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.
He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.
In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.
Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.
Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.
Alles auf Anfang: Mit Killer, ihrem sechsten Soloalbum, markiert Mine einen Neustart - musikalisch wie persönlich. »Ich habe alte Versionen von mir selbst abgetötet», sagt sie. Nach der Trilogie aus Klebstoff, Hinüber und Baum schließt sich ein Kapitel, ein neues beginnt.
Der Sound ist reduzierter, direkter: weniger Instrumente, mehr Vibe, getragen von analogen Synthesizern und klaren Arrangements. Killer erzählt von Veränderung, Selbstfindung und dem Mut, sich neu zu definieren. Mines Texte sind offener, expliziter, persönlicher - und gleichzeitig ein Blick auf eine Welt im Umbruch.
Zwischen Weltschmerz und Aufbruch blitzt dabei immer wieder Leichtigkeit auf. Mit Killer häutet sich Mine - und bleibt dabei mehr denn je sie selbst.
I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.
Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.
In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom
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.
A shimmering blend of post-grunge, riff-doom and driving psychedelia from current and ex-members of Torche, Abrams and Royal Thunder OMNI is the latest album from Moon Destroys, bringing together current and former members of Torche, Abrams, and Royal Thunder for an exhilarating blend of post-grunge, riff-driven doom, and expansive psychedelia. Building on the atmospheric foundation established by She Walks by Moonlight, the band condenses its widescreen sound into a collection of immediate, hook-filled songs without sacrificing the depth and weight that define its music. The album balances crushing riffs, soaring melodies, and immersive soundscapes across eleven tightly crafted tracks, demonstrating the group's ability to merge heavy rock, doom, and psychedelic influences into a cohesive and memorable listening experience. The performances showcase both powerful musicianship and an instinct for dynamic songwriting, delivering an album that feels equally massive and accessible. OMNI represents Moon Destroys at its most focused and confident, offering a compelling statement from a band whose collective pedigree continues to push modern heavy music in exciting directions. For Fans of KING BUFFALO, TORCHE, ASG, MONOLORD, GREENLEAF, DOZER, CAVE-IN, THE SWORD, OKAY YOU WIN Limited edition pressed on ice blue vinyl! Featuring current and former members of Torche, Abrams and Royal Thunder
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.
Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.
Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.
The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.
Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.
In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.
With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.
Flaw is an American nu‑metal band from Louisville, Kentucky, formed in 1996 by guitarist Jason Daunt. Lead vocalist Chris Volz joined after responding to an ad in a local newspaper. Following a series of raw independent recordings throughout the 1990s, the band signed with Republic and Universal Music Group, releasing two major‑label albums Through the Eyes in 2001 and Endangered Species in 2004. Breakups, lineup changes, and internal conflicts affected the band for much of the decade, though from 2015 to 2017 they reunited with three core members to tour and write new material.
Originally released at the height of the early‑2000s alt‑metal wave, Flaw’s explosive debut Through The Eyes quickly became a defining record of the era. Led by the unmistakable voice of Chris Volz, the band crafted a sound that fused emotional intensity, sharp guitar work, and melodic hooks that resonated with a generation. The album reached #119 on the Billboard 200, and produced two singles, “Payback” and “Whole”. Another standout track, “Only the Strong”, was featured on the soundtrack of the 2002 action film The Scorpion King.
Now celebrating its 25th anniversary, Through the Eyes is available on vinyl for the first time as a double album. This edition includes an insert with lyrics and features a bonus hidden track.
Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.
GEMINI, a new band formed around Shigetoshi Otake (cro-magnon), creates a unique instrumental jazz-funk sound that fuses diverse musical elements such as 70s jazz and soul, the beat/groove sensibility of hip-hop and beyond, the dynamism of South American music, the essence of smoky reggae/dub, and the thrill of improvisation/jam sessions. Their 1st full album "zed" is being released as a limited edition vinyl by Jazzy Sport.
A new masterpiece has been born, imbued with an exquisite, evergreen, and freshly exciting contemporary jazz-funk sound, created through the interplay of a dynamic rhythm section that incorporates improvisation while centering on a post-hip-hop beat/groove sensibility, and rich performances featuring solos on electric piano, saxophone/flute, and guitar.
"There are two versions of this album," says Hollow Hand's Max Kinghorn-Mills. "But there's only one that exists." Kinghorn-Mills is reflecting on a period when he was at something of a crossroads. He had written songs for his forthcoming fourth album but, after coming back off tour, something needed to change. “When I listened back to where I’d left the album, it wasn't exciting enough for me,” he says. “I was like: that's not really what I want to do anymore.” Since releasing 2023’s Your Own Adventure – which drew acclaim from the likes of Mojo, Uncut, and Shindig! – he found himself touring and collaborating with a variety of other artists. Hollow Hand became the house band for Caitlin Rose on tour, while Kinghorn-Mills was also collaborating with Aoife Nessa Frances and playing in her touring band. There was countless exposure to incredible Irish bands along the way, and then came a sold-out European tour with Hollow Hand supporting MJ Lenderman.
Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.
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.
With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.
Edition of 600 copies, not sealed
Made with Love by Little Beat More 2026
Published by Little Beat More
Purple Vinyl, inkl. Poster. The Black Wizards, das in Porto beheimatete Trio bestehend aus Joana Brito (Gitarre/Gesang), José Gomes (Bass/Gesang) und Helena Peixoto (Schlagzeug), kündigt sein neues Album ,Force Majeure & The Acts of God" an, das am 4. September über Hassle Records erscheinen wird. Force Majeure & The Acts of God ist von einem dunklen Humor geprägt. Der Titel bezieht sich auf den juristischen Begriff für unkontrollierbare oder nicht beeinflussbare Umstände und spiegelt damit das Chaos wider, das die Entstehung des Albums begleitet hat. Gleichzeitig deutet er auf den verschmitzten, widerständigen Geist der Band hin.Das Album entstand in einer Zeit, in der politische Landschaften weltweit zunehmend ins Chaos abzugleiten schienen. Es kanalisiert Frustration und Dringlichkeit, ohne dabei in Hoffnungslosigkeit zu verfallen. Für die Texte ließ sich Frontfrau Joana Brito von Büchern über Politik, Geschlechterrollen und toxische Männlichkeit inspirieren. Diese Themen finden sich in Songs wieder, die sich kritisch mit leerer Führung und gesellschaftlicher Spaltung auseinandersetzen. Besonders ,Killing The Buzz" durchschneidet das politische Spektakel mit scharfem Humor und energiegeladenem Punk-Spirit. Musikalisch markiert Force Majeure & The Acts of God einen deutlichen Wendepunkt für die Band. Anstatt den ausufernden Klangnebeln ihres früheren Heavy-Psych-Sounds zu folgen, setzen The Black Wizards nun auf einen kompakteren, raueren und direkteren Ansatz. Das Album vereint die Attitüde des Garage Rock, die nervöse Spannung des Proto-Punk und einen unaufhaltsamen rhythmischen Antrieb. Getragen wird dies von Britos kantigem und durchsetzungsstarkem Gesang, den rauen Gesangsantworten von José Gomes sowie dem kraftvollen Schlagzeugspiel von Helena Peixoto. Aufgenommen wurde das Album während einer intensiven fünftägigen Session mit Cooper Crain in Porto. Das Ergebnis lebt von Dringlichkeit, ungeschliffenen Kanten und einer explosiven Live-Energie.
Ludovico Einaudi kehrt mit „The Summer Portraits Live“ zurück.
Live aufgenommen in London in der Royal Albert Hall im Jahr 2025, enthält diese neue Sammlung sowohl
Lieblingsstücke aus „The Summer Portraits“ als auch beliebte Klassiker wie „I Giorni“, „Nuvole Bianche“
und „Experience“.
Der außergewöhnlich originelle Saxofonist, Flötist und Komponist Sam Rivers war in Oklahoma mit Gospelmusik aufgewachsen. Über den Blues fand er in den 1940er Jahren zum Bebop, bevor er sich, inspiriert
durch die Musik von Ornette Coleman, John Coltrane und Cecil Taylor, der Avantgarde zuwandte. Zwischen 1964 und 1967 spielte Rivers vier Alben für Blue Note ein, auf denen er seinen Ideenreichtum als
Instrumentalist und Komponist unter Beweis stellte. Das letzte und zugleich experimentierfreudigste dieser
Alben war “Dimensions & Extensions”, auf dem der Trompeter Donald Byrd als Gast einen seiner seltenen
Ausflüge in die Avantgarde unternahm. Obwohl das Album bereits 1967 mit einem von Reid Miles entworfenen, auffälligen Cover für die Veröffentlichung vorbereitet worden war, wurde es, da die Musik ihrer Zeit
zu weit voraus war, auf Eis gelegt und erschien erstmals 1986.
Feiere die Musik der Simpsons mit ”Songs in the Key of Springfield” – jetzt als exklusive Deluxe-VinylEdition auf 2 LPs erhältlich. Diese Sammlung mit Fan-Lieblingen, seltenen Songs und klassischen Momenten aus der gesamten Serie ist ein absolutes Muss für Sammler.
For 10 years, the Austin, Texas- based experimental avant- pop/ electronic musician, born Roger Sellers, has been creating atmospheric soundscapes brimming with layers, texture, and deep emotional resonance. On his fourth and most immersive album to date, 'Filters', Sellers picks up where he left us on 2023's mournful yet popminded 'Temporary Time'. With its elegantly constructed melodies, silken synth-work, a sprinkle of field recordings, and an upbeat yet blissful blend of piano and percussion, Filters finds Sellers entering a new phase of existence as he works through the grief around losing his father and into a place of acceptance.
Love as Art, Love under the Patriarchy, Love as a political and radical act - in short 'The Fatal Flaw' examines Love from a deeper and philosophical perspective. Even the songs that aren't about Love, also are. They are about the absence of love, and what happens in those spaces, so they are songs about the necessity of love, and the consequences of its absences.
Super limited (1000 Global) Silver Die-Cut vinyl first pressing, shrinkwrapped with hand stamped 'cafe' napkin obscuring the cover. Please preorder asap.
On Cafe Paradiso, Mykki Blanco is completely reborn, trading the persona - driven theatrics of his previous releases for something more interior and exacting. The record draws from the diverse, banal and yet idiosyncratic contexts of the artist's life in transit.
"Chameleonic" is one way to describe the artist known as Mykki Blanco, who has played many roles through his storied career: a rapper, a poet, a magazine editor, an advocate. Perhaps "fearless" better describes him; with high profile collaborations from the likes of Charli XCX, Teyana Taylor, Basement Jaxx, Blood Orange, Big Freedia, Kelsey Lu, Michael Stipe, Arca and Anhoni, Mykki has been recognised as a pioneer of queer-centric hip-hop who resonates across musicians of many genres and generations.
This album is Mykki at their most direct - a coherent statement with collaborator FaltyDL and a massively listenable album for fans of LCD Soundsystem and New York Punk, packaged in striking 'Napkin covered' deluxe vinyl for a super-exclusive first run
“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.
In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.
Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .
In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.
Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .
In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.
Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .
In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.
Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .
This is a concept record that reflects on events that have had a calculable effect on a generation:
‘’By 83 and 84, it felt that nuclear war was going to happen. Not could happen but was going to.’’
Stephen Brotherstone
"What would you do in the event of a Nuclear war?"
I remember having discussions about what we would do when we heard the four minute warning siren. We would raid the sweet shop. I was 8 or 9 years old. The absurdity of this vivid memory encapsulates the concept of the record. It would take at least four minutes to get to the shop!
The record starts with an early memory of circling a church on a Raleigh Budgie (the smaller lesser known iconic Chopper bicycle) in 1981 and ends with staring up at a clear sky on Oldham Lows in 1990.
The record identifies and plays with the effects of an underlying fear of oblivion on a generation of children, but also society as a whole: The pieces take in media and government propaganda. Machinery (nuclear submarines) and buildings (nuclear bunkers) but also everyday activities of the civilian population, activities such as shopping, clubbing and staring at the sky. Thematically, the record is made up of personal memories mixed with historical events.
Instruments are mainly from 1980s. DX7 and 808 feature predominantly. The pieces feature numerous melodic motifs that develop and intertwine underlying ideas of espionage and layers of secret messaging. It also mirrors the ways in which governments and civilians interact. Decisions being made in the name of defence whilst people go about their daily lives. I am exploring the everyday experiences of the masses whilst major political decisions are taking place. For example, shopping on a Saturday afternoon versus heated Cold War tensions in 1983.
Although taking place conceptually in the years 1979-1991, this record mirrors current events. History repeating. It also mirrors the helplessness or maybe some oblivious everyday normality state that we adopt as a community whilst major political decisions are being made.
The idea that life goes on oblivious to larger scale politics, or on the other hand, the idea that we are all very aware but in a state of unreal normality. Adam Curtis goes into great detail about such things in his film 'Hyper Normalisation'.
A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments. Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space. Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.” “With her haunted, theatrical delivery, Foster cuts an arresting figure.” Pitchfork // “Out of time yet timeless” The Wire
Ecology Division is a new compilation from Bastard Jazz that brings together a network of producers and musicians working across jazz, soul, electronic, and beat-driven styles. Featuring artists from Brooklyn, Chicago, Montreal, London, Lisbon, Melbourne, and Ludhiana, the release highlights a core group of collaborators and peers connected to the label’s extended orbit. The project is presented with cohesive visual direction inspired by vintage field guides and naturalist illustration, with each track paired to a distinct animal. This framing positions Ecology Division as a curated snapshot of an active, evolving creative community rather than a traditional compilation.
The release features contributions from Simon Mavin (of Hiatus Kaiyote), Sholto & David Bardon, Danny Scott Lane, Rachel Kitchlew & DOUGH, Lapgan, Korovo, Birocratic, Kartik, Nick Marks, and Pimenta Caseira. Collectively, these artists have released music on respected independent labels including Ninja Tune, Brainfeeder, Mr. Bongo, Melting Pot Music, WRWTFWW Records, and Moon Glyph, among others—underscoring the compilation’s reach across established global scenes.
