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Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

Die brandneue Kollaboration zwischen Freddie Gibbs und The Alchemist, „Alfredo 2”, ist der offizielle Nachfolger der gefeierten „Alfredo”-Veröffentlichung des Duos aus dem Jahr 2020.



Der Rapper Freddie Gibbs wird für sein technisches Können und seine provokanten Texte gelobt und hat sowohl Fans des Gangsta-Rap als auch des Underground-Hip-Hop für sich gewonnen. Er reimt sowohl auf dröhnende Breakbeats als auch auf Trap-Beats und hat mit zahlreichen Rappern und Produzenten zusammengearbeitet, darunter Young Thug, Jeezy, DJ Drama und Statik Selektah. In den 2000er- und frühen 2010er-Jahren machte er sich mit einer Reihe von selbst veröffentlichten Mixtapes einen Namen. Nach seiner ersten offiziell veröffentlichten EP Str8 Killa (2010) begann er, richtige Studioalben zu veröffentlichen, darunter die gut angenommenen Kollaborationen mit Madlib Piñata (2014) und Shadow of a Doubt (2015) sowie You Only Live 2wice (2017). Nach dem kommerziellen Mixtape Freddie (2018) tat er sich für Bandana (2019) wieder mit Madlib zusammen und produzierte mit The Alchemist das Album Alfredo (2020). Letzteres wurde seine erste LP, die die Top 20 der Billboard 200 erreichte und anschließend für einen Grammy Award nominiert wurde.

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album ‘Lighthouse’.

The announcement of ‘Lighthouse’ comes following a busy year of touring with the likes of Soccer Mommy, Briston Maroney, Horsegirl, The Districts and hitting Eurosonic, Iceland Airwaves and Tree Fort Fest, as well as opening for The 1975 & Kings of Leon.

Production duties on ‘Lighthouse’ were shared by Catherine Marks (Boygenius, Wolf Alice) and Jana Bahrich/Chris Hewitt. ‘Lighthouse’ was mixed by Jolyon Thomas (U2, Royal Blood).

BONGO FURY wird 50! Die klassische Zusammenarbeit zwischen Frank Zappa und Captain Beefheart
im Mai 1975 führte zu einer Flut neuer Kompositionen, einer Tournee und schließlich zu einem Album.
Bongo Fury besteht hauptsächlich aus Live-Aufnahmen aus dem Armadillo Headquarters in Austin, Texas,
sowie einigen Studioaufnahmen aus dem The Record Plant in Los Angeles. Das Album ist eine denkwürdige
Ergänzung des Zappa-Katalogs und das letzte, auf dem der Bandname „Mothers“ zu hören ist, bevor dieser
1976 aufgegeben wurde.

BONGO FURY wird 50! Die klassische Zusammenarbeit zwischen Frank Zappa und Captain Beefheart
im Mai 1975 führte zu einer Flut neuer Kompositionen, einer Tournee und schließlich zu einem Album.
Bongo Fury besteht hauptsächlich aus Live-Aufnahmen aus dem Armadillo Headquarters in Austin, Texas,
sowie einigen Studioaufnahmen aus dem The Record Plant in Los Angeles. Das Album ist eine denkwürdige
Ergänzung des Zappa-Katalogs und das letzte, auf dem der Bandname „Mothers“ zu hören ist, bevor dieser
1976 aufgegeben wurde.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

Rom Com is the debut album from Disco In Sochi; a Liverpoolborn duo injecting full-throttle glam rock theatrics into modern pop. Built on strutting guitars, neon synths, & unapologetically huge hooks, their sound is loud, glossy, and engineered for the spotlight. Drawing from the lineage of glam’s excess and pop’s instinct for spectacle, Disco in Sochi trade subtlety for swagger. Their songs are designed to hit hard and fast — all attitude, amplification, and choruses made to be yelled back from the front row. It’s music that treats the stage like a catwalk. Disco in Sochi make pop music for outsiders who dress loud, move louder, and don’t believe in playing it cool. Equal parts flash and force, they arrive with the confidence of a band ready to turn volume into a statement.

Mixed by Simon Lam (Kllo, Armlock) and mastered by Grammy-nominated engineer Andrei Eremin, the album features collaborations with British talent including rising spoken-word artist Emmeline, Mancunian ambient producer Frameworks, and Nattica from Fickle Friends on the single 'Oh My'. Speaking on the album, Fractures says: "There's no overarching theme to this album, not lyrically anyway. It's cobbled together like short diary entries of someone journeying through a sort of middling stasis in their life, a time of nothing particularly noteworthy, and that in itself provokes deeper and maybe darker introspection.

I didn't feel like needlessly plugging holes with lyrics, just light dabs here and there, light and shade to complete the visual I pictured in my head. The through line of the album is more within the sonic palette. There's a murkiness, a sort of dust in the audio that is cast over every song. Noth

Detroit's Big Strick for his 7 Days Entertainment label has assembled of collection of Motor City leaning sounds from local and international artists here across four vital sides of wax. Generation Next opens with taught, pinging kicks and tinny melodies on deep house gem 'Senza Via D'Uscita' then Flabaire from Paris brings more bleeping sci-fi synths to a churning and dubbed out low end. Big Strick himself layers in electrically charged, fizzing synths and ticking hi-hats to his raw and gritty 'Bang My Shit' and Ron Cook ups the pace with the blissed out bumps of heady hymn, 'Again And Again.' Pegasvs from London also stands out with his great drum programming on '808 Jazz'.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

»Low Tide, Hi Grypus!« is the new live-iteration of JC Leisure as JC Leisure Group. Documenting an encounter and a communication between human improvisers and atlantic grey seals. The record presents responsive improvisation as a form of cross-species collaboration.

The project began on Porthdinllaen, Wales, where Leisure recorded seal vocalisations from a local colony at low tide. Back in their Liverpool studio, Leisure developed a performance system that translates human musical gestures – pitch, timbre, rhythm, density, presence - into triggers for these seal expressions. The resulting system is dual-active, as in it simultaneously acts and is acted upon in the horizontal instance. It creates a new-music non-linear threshold that cannot be replicated.

»Low Tide, Hi Grypus!« was recorded live at 1210 Berlin and captures one instance of this concept. Local improvisers were invited to encounter the performance system. Recorded in one take, pedal-steel, woodwinds, strings, piano, organ, and electronics gradually learn to listen and respond to the marine voices. This interspecific group moves from intimate duets (that's human, seal) into full ensemble works (humans, seals) over the course of one night.

Rather than treating field recordings as static material, the extensive seal archive functions as an active collaborator: shaping form, pacing, and interaction in real-time. Now that’s marine biology meets human communication!

JC Leisure has previously released work on Sun Ark, Warm Winters Ltd, Not Not Fun and collaboratively with Dialect as Raft of Trash. He has composed a radio play commissioned and broadcast by BBC Radio.

Two percussionists, one sound universe. With “All you can BEAT,” Double Drums serve up an energetic and surpri-singly versatile percussion album. The two exceptional musicians have been performing together on stage for 20 years now. In addition to numerous concerts in Germany, they have also performed throughout Europe and Asia.
Now Alex Glöggler and Philipp Jungk are celebrating their anniversary with a work that showcases their entire musi-cal range: from driving rhythms to a multifaceted soundscape to moments of great emotion. “All you can BEAT” is a tribute to everything percussion can be: powerful, delicate, wild, and touching at the same time.

On the one hand, there are rousing original compositions such as “One More Time” and “Hydra,” about which the rhythm artists say: "The music is inspired by the many-headed monster Hydra from Greek mythology. When it loses a head, two new ones grow back. Musically, new patterns or rhythmic elements are constantly being added, overlap-ping each other and pushing others into the background. The result is minimal music based on an energizing flow with a focus on the marimba."

Nach ihrer gemeinsamen Interpretation von I See A Darkness mit Perfume Genius kündigt Anna Calvi die neue EP Is This All There Is? an, die am 20. März erscheint. Die vier Songs versammeln Kollaborationen mit Perfume Genius, Iggy Pop, Laurie Anderson und Matt Berninger.

Eröffnet wird die EP von God’s Lonely Man, in dem Calvi Iggy Pop die Stimme eines zerstörerischen inneren Monologs überlässt. Der Song ist von nervöser Energie getragen: kantige Gitarren, antreibende Drums, eine direkte Konfrontation mit emotionaler Stagnation. Pop verkörpert dabei genau jene rohe Präsenz, die Calvi für die Erzählung suchte.

Seht und hört "God´s Lonely Man" HIER.

Is This All There Is? bildet den ersten Teil einer geplanten Trilogie, die Identität als etwas Veränderliches begreift, geformt durch Nähe, Liebe und biografische Brüche. Ausgangspunkt ist Calvis eigene Erfahrung des Mutterwerdens, die ihren Blick auf Sicherheit, Verantwortung und Möglichkeiten verschoben hat. Die EP kreist um grundlegende Fragen moderner Existenz: Wie lässt sich Intimität neu denken? Was bedeutet es, sich wirklich verbunden zu fühlen? Und wann fühlt man sich wach?

Neben dem bereits veröffentlichten I See A Darkness interpretiert Calvi gemeinsam mit Laurie Anderson Kraftwerks Computer Love neu. Mit Andersons Stimme im Zentrum und choralen Arrangements entsteht ein Stück über digitale Nähe und emotionale Distanz. In ihrer Gesamtheit wirkt die EP wie ein zusammenhängender filmischer Bogen – vier Songs, vier Perspektiven, eine fortlaufende Erzählung.
Is This All There Is? versteht Kollaboration nicht als Zusatz, sondern als Strukturprinzip: Die Stimmen der Beteiligten werden zu Figuren innerhalb eines gemeinsamen Klangraums, in dem Fragen offen bleiben dürfen.

Field Green Vinyl. Big Crown Records is proud to present the instrumental version of El Michels Affair's 2025 instant classic 24 Hr Sports. The roster of vocal features on 24 Hr Sports is amazing, Clairo, Norah Jones, Florence Adooni, Shintaro Sakamoto, two different choirs, and even some singing from the man himself, Leon Michels. The background vocals contributions are amazing; Lady Wray and Kevin Martin from Brainstory to name a few. But alas, there's a new energy that shows up in the listen when you pair it down to the impeccable musicianship and Leon's tried and true "Midas Touch" production. Leon plays a ton of instruments across the album and is joined by the regular cast of heavy hitters; Homer Steinweiss, Nick Movshon, Dave Guy, Marco Benevento, Hether, and more. There is even a saxophone solo by the late, great Rahsaan Roland Kirk.Some would argue this is some of the best music being made by some of the best musicians of our time. We wouldn't argue with anyone...we let the music do what it does.

Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine

INTERWOVEN' is a four-track split EP that binds together two of Denmark's most forwardthinking heavy acts: HIRAKI and Meejah. Built on a shared appetite for boundary-pushing intensity, the collaboration channels the urgency of electronic hardcore, the spaciousness of experimental rock, and the emotional depth of cinematic metal into an immersive work that is at once confrontational and deeply connective. As a part of Denmark's flourishing underground scene for dark and heavy music, the HIRAKI trio deploys an aggressive style of progressive synthpunk from the edge of the abyss. The band presents this sonic assault to accompany the inevitable fact that our world is sick, and we all take part in maintaining the fucked up systemic structures. MEEJAH is a Post/Experimental Danish-Korean band from Copenhagen weaving together Nordic Melancholia & Korean Ancestry. The results sound like Heaven, Thunder, Mountain, Earth, Wind, Fire, Water, Lake. Across these four tracks, both bands challenge each other to step past familiar contours, unraveling and recombining their musical identities until a new hybrid shape emerges_volatile, textured, and unmistakably alive. FOR FANS OF The Body * The Armed * Sightless Pit * Massive Attack * Julie Christmas * Death Engine The single colour edition comes as white vinyl!

From the cold North of Sweden, NORNA and LEGBITER deliver a six-track document of contrast, convergence, and uncompromising heavy music. Bringing together two distinct voices, the release explores the many shapes heaviness can take_stretching from crushing, slow-moving atmospheres to sharp, volatile bursts of aggression. Formed by musicians with deep roots in the European underground, Norna approach heaviness as a vehicle for emotional gravity. Their sound is expansive and deliberate, built on massive low-end, tectonic rhythms, and an acute sense of restraint. Legbiter approach heavy music as direct, confrontational, and unrelentingly physical. Rooted in hardcore and metal's most ferocious intersections, the band thrives on immediacy and impact. Legbiter compress time, delivering short, explosive bursts that hit with the force of a live wire. Their sound is lean, aggressive, and unapologetically raw. "Even though we sound very different sonically I think we all have a lot of common ground, not only in being parts of the 90's scenes, but also musically in the somewhat dissonant and harsh guitar parts", says Legbiter guitarist (Rickard Nordström. "Personally, I love splits with bands that don't sound exactly the same, but share some common traits and vibes." "Contrast is everything, we have always tried to flow between despair and beauty. Dynamics are important to us. This split will give you that contrast", comments Norna guitarist and vocalist and former Breach vocalist Tomas Liljedahl. FOR FANS OF Handsome * Quicksand * Fireside * Breach * Helmet * Superheaven * Narrowhead * Metz

What's the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it's a nail in the coffin of what you thought it meant to make 21st-century rock 'n' roll? Yeah, that sounds about right. But it misses a more important point-how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late '90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010's Warm Smile LP to the mercurial moods of 2008's The Master's Bedroom Is Worth Spending a Night In. Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse's Sacramento studio in June, reflecting the battering-ram bent of the band's live show better than any bootleg ever could. "As I'm sure most would agree," explains Dwyer, "Castlemania was more of a vocal tirade. This one's meant to pummel and throb." That it does, whether one blasts the slow, speaker-bruising build of "The Dream," the sunburnt organs and dovetailing guitars of "Crack in Your Eye" or the interstellar instrumental "Chem-Farmer," a perfect example of what happens when one takes a well-oiled machine-a gang of rabid road warriors, really-and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer's music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that's more than welcome. It's downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, "You have to leave a mark somehow."

Thawra Records and Tiny House Music are proud to announce Nafas, the debut original album by Palestinian vocalist, researcher, and composer Salwa Jaradat, set for release in March 2026.
Rooted in a traditional Arabic singing practice yet shaped by a layered and deeply personal artistic journey, Nafas marks a powerful first statement from an artist whose work moves between heritage, research, and lived experience. The album emerges from years of musical and feminist inquiry, giving renewed breath to voices, emotions, and histories that have long existed on the margins.

Salwa Jaradat’s artistic formation is grounded in classical Arabic music and oral tradition, with studies at the Edward Said National Conservatory of Music in Palestine and later in musicology in Lebanon. Alongside her work as a performer, researcher, and archivist, she has developed a practice that treats music as a space of memory, resistance, and continuity. These threads converge in Nafas—an album that does not seek to modernize tradition, but rather to inhabit it differently, allowing it to speak in the present tense.
Developed through an intensive artistic residency in Lebanon, Nafas brings together a core ensemble of regional musicians, with Jaradat’s voice at its center—measured, expansive, and deeply intentional. Across six compositions, the album unfolds patiently, moving between stillness and momentum, intimacy and collectivity, breath and release.
Nafas will be released digitally and on vinyl, reinforcing Thawra Records and Tiny House Music’s ongoing commitment to long-form artistic statements and physical formats as vessels for care, depth, and listening.

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

3 track 7" EP from Bristol emo / folk / punk trio Toodles & The Hectic Pity.
Where the debut Toodles LP was a collection of very intensely personal songs, this record comprises three songs that are closer to short stories than personal writing. All three are from imagined perspectives: the perspective of a cat, someone who may or may not be being abducted by a UFO, and people who live in a hotel respectively. They’re all nighttime songs.
The title 'Every Night is a Beautiful Night' pays homage to the 1950 film Harvey starring Jimmy Stewart, who remarks early on in the film “Why, every day is a beautiful day.”
Recorded at JT Soar, Nottingham in March 2025. It was produced and recorded by Phil Booth and Robin Newman, mixed by Robin Newman and mastered by Ed Hall at All Silk Mastering House. The artwork is by Emily Seffar.

Dorian Concept returns with "Miniatures," a collection of his renowned one-take synthesizer recordings that he’s been known for sharing online since the mid-2000s. “This release was right under my nose” he says. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards – long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.

In his own words:

As a kid, every night before bed, I would sit in the same place and draw a comic. I rarely finished them, but I couldn’t go to sleep without having started one. These "Miniatures" and the preceding videos I’ve recorded come from the same place. They’re the expression of a ritual.
Around 2020, I created a compact setup using three devices – a mono synthesizer, an analogue reverb and a looper –which I separated from the rest of the studio. Every day, before I started working, I would improvise on this small setup and at the end of every month, I would record a video and share it with the world. These songs were made in front of you, in a Truman-Show like fashion.
Now they feel like diary-entries that capture the timeline of a deepening relationship, the harvest of limitation and repetition, and the beauty of simplicity.

The cover art is a drawing by the esteemed Austrian artist Leopold Strobl (courtesy of Gallery Gugging), who is known for his distinctive small-format work. The closing track, “An Unopened Letter,” features the genre-defying guitarist and producer Bibio.

Double LP pressed on transparent red vinyl with black marbles. In Dying Light: The Beast, you step back into Kyle Crane's skin, but he's no longer the man he once was. Years of experiments have left him torn between fragile humanity and a monstrous power that he can barely control. Every light, every shadow, every choice feels dangerous. The forests and ruins of Castor Woods don't just set the stage, they breathe, they watch, and they punish the reckless. This is survival stripped to the bone, where horror is not just outside, but inside you. Olivier Deriviere's powerful and capturing score for Dying Light: The Beast doesn't just accompany Crane's journey, it is his voice. Sometimes it whispers in empty rooms, fragile and broken, sometimes it roars with distorted rhythms and pounding drums when the Beast takes over. Between silence and sound, the music pulls you deeper into Kyle's fractured soul, making every step and every heartbeat part of the story. It's not just a soundtrack, it's the echo of a man losing, and maybe finding, himself.

20-jähriges Jubiläum: Erweiterte und remasterte Vinyl-Neuauflage des epochalen Debüts von Band of Horses, dem Indie-Rock-Klassiker "Everything All The Time" aus dem Jahr 2006. Diese erweiterte Ausgabe kommt im Klappcover und einer Bonus-LP mit seltenem und unveröffentlichtem Material, alles frisch gemastert von JJ Golden und gepresst auf opakem gelbem Vinyl. Musikalische Transzendenz zu erreichen, ist echt schwierig. Wenn es klappt - ein großes ,wenn" -, dann passiert das ganz natürlich, und vielleicht weiß das niemand besser als Band of Horses, deren bahnbrechendes Debütalbum ,Everything All The Time" auch nach zwanzig Jahren noch genauso lebendig und, wenn man so sagen darf, transzendent wirkt wie bei seiner Veröffentlichung im Jahr 2006. Gitarrist und Sänger Ben Bridwell gründete Band of Horses 2004 in Seattle, nachdem er fast zehn Jahre lang bei Carissa's Wierd, den melancholischen Lieblingen des Nordwestens, gespielt hatte. Carissa's Wierd machten wunderschönen orchestralen Pop, dessen Songs unerschrockene Geschichten von Herzschmerz und Verlust erzählten, gewürzt mit defätistischem Humor. Band of Horses entstand aus den Überresten dieser beliebten Band, getragen von Bridwells warmer, halliger Stimme und seinen holzigen, verträumten Songs, die vor Spannung, Sehnsucht und Hoffnung nur so strotzen. Mit einem neuen Vertrag bei Sub Pop und einer Reihe großartiger Songs im Gepäck nahm die Band ihr Debütalbum "Everything All the Time" mit Produzent Phil Ek in den Avast Studios in Seattle auf. Mal rau und episch (,The Great Salt Lake"), mal zart und nachdenklich (,St. Augustine", ,Monsters") - "Everything All The Time" ist ein Album, das wunderschön von zerbrechlichen Höhen und Tiefen geprägt ist. Das ist Teil des Genies von Band of Horses: Sie schaffen intelligente, klassische Bewegungen innerhalb ihrer Songs und meistern dabei eine perfekte Balance zwischen Verzweiflung und Hoffnung, Ruhe und Manie, Liebe und Angst. Und natürlich gibt es da noch die massive Single ,The Funeral", die zu einem prägenden Song dieser Ära wurde und weiterhin neue Generationen von Fans und Künstlern gleichermaßen inspiriert. Neben unzähligen Film- und TV-Platzierungen wurde der Song von Kid Cudi gesampelt und vom renommierten Produzenten und Multi-Instrumentalisten Gryffin in einen 2025 Dance Edit verwandelt, der allein in kürzester Zeit 2,5 Millionen Streams ergattert hat. Anlässlich des 20-jährigen Jubiläums des Albums präsentieren Sub Pop und Band of Horses nun die definitive Momentaufnahme der Band zur Zeit von "Everything All The Time". Für diese Jubiläumsveröffentlichung wurde das Album komplett remastered, das Artwork überarbeitet und zu einer Gatefold-Hülle mit Liner Notes von Phil Ek erweitert. Begleitet wird das Album von einer zusätzlichen LP mit Bonustracks, darunter die Tour-EP von 2005, eine Fundgrube bisher unveröffentlichter Studio- und Live-Tracks sowie Raritäten wie ,The End's Not Near" (zu hören in The O.C.) und eine Demoversion von ,The Funeral".

Inspired by the concept of the city as a living, complex entity - a feeling Youniss describes as the difference between "living in a city and just being in that city" - Good Effort! is an open-ended narrative drawn from the artist's own experiences, including growing up on the outskirts of Antwerp.

Like a vibrant city itself, the album is a culmination of organic interactions, layered with diverse perspectives from a collective of artists. Good Effort! features a dynamic cast of collaborators, including international heavyweights like Pink Siifu, Petite Noir, and Quelle Chris, alongside celebrated names from the Belgian underground such as Dienne and Porcelain id.

While retaining his critical edge - especially on themes like gentrification, an acute problem in his home city - Youniss explores the full range of his voice across the album's tracks, resulting in a warmer, more texturally diverse sound.

Tracks like “Notice,” “Glass Ceilings,” and “The Sun Is Falling” expand his textural use of distortion, while others, such as “At the Still Point of the World” and “Why Don’t You?”, float at a more tranquil register. The record's energy peaks on “TakeThat” where Pink Siifu and Youniss trade frenetic bars atop jazzy drum freakouts.

Despite the cynicism forged by witnessing his environment change - like the flattening of the beloved venue Onder Stroom for a parking space - Youniss offers a crucial message of perseverance. The album's title, Good Effort!, is a defiant embrace of trying again.

Relive the hit soundtrack to Season 1 with the show that defined a generation, HANNAH MONTANA, and sing-along with The Best of Both Worlds, The Other Side of Me and more on this collectible green splatter LP!

The wait is over! Season 2 music from the iconic Disney Channel series HANNAH MONTANA is available now on stylized black and white vinyl and features all the hits including We Got the Party, Nobody’s Perfect, Life’s What you Make It and more!

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

Half speed vinyl edition of the classic album, 'Warrior On The Edge Of Time' by HAWKWIND. Recorded in 1975, the album is a ground-breaking classic from Hawkwind’s long career. Featuring a line-up of DAVE BROCK, NIK TURNER, LEMMY, SIMON HOUSE, SIMON KING and ALAN POWELL, the album is arguably one of the finest rock albums of the mid-1970s. This new Atomhenge half speed master edition of has been cut at AIR Studios utilising the original master tapes. The half-speed mastered cutting process offers the finest audio reproduction and this new edition is the definitive LP release of this classic album

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Bei einem aktuellen Auftritt von DREAM_MEGA stand Joel Kyack allein auf der Bühne und schickte einen Soundstrom auf das Publikum los. Überwältigt von den gruseligen Frequenzen, den eindringlichen Rhythmen und den wilden, verstimmten Vocals, flüsterte ein Besucher seinem Nachbarn zu: ,Ich glaube, der Typ hat Kontakt zu Dämonen." Ob aus Angst oder Bewunderung gesagt, diese Anschuldigung ist angesichts des zweiten Albums von DREAM_MEGA, ,Control / You Are Not the Center", durchaus zutreffend. Die Platte ist voller Bedrohung. Man hört es in den mutierten Kriegsmarschen, im Dancehall-Reflux, im dröhnenden Bass. Man hört es in den kristallklaren Melodien und den sehnsüchtigen Aufstiegen. Man hört es sogar in dem Cover von Guided by Voices. Joels Beziehung zu verstörenden Klängen - dem Channeling von Dämonen - besteht nun schon seit Jahrzehnten. Seine langjährige Tätigkeit bei Landed, der Band, die er 1997 mitbegründet hat, verläuft parallel zu Joels Beiträgen zu Six Finger Satellite, Men's Recovery Project, Megafuckers, Dos Mega und Street Buddy. Diese unermüdliche Hingabe führt direkt zu dem fieberhaften Verfall seiner heutigen Arbeit, aber Dream Mega ist etwas ganz Besonderes. Entstanden aus Joels Nahtoderfahrung im Jahr 2020 - einer Woche der Schwäche, die er isoliert in Thailand verbrachte, Blut hustete und seine Bettlaken durchnässte - erobert DREAM_MEGA einen einzigartigen Raum an der Schnittstelle zwischen Konfrontation und Hingabe. Aufbauend auf seinen eigenen Erfahrungen bei Hardcore-Shows und Straßenauftritten treibt Joel DREAM_MEGA in einen antipodalen Zustand, in dem Hyperbewusstsein und befreiende Transzendenz koexistieren. Die Songs auf ,Control / You Are Not the Center" starren unerschrocken auf unsere dumme, gefährliche Welt, ähnlich wie es ein Song von Dropdead tun würde, aber gleichzeitig heben sie die Last dieser Katastrophe und drängen auf eine luftige Atempause. Ein Teil davon ist Joels kompositorischer Ansatz, bei dem er alte Holzblasinstrumente gegen digitale Synthesizer setzt und unnatürliche Schaltkreise mit menschlichem Atem kreuzt. Aber im Kern geht es um Joels dringendes Bedürfnis, mitten in der Nacht seine Angst und Traurigkeit und die Funken der Hoffnung anzusprechen und sie in etwas zu verwandeln, das sein Herz trotz allem weiter schlagen lässt. Es ist ein Akt der Klarheit und Selbsterhaltung, der so geschickt inszeniert ist, dass jeder Zuhörer die Dämonen spüren kann, die in seinem eigenen Herzen wirken. ,Control / You are Not The Center" enthält Klangbeiträge von Ryan Weinstein (Coffi n Prick), Cordey Lopez und Lisa Anne Auerbach. Es ist empfehlenswert für Fans von Hassell & Enos ,Fourth World, Vol.1: Possible Musics", Houstons Chopped-and-Screwed-Szene und Captain Beefheart.

all new super sexy girl group vinyl is here xo
includes: 12 inch black vinyl, a sheet with stickers of us on so you can customise your own cover, inner sleeve with lyrics from Think They're Looking, Let's Perform and Little Sticky Pictures which you can read and study for at least 2 hours a day

Released in 2026 under the catalog number Z-ONE, the album "the river" is a live recording - a snapshot of music from the Hamburger "ZustandsZone" scene between 2014 and 2025. Blending free improvisation with structural depth, the album offers a sonic exploration that will appeal to both purists of the genre and lovers of avant-garde sounds in the contemporary jazz landscape. The striking artwork underscores the artistic ambition of this highly personal work, which fluidly transcends the boundaries between tradition and modern abstraction. "Sound arises, passes away, what has been and is perceived, for a sky's length."

Mats Gustafsson met Jan St. Werner in Berlin when they both performed with Peter Brötzmann and a group of prolific improvisers. Mats and Jan share a passion for performing not just inside rooms but also with them, activating space and shaping sound via divertion. Mats introduces Johan Berthling who adds complex bass structures to the nervous jitter of Mats’ saxophone & pedals and Werner's digital machinery.

The trio instantly agrees on sound as a physical material which can bend and move anywhere within seconds. With this material they establish musical forms which they immediately dissect and reassemble again. It’s a nervous ride, a hyperactive conversation keen on detail and open to argument. Although IFANAME’s sound is instantly graspable it is also hard to pin down. Nothing seems stable yet it lasts, holds like some kind of catchy glue and disssapears as quickly as it came to life. IFANAME is question and concern. It is music as much as it is movement. It is attention, care, curiosity and disaster. Wherever IFANAME came from there is much more waiting ready to burst and reshape in front and inside of our ears.