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

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

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

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

Tracklisting:

Not all 'All Stars' style releases live up to their name, but this multi-artist extravaganza from Demuir's Purveyor Underground Ltd label most certainly does. The Canadian artist has snapped up tracks from some genuinely impressive deep house talents, with predictably fine results. For proof, check the deliciously dreamy, hazy and rolling opener from Atlanta star Byron The Aquarius, the jazzy bass, locked-in beats and lightly psychedelic layered aural textures of Fred P's 'Sunny Rain Drops (Cosmic House Edit)' and the softened DJ Sneak-style sample-rich peak-time bump of Demuir's own 'Alone In Chicago'. Elsewhere, M Squared reaches for elongated electric piano chords, eyes-closed samples and jazzy house grooves on 'Dance', before Justine Joe delivers an exquisite exercise in jazz-house jauntiness ('AFaOA (As Far As Our Attitude)').

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

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Following their 2024 debut „La Grande Accumulation“ Anadol (Gözen Atila) and Marie Klock return with „Manivelles“.

Hailed by The Quietus as a duo that pushes each other to "greater heights of oddness" the pair produces an undefinable mix of folk, kraut, and pop nested inside expansive organ-based arrangements. The album‘s nine tracks emerged from intensive improvisations in Paris and Istanbul, brought to life with an odd mix of tools: from Prophet-5 and Jupiter-6 synths to mechanical Pianet clatter and even a salad spinner repurposed as a drone.

Klock‘s French lyrics navigate the miniature and the cosmic, exploring the small tragedies of everyday life - botched holiday gatherings, lingering heartbreak or the absence of a loved one.

Born from a moment of catharsis during an Istanbul earthquake that ended a period of writer‘s block, the record draws its material from lived experience and a lasting friendship.

Its title „Manivelles“ - meaning "cranks" - hints at the musical partners creative penchant for generating songs through friction and playful contradictions. From the shouted pastiche of "Symposium" to the sparse synth pulses of "Une Grande Tragédie Polonaise", it‘s an album with a wonderfully wonky heart that sounds like faint signals from a beautifully failing transmitter.

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Das Erste, was man hört, ist eine einsame, klare Gitarre und ein sanfter Gesang, der von "city scenes caught up in the moment" erzählt, bevor das Schlagzeug einsetzt und es losgeht! So beginnt die atemberaubende, kraftvolle Eleganz von The Spatulas neuestem Album ,A Blue Dot". The Spatulas, das sind im Wesentlichen Miranda Soileau-Pratt und wer auch immer sie rekrutiert, um ihre Vision zu verwirklichen. Alles begann in Oregon, wo frühere Veröffentlichungen wie ,March Chant" und ,Beehive Mind" mit dem Schlafzimmer-Schmerz von ,Beyond the Implode" und der wackeligen Psych-Magie von ,Garbage and the Flowers" glänzten. Doch obwohl diese Elemente nicht verschwunden sind, ist ,A Blue Dot" ein ganz anderes Kaliber. Ein Umzug nach Cambridge, Massachusetts, und eine notwendige personelle Veränderung haben das, was einst eine beständige, schimmernde Lockerheit mit voller Rockdynamik war, verwandelt. Die neue Besetzung (Gitarrist Luke Einsiedler, Bassist Elijah Bodish und Schlagzeuger Greg Witz) hat ihren Sound zu einer lauten Masse aus harter und stimmungsvoller Jangle-Explosion verdichtet. Der Post-NZ-Glory-Pop von Barbara Mannings SF Seals ist hier zu finden, ebenso wie der dichte Wirbel von Rain Parade. Fachmännisch aufgenommen im Suddenly Studio von Emily Robb, gemischt von Evan Mersky und von Sarah Register zu vollendeter Kohäsion gemastert, klingt das Ganze laut und stolz. Seit der Fertigstellung dieses wunderbaren Albums sind Miranda und Elijah nach Indiana gezogen, wo glücklicherweise eine neue Besetzung gefunden wurde. Aber ein noch glücklicheres Ende ist, dass diese spezielle Crew noch nicht fertig ist mit dem gemeinsamen Musizieren, und hoffentlich wird diese elende Welt noch lange genug existieren, um im Sommer 2026 eine Tour an der Ostküste mitzuerleben. Man kann sich im Leben wenigstens auf eine Sache freuen! - Max Milgram

STRICTLY LIMITED TO 100 COPIES ARTIST PROJECT After discovering techno at La Concrète, invited by my girlfriend, it was a revelation, and I very quickly felt the urge to contribute in my own way. My intention has been to create tracks infused with positive energy (even if the creative process sometimes leads into slightly darker corners of music). Still, I realized—rather late—the importance of the musical genre known as “techno.” Here is my reflection on it: Nothing is closer to village music (with everything that implies among indigenous peoples, for example—important and respected moments of communion) than techno. On one side, you have basic organic instruments and the voice; on the other, the most advanced technology available. But fundamentally, the difference is only superficial—the essence is the same: a guide, and people who participate intuitively, ultimately finding or discovering their own inner paths… individuation. Techno represents the re-emergence of a kind of initiation rite that had been missing in the West for quite some time—a sort of continuation of Woodstock, more spread out over time but just as powerful from a societal perspective. This release is my contribution to that revival, in the same way a villager might feel free to join trance music with a simple stick that sounds right, or a drum—something intuitive that all our ancestors must have practiced naturally at one point or another. In short, nothing pretentious—just something made with heart

"Tapping into a shared affinity for early trance – as in short for transcendental – Function and Nastia Reigel come together on Dekmantel with ‘Devocion’. Bridging the past and the future, this partnership draws deeply on brooding, melancholic early-90s sounds and supercharges it with the immensity of modern techno.

The project began when Nastia Reigel shared a series of discoveries with David ‘Function’ Sumner – records rooted in the rave-leaning edge of the era, spanning labels like R&S, FAX and EXperimental. He responded that this was precisely the music he had been absorbing while coming up in the thick of New York’s club and rave scenes and beginning his journey into DJing. The excited exchange of deep digs around this niche of dance music history naturally led to a conversation about collaborating on music in this vein, and Devocion is the result.

Familiar genre touchstones are everywhere, from the plaintive bleeps and understated breakbeat roll of 'Eternity' through the sad-eyed arpeggios strafing on the edges of 'Reverence' and on to 'Flowstate's blue-hued acid lines and 'Orion's sky-scraping gated pads. But Reigel and Sumner deploy these strongly coded elements with poise, feeding into a richly rendered production that feels anything but old-school. The emotive streak is wielded with care, spelling out the mood without losing the steely, shadowy sensibility that tracks through their respective catalogues.

In a perfect demonstration of honouring the past while embracing the present, Devocion EP lands as a distinctive artistic statement on its own terms."

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.

Uncle Slam, featuring former members of Suicidal Tendencies and Warrior, was a politically-minded thrash act from the 90's. Their list of influences shouldn’t surprise anyone with a passing familiarity of the genre: early Corrosion of Conformity, Dark Angel, Testament, Megadeth and of course Suicidal Tendencies.

Will Work for Food, originally released in 1993 by Roadrunner Records in Europe, with cover art by the legendary Ed Repka, will now be a available on vinyl for the first time ever.

This album features an iconoclastic take on Led Zeppelin’s “Dazed and Confused” which is one of the record’s highlights, These guys are turning that song’s proto-punk into actual punk. The rest of the album is a blast of antigovernment aggression, and is ready to be rediscovered 30-odd years later!

Will Work For Food is for the first time available on vinyl as a limited edition of 750 individually numbered copies on purple vinyl and includes an insert.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

The Voodoo Universe is now complete! The masterpiece combining the Trilogy 1-3 will be released on November 27th and is a magnificent work show of the multifaceted genius.

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves that perfectly understands how to put them in ecstasy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. Voodoo Sonic was born and delivered with the idea to replace the conventional album with several EPs, allowing greater musical freedom and the possibility to explore the many sonic landscapes of Voodoo Sonic.

Now the Voodoo Sonic Universe is complete and celebrated with all three parts combined into one ultimate and highly demanded package. It's a Parov Stelar work show which makes it possible to enjoy his diverse sound world in all of its facets.

The Artwork for Voodoo Sonic was designed and painted by Parov Stelar himself. From the art studio to the recording studio, on to the dance floor in the form of art and beats. Parov Stelar is an all in one king of art.

The icing on the cake is the Voodoo Sonic documentary, which can be seen on all Parov Stelar channels available. (coming September 2020).

If you want to see Parov Stelar live, you will get the chance in summer 2021 at festivals in many countries following by a headliner tour across Europe towards the end of the year.

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

Don Toliver katapultiert sich mit seinem neuen Meisterwerk OCTANE direkt an die absolute Weltspitze und liefert das bislang dominanteste Chart-Debüt des Jahres 2026. Mit beeindruckenden 162.000 verkauften Einheiten und über 423 Millionen Streams pulverisiert er seine eigenen Rekorde und sichert sich souverän die Nummer 1 der Billboard 200 sowie der globalen Streaming-Charts. Das Album fungiert als akustischer Adrenalinkick, der die Grenzen des modernen Hip-Hop sprengt und Don Toliver endgültig vom Hitmacher zum globalen Headliner transformiert. Inspiriert von der Hochgeschwindigkeit der Rallye-Kultur, liefert er einen futuristischen, genre-übergreifenden Sound, der die stagnierende Szene mit purer Elektrizität wiederbelebt. Wer OCTANE hört, erlebt nicht nur Musik, sondern die kreative Evolution eines Künstlers auf seinem absoluten Zenit.

POMPEII // UTILITY vereint zwei seelenverwandte Rapper von entgegengesetzten Küsten mit dem weltgestalterischen Genie der SURF GANG. Als echtes Doppelalbum – MIKE auf der einen, Earl auf der anderen Seite – entfaltet sich POMPEII // UTILITY durch eine wechselnde Besetzung von Nebengästen und Charakteren innerhalb seines gemeinsamen kreativen Ökosystems. Jadasea, Anysia Kym, Niontay, Na-Kel Smith und Lerado Khalil treten alle auf und durchstreifen die weitläufige Klangwelt des Albums, während im Hintergrund die SURF GANG-Produzenten Harrison, EvilGiane, Elipropperr und Flea Diamonds (mit Unterstützung weiterer Producer) die rauen, dynamischen Beats erzeugen, die dem Album seinen Rahmen geben. Zu den früheren SURG GANG-Produktionen gehören Baby Keem, Kendrick Lamar, A$AP Rocky und Playboi Carti. POMPEII // UTILITY, das nach den 2025er Soloalben beider Rapper erscheint, wirkt wie eine triumphale Ehrenrunde, die ihre über 10-jährige Freundschaft nachzeichnet. Wo ein Rap-Battle sonst Rivalität oder Vergleiche hervorrufen könnte, bietet POMPEII // UTILITY etwas Verwurzeltes und Gemeinsames – ein geteiltes Verständnis von Fürsorge, Freude, Trauer, Verarbeitungsprozessen und Verantwortung gegenüber etwas Größerem. Ein gemeinsamer Release über die jeweiligen Labels der drei Künstler: 10k, Tan Cressida und Surf Gang Records.

Swedish composer and multi-instrumentalist Gustaf Ljunggren invites listeners into the quiet, reflective world of Along the Low Road , an ambitious solo album that balances delicacy with depth. Following the success of Ljunggren s 2022 release Floreana , this new release offers a gentle, dream dream-like musical journey, shaped by two of the Nordic scene s most imaginative and intuitive musicians. Balancing sparse acoustic instrumentation with sprawling affected soundscapes, the album moves with patience and clarity. Ljunggren s compositions provide a foundation for subtle interplay, where every note and gesture is attentive to the music s unfolding. Featured guest Icelandic bassist Skúli Sverrisson s bass provides warmth and grounding, supporting Ljunggren s guitar, ukulele, and multi multi-instrumental textures. The result is a sound that is at once intimate and expansive, inviting reflection and connection. The tracks draw inspiration from nature, landscapes, and personal experience. Lille Skotland " evokes the rocky coast of Bornholm with gentle, melancholic flow, while Stevelen " captures the quiet power of cliffs and open skies. The title track, Along the Low Road," traces a contemplative path, its cyclical melodies and ambient layers offering perspective and calm. Letters Melting " twists a classical chord progression into a reflective polska, while Summer Passing Letting Go " balances warmth and transition. Brief, hymn hymn-like pieces such as Tillfrisknandet " provide moments of repose, and playful minimalism in Nine Again " captures the wonder of childhood at the cusp of youth. The album closes with Here And Not Here," a meditative reflection on perception and presence, leaving the listener in a quiet, suspended space. Ljunggren and Sverrisson have long been celebrated for their generosity, sensitivity, and courage as collaborators. Their work together on Along the Low Road continues this partnership, offering music that listens as much as it plays. Drawing from jazz, minimalism, Nordic folk, and early music, the duo s sound combines melodic clarity with a sense of freedom, revealing subtle emotional depths in each composition. In concert, Ljunggren and Sverrisson reimagine these pieces in the moment, allowing the music to unfold with a sense of shared discovery. Whether recorded or live, the album is a testament to the duo s enduring musical dialogue and the quiet, immersive beauty of their Nordic sensibility.