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Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.

Nach ihrem gefeierten Comeback-Album im Oktober 2024 melden sich Propaganda mit einem elektrisierenden Remix-Album zurück: Remix Encounters - eine klanggewaltige Hommage an ihr eigenes Werk, neu interpretiert von internationalen Größen wie Moby, Tangerine Dream, Rhys Fulber, Schiller und vielen mehr. Veröffentlicht auf Bureau B, vereint dieses Album die kreative Energie einer neuen Generation mit der visionären Kraft von Propaganda. Was als einzelne Remix-Anfrage begann, entwickelte sich zu einem globalen Projekt - von Düsseldorf über Helsinki bis Los Angeles. Jeder Track ist ein eigenständiges Kunstwerk, das elektronische Subgenres wie EBM, Ambient, House, Industrial und Rave aufgreift und neu verbindet. Remix Encounters ist mehr als ein Remix-Album - es ist ein Statement. Eine Feier der Transformation, der künstlerischen Freiheit und der ungebrochenen Relevanz einer Band, die seit ihrem Debüt A Secret Wish 1985 elektronische Musikgeschichte schreibt.

The Pusher Distribution / info@thepusher.fr
Hyperjazz Records presents the self-titled debut album from Tera Tera, an unexpected collaboration between two
visionaries of the Italian music scene. Drummer Jacopo Battaglia, founder of the cult Italian trio Zu and collaborator with
Mike Patton and The Bloody Beetroots, joins forces with guitarist Adriano Viterbini, founder of the rising sensation I Hate
My Village and collaborator with Rokia Traorè and Bombino. Born from two intense jam sessions of pure improvisation, this
album emerged through multiple phases of fragmentation, psychedelic experimentation, and sonic reconstruction. Hours
of raw material were distilled into structures, then subjected to further manipulation and synthesis, documenting the inherent
chemistry between two sound wanderers. Tera Tera's primary interest lies in exploring sound, creating new pathways
toward transcendence. Their music defies genre boundaries, pushing beyond conventional limitations into uncharted
psychedelic territories.
Jacopo Battaglia
Jacopo Battaglia has established himself as one of the most innovative and respected drummers in the Italian experimental
music scene. As a founding member of the cult band Zu, he pushes the boundaries of music since 1997. Blending elements
of noise rock, free jazz, and avant-garde into a distinctive style, he’s a pivotal figure in the “evolutionofavant - gardemusic”
internationally.
Adriano Viterbini
Over the years, Adriano Viterbini has built an international credibility like few other Italian musicians. He’s one of the most
inspired guitarists of contemporary Italian music, best known as founding member of I Hate My Village and Bud Spencer
Blues Explosion bands. An entire career voted to the research of the purest language of blues, Viterbini's impact extends
far beyond Italy, influencing a new generation of musicians with his dynamic approach to composition and performance.

Am 19. September 2025 veröffentlicht die britische Sängerin Lola Young ihr drittes Studioalbum „I‘m
Only F**king Myself“, welches unter anderem auch ihre Hits „One Thing“, ”Not Like That Anymore”
und ”d£aler” enthält. Nachdem sie mit dem hochgelobten Vorgänger-Album „This Wasn‘t Meant For You
Anyway“ (2024) alle Erwartungen übertraf und mit der Hitsingle „Messy“ die Charts dominierte, legt sie
mit diesem Projekt einen drauf. Mit einem musikalischen Mix aus Pop, Soul und Indie-Rock, scharfsinnigen
Lyrics, einer ordentlichen Portion Charisma und ihrem typischen South-London-Sound beweist Lola Young,
warum sie als einer der spannendsten Stimmen ihrer Generation gilt. „I’m Only F**king Myself wurde
von Lola Young zusammen mit Manuka und SOLOMONOPHONIC (Doja Cat, SZA) geschrieben und
produziert und ist ab dem 19.09.25 erhältlich.

A stone-cold Detroit classic returns: Reel By Real’s ‘Surkit’ is back, remixed, remastered, and ready for a new generation of dancers.

Originally dropped in 1990 on Juan Atkins’ Interface imprint, it’s since become a cult touchstone far beyond techno.

Now, over 30 years on, Surkit – Remixed & Remastered

After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.

Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.

Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project.

In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.

In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.

River of Music, das neue Album der „musikalischen Zauberer“ der Kanneh-Masons (The Guardian), bringt
nach dem Erfolg von Carnival (2020) alle sieben Geschwister - Isata, Braimah, Sheku, Konya, Jeneba, Aminata und Mariatu - wieder zusammen. Auf dem Album sind neue Arrangements von klassischen Werken
bis hin zu Folk-Songs zu hören. Das Herzstück bildet Schuberts Forellenquintett - ein Lieblingsstück der
Familie, das die Geschwister seit ihrer Kindheit gemeinsam hören. River of Music wurde im Sommer 2024
in den Abbey Road Studios aufgenommen und erzählt, wie die Liebe der Kanneh-Masons zur Musik über
Generationen hinweg weitergetragen wurde. Von der walisischen Großmutter, die ihrer Liebe über das Meer
nach Sierra Leone folgte, bis hin zum antiguanischen Großvater, der seine eigenen Träume einer Musikkarriere weitergab, feiert dieses Album die musikalischen Wurzeln der Familie Kanneh-Mason.
”Dies ist eine Geschichte über unsere Familie und die Quellen unserer Musik. Musik fließt wie ein Fluss
durch die Generationen, und unsere Leidenschaft, Musik zu hören und zu spielen, stammt von unseren
Großeltern und ihren Geschichten, von den Orten und Träumen, die sie weitergegeben haben...”
Konya Kanneh-Mason, Grandad’s Dream

pen·ti·men·to - eine sichtbare Spur früherer Malerei unter einer oder mehreren Farbschichten auf einer Leinwand - frühes 20. Jahrhundert: aus dem Italienischen, wörtlich "Reue". Auf ihrem ersten Album seit "Still Life" (2022) bewegt sich Carson McHone an der Grenze ihrer musikalischen Vorstellungskraft und kanalisiert so unterschiedliche und überraschende Einflüsse wie Gitarrenrock, pastoralen Folk, Poesie, Feldaufnahmen, visuelle Kunst, Erinnerung, Familie und Landschaft zu ihrem bisher tiefgründigsten Werk. "Pentimento" ist ein kühnes und lohnendes Album. Es ist auch eine Abrechnung: Wie können Liebe und Schönheit in der Gegenwart von Brutalität existieren? Beunruhigend. Dissonant. Gegen ihren Schatten und mit ihre Spuren. Das ist es, was McHone und ihre Mitstreiter (zu denen Daniel Romano, Steve Lambke von den Constantines und andere gehören) auf "Pentimento" mit der Subtilität von Aquarellmalerei und dem Reichtum von Versen einfangen, mit Geisterstimmen und Kinderstimmen gleichermaßen. Jede Schicht ist ein Universum für sich und offenbart den Puls, der Carson McHones kreativen Antrieb belebt. Hier arrangiert und als Ganzes ausgedrückt, ist es ein Meisterwerk. "Alle Lieder von Pentimento entstanden als Gedichte vor dem Hintergrund globaler Krisen, nationaler Grenzen, ziviler Unruhen, Geburt, Tod, schlechter Liebe, neuer Liebe, wahrer Liebe. Sie wurden im Frühling und Sommer in der Wüste geschrieben. Dort werden Geschichte und Zeit in der Dramatik großer Felsbrocken sichtbar, in Schichten auf einer Felswand - das Potential und die vergangene Energie des alten Meeresbodens. Einige dieser Texte wurden auf Postkarten und in Briefen geschrieben. Andere entstanden als Verzierungen auf Aquarellbildern oder als Bildunterschriften für ein Foto in einem Tagebuch, oder sie wurden als Antworten am Rande eines Tagebuchs an ein neugeborenes Kind aus einer vergangenen Generation geschrieben. Diese "Artefakte" des Schreibens/Lebens gaben Aufschluss darüber, was schließlich zum Material für diese Aufnahmen wurde. Später, am Meer und während des ersten Schnees der Saison, kam eine besondere Gruppe von Musikern zusammen, um das Album zum Leben zu erwecken. Während die Hälfte der Songs nach einem strengen "Plan" aufgebaut wurde, kam die andere Hälfte bei dieser Gelegenheit zum ersten Mal zusammen und wurde an Ort und Stelle geprobt und live eingespielt. Über sechs Tage hinweg wurde alles auf einem 8-Spur-Bandgerät aufgenommen, einschließlich zufälliger Rückkopplungen, Bassdröhnen und spontanem Gelächter." - Carson McHone

pen·ti·men·to - eine sichtbare Spur früherer Malerei unter einer oder mehreren Farbschichten auf einer Leinwand - frühes 20. Jahrhundert: aus dem Italienischen, wörtlich "Reue". Auf ihrem ersten Album seit "Still Life" (2022) bewegt sich Carson McHone an der Grenze ihrer musikalischen Vorstellungskraft und kanalisiert so unterschiedliche und überraschende Einflüsse wie Gitarrenrock, pastoralen Folk, Poesie, Feldaufnahmen, visuelle Kunst, Erinnerung, Familie und Landschaft zu ihrem bisher tiefgründigsten Werk. "Pentimento" ist ein kühnes und lohnendes Album. Es ist auch eine Abrechnung: Wie können Liebe und Schönheit in der Gegenwart von Brutalität existieren? Beunruhigend. Dissonant. Gegen ihren Schatten und mit ihre Spuren. Das ist es, was McHone und ihre Mitstreiter (zu denen Daniel Romano, Steve Lambke von den Constantines und andere gehören) auf "Pentimento" mit der Subtilität von Aquarellmalerei und dem Reichtum von Versen einfangen, mit Geisterstimmen und Kinderstimmen gleichermaßen. Jede Schicht ist ein Universum für sich und offenbart den Puls, der Carson McHones kreativen Antrieb belebt. Hier arrangiert und als Ganzes ausgedrückt, ist es ein Meisterwerk. "Alle Lieder von Pentimento entstanden als Gedichte vor dem Hintergrund globaler Krisen, nationaler Grenzen, ziviler Unruhen, Geburt, Tod, schlechter Liebe, neuer Liebe, wahrer Liebe. Sie wurden im Frühling und Sommer in der Wüste geschrieben. Dort werden Geschichte und Zeit in der Dramatik großer Felsbrocken sichtbar, in Schichten auf einer Felswand - das Potential und die vergangene Energie des alten Meeresbodens. Einige dieser Texte wurden auf Postkarten und in Briefen geschrieben. Andere entstanden als Verzierungen auf Aquarellbildern oder als Bildunterschriften für ein Foto in einem Tagebuch, oder sie wurden als Antworten am Rande eines Tagebuchs an ein neugeborenes Kind aus einer vergangenen Generation geschrieben. Diese "Artefakte" des Schreibens/Lebens gaben Aufschluss darüber, was schließlich zum Material für diese Aufnahmen wurde. Später, am Meer und während des ersten Schnees der Saison, kam eine besondere Gruppe von Musikern zusammen, um das Album zum Leben zu erwecken. Während die Hälfte der Songs nach einem strengen "Plan" aufgebaut wurde, kam die andere Hälfte bei dieser Gelegenheit zum ersten Mal zusammen und wurde an Ort und Stelle geprobt und live eingespielt. Über sechs Tage hinweg wurde alles auf einem 8-Spur-Bandgerät aufgenommen, einschließlich zufälliger Rückkopplungen, Bassdröhnen und spontanem Gelächter." - Carson McHone

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

Legendary and pioneering Träd, Gräs och Stenar is considered Sweden's oldest rock band to introduce psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Träd, Gräs och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time-and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Träd, Gräs och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TRÄDEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Träd, Gräs och Stenar into the future.

„From The Beginning“ umfasst vier Jahrzehnte Crüe-Hymnen, angefangen mit ihrer ersten globalen Single
und dem MTV-Video „Live Wire“ bis hin zum Top-5-Rock-Hit „Dogs Of War“ aus dem Jahr 2024. Dazwischen liegen die Hits und Fan-Favoriten, die das Rock-Genre und eine ganze Generation geprägt haben,
darunter „Kickstart My Heart“, „Dr. Feelgood“, „Girls, Girls, Girls“, „Shout at the Devil“, „Smokin’ In
The Boys Room“, „Wild Side“ und viele mehr. Enthält eine atemberaubende Neufassung des beliebten
Klassikers „Home Sweet Home“, neu interpretiert als gefühlvolles Duett mit niemand Geringerem als dem
weltweit beliebten Superstar Dolly Parton.

Nach dem Kult-Klassiker Spinal Tap I aus 1984, folgt nun der Zweite Teil und setzt das Mockumentary
Format fort. So lädt der Film als auch das Album eine neue Generation in die Welt der Rock-Band ein.
Mit special guests wie Elton John, Paul McCartney, Garth Brooks und Trisha Yearwood verschwimmen die
Grenzen zwischen Komödie und echten Hits und führt den Kultstatus der Franchise fort. Das Album wird
ab sofort auf Vinyl, CD und Kassette erhältlich.

Legendary Indonesian musicianHarry Roesligets a fresh dancefloor-ready tribute with a special"Remiks"EP on vinyl, featuring four tracks reinterpreted by four top-notch producers from two countries.

From Indonesia,KomodoandMidnight Runnersbring their signature grooves, while Japan'sKaoru InoueandChidaadd their own unique flavor to the mix. This limited edition release, out onAugust 25, 2025, is brought to you byLamunai RecordsandMondo.

This isn't just another remix/re-edit EP it's a cross-cultural celebration of Harry Roesli's wildly eclectic sound, reimagined for today's global dance floors. From cosmic disco, deep house to techno textures, each producer offers a personal yet respectful take on Harry's original works, introducing his genius to a new generation of listeners.

"We wanted to shine a light on Harry Roesli's music in a way that connects with DJs, collectors, fans, and crate diggers around the world," says a rep from Lamunai Records. "These remixes breathe new life into his legacy timeless melodies meet modern club energy."

TheEP will be available in limited-edition vinyl starting August 25, perfect for collectors, selectors, and anyone looking to add something truly special to their set.

Get ready for a rare fusion of Indonesian roots, Japanese electronic finesse, and serious dancefloor vibes. Let's celebrate the past by dancing into the future.

Spandau Ballet, one of the most influential bands in British music, announce the release of their definitive early years collection, "Everything Is Now – Vol 1: 1978-1982" - a comprehensive 9-disc box set featuring their groundbreaking first two albums alongside a wealth of previously unavailable material. It includes a beautiful 44 page book with original photos from fellow Blitz Kid Graham Smith and new commentary from the whole band.

Released September 12th on Parlophone, this meticulously curated collection captures the band's origins and meteoric rise from Blitz Club favourites to chart-topping innovators. The set includes their seminal albums "Journeys To Glory" (1981) and "Diamond" (1982) on vinyl, plus six CDs of singles, remixes, BBC sessions, demos, and a Blu-ray of Dolby Atmos mixes, videos and rare live footage.

This collection showcases the band's evolution through their formative and revolutionary period, from the electronic-infused new wave of early singles like "To Cut A Long Story Short" and "The Freeze" to the funk-influenced sophistication of "Chant No. 1" and "Instinction." They were simply the most cutting edge, futuristic band in the world, at the centre of a creative scene that defined the 1980s.

This box set features all the band's early classics including "To Cut A Long Story Short," "Chant No. 1," "Muscle Bound," "Paint Me Down," “Instinction” and "She Loved Like Diamond," and presents multiple versions of tracks that trace their development from initial demos to extended 12" club mixes.

The Blu-ray component includes Dolby Atmos and stereo remixes by acclaimed producer Steven Wilson, alongside original music videos, BBC TV appearances and the complete 56-minute concert from New York's Underground Club in 1981.

"Everything Is Now – Vol 1: 1978-1982" stands as the definitive document of Spandau Ballet's revolutionary early period, when they helped define the sound and style of a generation.

CD1: Journeys To Glory Era Singles, Remixes & Versions
CD2: Diamond Era Singles, Remixes & Versions
CD3: Diamond – 12” Singles Box Set
CD4: BBC Session 1981 / BBC In Concert Bournemouth 1982
CD5: BBC In Concert Paris Theatre 1982
CD6: Demos
Blu-Ray (Disc 7): Dolby Atmos, Promos & Extras
LP1 (Disc 8): Journeys To Glory
LP2 (Disc 9): Diamond

Comet Dust Red Vinyl. Jason Molina war ein Künstler, der nicht gerne zurückblickte. Während seines gesamten Lebens und seiner Karriere als Singer-Songwriter trieb ihn ein rastloser und sich ständig weiterentwickelnder kreativer Impuls voran, der seinen Fokus auf das Wesentliche richtete. Seine unermüdliche Kreativität und Arbeitsmoral trugen Früchte. In seinem kurzen Leben erreichte Molina das, wonach die meisten Musiker streben: einen Sound, der sofort wiedererkennbar ist, sich aber selten wiederholt. Von den Ufern des Eriesees in seiner Heimatstadt Lorain, Ohio, bis hin zu internationalen Bühnen mit seinen Bands Songs: Ohia und Magnolia Electric Co. spielte Molina sein umfangreiches Repertoire an geheimnisvollen, romantischen, stürmischen und monumentalen Songs, die gleichzeitig innovativ und in der amerikanischen Tradition verwurzelt waren. Er tüftelte ständig an seinem Sound, seinem Image, seiner Band und seinem Zuhause, um seine Muse zu befriedigen. Ein Tenor-Gitarre spielender Außenseiter. Ein liebeskranker Lo-Fi-Indie-Rocker. Ein trauriger Slowcore-Barde. Ein Pionier des Roots-Rock des 21. Jahrhunderts. Ein kanonischer Songwriter des Mittleren Westens. Jason Molina hat seine kreative Flagge in all diesen Bereichen gehisst - um seinen Anspruch zu markieren, um zu zeigen, wie weit er gekommen war, und um eine Spur wertvoller Talismane zu hinterlassen. Mit ,I Will Swim to You: A Tribute to Jason Molina" - benannt nach einer Zeile aus Molinas Song ,Lioness" - würdigen Run For Cover Records und eine Gruppe befreundeter Künstler den bleibenden Einfluss des Songwriters. Die Compilation mit Molina-Covers wurde von einigen der visionärsten Singer-Songwritern der Gegenwart eingespielt, darunter MJ Lenderman, Hand Habits, Horse Jumper of Love, Sun June und viele mehr, und enthält einzigartige Interpretationen von Molina-Fan-Favoriten und weniger bekannten Stücken aus seinen Soloalben und weniger bekannten EPs. Das Ergebnis ist eine unverwechselbare Liebeserklärung, eine oft atemberaubende Gesamtdarbietung generationenübergreifender Talente, die einem der begabtesten, aber unterschätzten amerikanischen Songwriter Tribut zollen.

Nu-hardcore quintet, Bodyweb, are the sound of someone’s nervous system on the verge of breakdown—hyperactive, tormented and unflinchingly vulnerable. Born out of the Leeds hardcore scene, they’re a shape-shifting alloy of jagged emotion and precision chaos. What began as late-night jams between Louis Hardy (Higher Power, Big Cheese, Fate) and Ben Jones (Pest Control) eventually mutated into train_wreck_simulation, a debut EP filled with frantic breakdowns and nu-metal swag that felt like the soundtrack to a digital exorcism. The final piece of the puzzle came from Hardy’s estranged childhood friend, pq. His twisted samples and synthetic textures are haunted and disturbed, injecting cyberpunk soul into hardcore flesh. Contorting through several iterations in the following years, the band absorbed Luke Thompson (Stiff Meds) on drums, filmmaker Tom Hobson on guitar and Naomi Macleod (Empire State Bastard) on bass, and laid down their first collective offering. deadwired is due out on Flatspot Records later this year. Bodyweb's second EP is a violent thesis on connection and pain that sends Hardy’s unfiltered vocals through heaven and hell. Four overstimulating tracks run a gamut of styles and influences from Slipknot to Björk, constantly lane-switching between dizzying heaviness, ambient soundscapes and brain-burrowing hooks. Entirely self-produced, deadwired upgrades the sonic formula laid down on the last record and raises the question: what else could exist in Bodyweb’s twisted roadmap? Nothing seems impossible. What seems important, however, is retaining the rawness in a style that can often turn sterile. “We still wanted it to sound very human. It had to be well produced but not cold and lifeless.” shares Hardy. “We didn’t use a click track. All guitars were real amps with microphones. We tried to make everything as real and raw as possible, we recorded using all the same gear we use when playing live too to really capture the energy of how it feels when we jam together." ‘Deadwired’ is a snapshot of violent implosion. Four ADHD-fuelled transmissions from the edge of spiritual collapse. It drags metallic hardcore through glitched-out ambience to confront ego death, generational trauma, and the violence of being alive. On stage, Bodyweb don’t just perform, they purge. Raucous live electronics meld with digitally contorted guitars. Breakbeats meet breakdowns—no backing track in sight. Bodyweb enable a collective catharsis. Mosh, dance, dive, scream, heal. A physical therapy session screamed into the void.

Celebrating a quarter-century of Ryan Adams’ 2000 debut solo album release Heartbreaker. This release features 11 re-imagined tracks from the critically acclaimed record that helped define a generation of alt-country and Americana.

Newly re-worked with fresh emotion and stripped-back intensity, these new versions offer a deeper take on the originals with a sprinkling of strings.The heartbreak never ended.

Feel the Magic, the latest EP from DJ Paradiso released under the Tranceatlantyk label, is a radiant tribute to the golden era of Eurodance and early ’90s rave culture. The five-track collection bursts with high-octane rhythms, euphoric synths, and infectious melodies that transport listeners straight to the heart of a neon-lit dancefloor. From the opening track “MYB to the Beat,” with its punchy tempo and catchy vocal snippets, to the blissful tones of “Feels Like Heaven,” DJ Paradiso crafts an atmosphere brimming with nostalgia and joy. Each track is a carefully constructed homage to the spirit of carefree rave nights, rich with shimmering pads and driving beats.

The second half of the EP ventures deeper into the dancefloor’s hypnotic side. “Magic Shine” offers luminous arpeggios paired with an upbeat pulse, while “Underground” dives into moodier territory, layering darker grooves beneath an entrancing rhythm. Altogether, Feel the Magic balances retro homage with modern clarity, offering a feel-good yet dynamic journey through sounds that once defined a generation of ravers—and now, through DJ Paradiso, feel excitingly alive again.

Leeds Bleep-techno royalty Ability II aka David Duncan has been on the Wrecks radar for a few years now, the unison dating back to Luca Lozano's remix of his evergreen anthem 'Pressure' in 2017. Since the remix the communication has stayed open and talks of a collaboration started, linking generations old and new. That collaboration, recorded over a couple of years and a couple of studios, results in WRECKS057 'My Definition of Bass'. Four tracks split into two sides, the WRECKS side is taken care of by Lozano and long time collaborator and friend DJ Steve. The two producers live jammed sketches, recorded the sessions and then incorporated original vocals by Ability II, churning out acid wiggles and jacking drum tracks. Ability then took these versions and then dubbed them out in his crossover style for the I9M side, resulting in two steppers made for the strictly for the bassbins. Echoing vocal layers and new instrumentation takes them out of the usual 'wrecks wrealm' and into new, dubbier territories.

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

Français

Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.

Lard’s Pure Chewing Satisfaction is the second landmark album of the industrial-hardcore collision between vocals of Jello Biafra with the patented wall of noise assault and studio wizardry of Ministry founders Paul Barker and Al Jourgensen!
Originally released in 1997, Pure Chewing Satisfaction is a dark, frightening look at everything wrong in America, and it rings as true now as it ever has. Lyrically its pessimistic and apocalyptic, tackling topics like looking for work, the legacy of the Me Generation and their failures, to environmental disasters. Sonically, the album is an avalanche of both real and electronic drums, menacing effects galore, and layers of machine gun guitars. Not quite punk rock, nor completely industrial—this is Lardcore for the people!

A must have for fans of Jello Biafra’s work and of Ministry, the result remains another classic release from this legendary collaboration. This long awaited repress now features in addition to the wide release on black vinyl, a limited solid-pink vinyl edition!
Praise The Lard!

Ian Moore, Johnny Moeller, and Jesse Dayton-three of Texas' fiercest fretmen-join forces at last as Texas Headhunters, a band born from deep roots, old friendships, and a shared reverence for the raw, swaggering spirit of Texas blues. Their self-titled debut isn't a nostalgia trip. It's a declaration.

Cut over five days at Willie Nelson's Pedernales Studio, 'Texas Headhunters' deals 12 tracks of grit, groove, and gut-level truth. No smoke, no mirrors-just seasoned musicians in a room, plugged in and turned up. The chemistry is real. The result is mind blowing. Clifford Antone looms large in the story of Texas Headhunters-the spiritual godfather of the project, and the man who first recognized the fire in each of its members. All three-Johnny, Jesse, and Ian-were among the last generation of young guns taken under his wing.

Texas Headhunters isn't just a summit of three badasses with guitars. It's a reclamation. A statement. A reminder that Texas blues, in all its grit and glory, still matters. It's not retro-it's revival. And it's not a tribute-it's a shot across the bow.

Format: Standard Jacket with printed sleeve with lyrics. Pressed on Opaque Red Vinyl.

'In den Garten Pharaos’ was the second album by Popol Vuh, a collective of musicians founded in Germany by Florian Fricke in 1969. The record successfully fused the experimental sounds of the Moog synthesiser with ethnic percussion which resulted in an album of stunning originality.

The record was an influence on successive generations of musicians and it continues to inspire.

This Esoteric Recordings edition has been cut at Abbey Road studios and replicates the original album artwork.

"Ephemeral Memory" ist das Debütalbum von Hip-Hop-Produzent, Komponist und Multi-Instrumentalist Braths, aka Thomas Horeczko, bei Sony Music. Darauf präsentiert der für seine Zusammenarbeit mit Hip-Hop Stars wie Apache 207, reezy, Nimo und Olexesh, Chapo102, oder Ezhel bekannte Musiker eigene instrumentale Kompositionen. Miniaturen für Soloklavier verbindet er mit gelayerten Streicherklängen und melancholischen Orchesterarrangements zu einer eigenen, atmosphärischen Klangwelt. Viele Instrumente hat Braths dabei selbst eingespielt, als Special Guests sind Esther Abrami und das ORF Radio-Symphonieorchester Wien auf dem Album zu hören. "Ephemeral Memory" ist für den 1998 in Paris als Sohn einer sudanesischen Mutter - einer Cellistin - und eines ukrainischen Vaters - einem Komponisten - geborenen Braths eine Hommage an die Geschichte seiner Familie und Vorfahren. Das Album thematisiert die Migrationserfahrung seiner eigenen Familie und die damit verbundenen, latenten Erinnerungen und komplexen Emotionen, die über Generationen fortbestehen. Erfahrungen wie Sklaverei und die Mühe Grenzen und Nationalitäten zu überwinden, spielen dabei eine Rolle. Braths wurde 1998 in Paris als Sohn einer sudanesischen Mutter, einer Cellistin, und eines ukrainischen Vaters, einem Komponisten, geboren und war von klein auf von Musik umgeben. Sein vielfältiger kultureller Hintergrund, bereichert durch jüdische und muslimische Wurzeln, hat seine mehrsprachige Identität als europäischer Weltbürger geprägt. Als klassisch ausgebildeter Geiger und versierter Musiker begann Braths seine musikalische Reise im Alter von vier Jahren und beherrscht sieben Instrumente, darunter Geige, Gitarre, Saxophon, Fagott und Klavier. Nach seinem Umzug nach Berlin, um Tontechnik und Jazzkomposition zu studieren, machte er sich schnell einen Namen in der europäischen Hip-Hop-Szene und arbeitete mit einigen den größten Künstlern des Genres zusammen, wie Apache 207, reezy, Nimo und Olexesh. In "Ephemeral Memory" kombiniert Braths seine facettenreichen Einflüsse zu einzigartigen, atmosphärischen Instrumentalkompositionen, die die Zuhörer dazu einladen, über ihre eigenen Geschichten und Emotionen nachzudenken.

Ein Meilenstein der elektronischen Clubkultur kehrt zurück: Generator 7/8 von Moskwa TV erscheint erstmals als farbige 12“ Maxi-Single – in einer streng limitierten Sammleredition!

Der 1985 veröffentlichte Club-Hit gilt als Vorreiter des europäischen Electro- und EBM-Sounds und prägte mit seinen treibenden Sequenzen, kraftvollen Vocals und futuristischem Stil eine ganze Generation. In dieser exklusiven Neuauflage sind mehrere Mixe des Klassikers enthalten – darunter rare und extended Versionen, die den Track in neuem Klanggewand erstrahlen lassen.

20th Anniversary Special Edition vinyl for Gucci Mane's classic first album 'Trap House'. The seminal album released in 2005, is his debut studio album and a foundational project in the trap music genre. Featuring standout tracks like 'Icy' (with Young Jeezy), the album introduced Gucci's gritty street narratives, raw southern drawl, and unfiltered storytelling, which would become hallmarks of trap music. 'Trap House' laid the groundwork for Gucci Mane's prolific influence on a new generation of rappers, producers, and the overall aesthetics of trap.



















s D5. Icy (Feat. Young Jeezy) remix



















[s] D5. Icy (Feat. Young Jeezy) [remix]



















[s] D5. Icy (Feat. Young Jeezy) [remix]

Canadian disco-soul outfit The Spandettes were in sparkling form when they laid down their stunning covers of Lemuria's Hawaiian groove classics 'All I've Got to Give' and 'Hunk of Heaven.' Both now appear on this limited-edition double 7", which will bring some summer heat to any set you play. Fronted by three powerhouse female vocalists, the cultured band blends lush harmonies with irresistible rhythms as they revive a couple of free-soul gems for a new generation of ears. 'All I've Got to Give' first appeared on a sold-out P-Vine 7" back in 2015 and is a sentimental swooner that is super loved up, while 'Hunk of Heaven', taken from the debut album Spandex Effect, here makes its debut on 45rpm. It's a more upbeat and swooning funk gem with gorgeous vocals.

Celebrate the 20th anniversary of one of hip-hop’s most iconic albums with Jeezy’s TM:101 Live, a once-in-a-lifetime reimagining of Let’s Get It: Thug Motivation 101, now backed by a full live orchestra.
Originally released in 2005, TM:101 didn’t just introduce Jeezy to the world; it immortalized trap music, debuting at #1 on the Billboard Hip-Hop and R&B charts and #2 on the Billboard 200. Widely hailed as a critical and cultural classic, the album became the blueprint for a generation of street anthems and dominance.
Now, Jeezy elevates his legacy with an epic live performance, merging raw lyrics with rich orchestral arrangements lending to a new level of sonic depth. Featuring stunning live renditions of tracks like “Soul Survivor,” "Go Crazy,” “My Hood" and “Trap or Die,” this release captures the emotion, scale and storytelling that defined a movement.

Jackpot Records is extremely proud to announce our re-issue of the revered reggae album 1976’s War Ina Babylon by Max Romeo & The Upsetters. Originally released on Island Records, the album is considered one of the greatest Reggae albums of all time and was a massive influence on the UK punk movement that was just starting to bubble to the surface.
The record’s incredible power belies an unlikely partnership between one of the world’s greatest producers (and experimenters in sound), Lee “Scratch” Perry, and vocalist Max Romeo (who by 1976 had performed on over 120 7” singles) Romeo had been transforming from his “rude” records to writing lyrics with social themes as the era in Jamaica was rife with poverty, gangs, and politically motivated killings. As he was looking to produce protest music at its most powerful alongside music that would never leave the listener’s souls, Lee Perry and Max Romeo started collaborating together.
Recorded in two weeks in 1976, utilizing Lee Perry’s kitchen sink production, War Ina Babylon is considered part of Lee Perry’s ‘holy trinity’ Black Ark produced LPs released by Island
Records (Junior Murvin’s Police and Thieves and The Heptones’ Party Time being the other classics LPs in the trinity), this LP continues to find new fans with every passing generation.

Manche Alben sind mehr als bloße Hit-Sammlungen - sie sind Zeitkapseln. Greatest Hits Volume I & II gehört genau dazu. Ursprünglich 1985 veröffentlicht, bündelt diese Doppel-LP über ein Jahrzehnt Popgeschichte. Vom schwelgerischen Storytelling in "Piano Man" über die Ironie von "It's Still Rock and Roll to Me" bis zur emotionalen Wucht von "Just the Way You Are": Billy Joel erzählt darin nicht nur seine eigene Geschichte, sondern auch die einer ganzen Generation.

Das Album wurde weltweit millionenfach verkauft, mehrfach mit Platin ausgezeichnet und gilt heute als eines der erfolgreichsten Greatest-Hits-Alben aller Zeiten. Es zeigt Joel als Songwriter, Performer und Chronist des Alltags - mal romantisch, mal bissig, immer unverwechselbar.

Mit der Reissue erscheint dieser Klassiker nun neu remastert auf hochwertigem Vinyl. Die Tracklist umfasst alle Schlüsselwerke der Jahre 1973 bis 1985, darunter auch Studio-Neuaufnahmen wie "You're Only Human (Second Wind)" und "The Night Is Still Young". Diese Veröffentlichung ist die ideale Einstiegstür für Neuentdecker und ein wertvolles Sammlerstück für langjährige Fans.

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

Flamenco is a Spanish art, which has always been prone to hybridization with a multitude of musical languages. Therefore, the universe of "flamenco fusion" could well reflect the way in which Spaniards have related throughout history with other cultures. And that relationship may have often been one of dialogue, exchange, respect and crossbreeding. Among the circumstances that could have favored the traditional mestizaje of flamenco art is the open character of the south of the Iberian Peninsula, to all the civilizations that have settled in its territories; the encounter with America in 1492, and the brotherhood with the Spanish-speaking countries; that the Casa de contratación de Indias, the entity that regulated the transit between Spain and America for centuries, was founded in none other than... Seville! (and olé); without forgetting the FUNDAMENTAL African contribution, brought to America by millions of black slaves throughout the 400 years of the slave trade. Pícaro vol. 4 is an excellent example of how some Spanish flamenco musicians knew how to take advantage of the fashion of other styles and rhythms coming from outside Spain, creating a new sound universe and incorporating them into their repertoire. Undoubtedly, there is a generational replacement of "flamenco Ye-Ye" in Spain with artists like Rosalía or C. Tangana, although now it will be necessary to modernize "the label". This compilation offers us a snapshot of the multiple styles of flamenco hybridization that triumphed in the world during the decades of the 50's and 60's of the 20th century. Through its microsurcos we will discover immeasurable flamenco ye yé (track 1), flamenco rock & roll (tracks 3 and 4), flamenco cha cha chá (tracks 6, 7 and 15) or flamenco mambo (track 12), together with other unusual, exotic and impossible mixes of Spanish song with tango arrabalero, bluegrass, easy listening, swing, groove or soul. Always a happy mix, which are brought together with exquisite taste in this vinyl for your enjoyment.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

Delving into the Great American Songbook of Howe Gelb, Sandworms is a new collection that rephrases and rephases the legacy of Giant Sand acrossgenerations. This release offers bold reinterpretations from Water From Your Eyes, Deradoorian, Jesca Hoop & John Parish, Lily Konigsberg, Holiday Ghosts, Ella Raphael, Monde UFO, The Golden Dregs, and Gently Tender. The ever-present Giant Sand and their one-man cerebral traveller, Howe Gelb, are anchored by a reputation for idiosyncratic storytelling. A "natural storyteller," Gelb's multifarious musical delivery adds an enduring sense of wonder as he extols the virtues of happenstance. This collection celebrates the esoteric and singular journey Giant Sand have taken, through alt-country, jazz, lo-fi experiments, and beyond, while their legacy is reimagined here by a new generation of artists paying tribute to their lasting influence. Brooklyn duo Water From Your Eyes, known for their stoner humour, fatalistic undercurrents, and art-pop flair, bring a delicate balance of punk riffing and dream-pop escapism to Warm Storm, first heard on Giant Sand's Ramp (1991). Whitney K takes on Happenstance (from 1994's Glum), unravelling its existential puzzles with a whispering baritone that recalls the hushed intensity of Leonard Cohen. Drifting further into orbit, Angel Deradoorian reinterprets Center Of The Universe, the title track from the band's 1992 album, transforming its desert-fried rock into a spaced-out Sun Ra-paced drama. Elsewhere, Yer Ropes, a jaw-dropping highlight from Glum, is taken on by The Golden Dregs, blurring sentimentality and relationship mismanagement into something truly strange and moving. A special collection for both long-time fans and the newly curious, Sandworms: The Songs of Howe Gelb and Giant Sand is released via Fire Records and includes liner notes from Dave Henderson (Mojo).

With Vermilion Hours, Melaine Dalibert offers a condensed rereading of his Musique pour le lever du jour, still exploring minimal variations and subtle piano resonances. This new version, enriched by David Sylvian's discreet electronic textures, retains the atmospheric magic of the original while offering a new density. Sylvian, best known as the singer of Japan, is also an important figure in ambient music, collaborating with Czukay, Hassell and Sakamoto. Their collaboration, born of a sincere artistic affinity, acts here as a transmission between generations. The two tracks on the album - Musique pour le lever du jour and Arabesque - evoke a soundscape where each note is reflected and diffracted infinitely. The electronic work acts like a halo, a vibrant aura. Dalibert speaks of a desire to humanize his theoretical processes, to touch through the organic. Like a Klee painting, each stratum of sound builds depth. This is, indeed, "landscape music," where, if you listen closely, you might hear birds singing in the background. And that is the true essence of these suspended harmonies, these vermilion hours-which transport us, as only the contemplation of nature can, into another space-time, a sonic bath that is also a renewal of the senses. Since his career with Japan began in 1974, David Sylvian has explored a wide range of musical territories, collaborating with the likes of Robert Fripp, Jon Hassell, Readymade FC and Ryuichi Sakamoto - venturing as far as ambient music, which he further develops here in tandem with Melaine Dalibert. While continuing to teach at the Rennes Conservatoire, Melaine Dalibert regularly releases albums on various labels and performs both his own works and those of other composers - most recently, a reworking of Keith Jarrett's Köln Concert. He also co-curates the Autres Mesures festival. The two pieces forming Vermilion Hours feel like transcending the generations. Between Melaine Dalibert (born in 1979) and David Sylvian (1958) lies the same generational gap as between Sylvian and Czukay (1938-2017) or Hassell (1937-2021). The CD versions adds two edit versions of both long tracks.