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Celebrating three decades of geek-rock history, Nerf Herder returns with Nerf Herder redux, an acoustic reimagining of their seminal 1996 self-titled debut originally released on Arista Records. Produced by the legendary Joey Cape (Lagwagon), this 30th-anniversary collection breathes new life into fan favorites, featuring stripped-back versions of the hit single "Van Halen" and the streaming powerhouse "Sorry." With a tracklistbolstered by refreshed takes on "Golfshirt," "Diana," and "Nosering Girl," the album serves as both a nostalgic deep-dive for longtime fans and a fresh entry point for the band's massive digital audience. Nerf Herder's enduring cultural footprint_from composing the iconic Buffy the Vampire Slayer theme to lead singer Parry Gripp's Emmy-winning career and 2 million YouTube subscribers_ensures a multi-generational appeal. Having shared stages with titans like Weezer, Circle Jerks, and Reel Big Fish, the band maintains a loyal, active fanbase. This release arrives ahead on their European 30th Anniversary Tour in late May and early June.

Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”

Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in "The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside." Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise - a vocal track!

It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you.

I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue.

For Love of Grace & the Hereafter is the sixth studio album from beloved Danish quintet Iceage. Across the sprawling, twelve song arc of the album, love variously retaliates and retreats in an eternal tango, Elias Rønnenfelt's lyrics burn with apocalyptic intimacy while the band manically maneuvers around their shape-shifting brand of feral post-punk. Produced by Iceage and longtime collaborator Nis Bysted, the album threatens to bite back if bitten, thriving in the haunted shadows with streetwise, saintly splendor.

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

BILLY CHILDISH veröffentlicht seit 1979 Platten, HOLLY GOLIGHTLY seit 1990; 1999 taten sie sich für ein gemeinsames Projekt zusammen, das ursprünglich in den USA bei Wabana Records erschien. IN BLOOD ist ein großartiges Album, das bei der ersten Veröffentlichung in Europa so gut wie ignoriert wurde. Der Untertitel von IN BLOOD lautet ONE CHORD! ONE SONG! ONE SOUND!. Aber es ist so viel mehr als das: Tracks wie ,Demolition Girl" und ,Step Out" dröhnen aus deiner Stereoanlage - wirklich großartige, dreckige Ein-Akkord-Blues-Songs (mit vielen Noten), mit Gesangswechseln, klirrenden Gitarren und begleitet von der Medway Delta Review, zu der Bruce und Johnny von Thee Headcoats sowie Johnny Gibb von den Wildebeests gehören. Während Einfachheit, Wiederholung und purer Rock-'n'-Roll-Minimalismus das Herzstück des Albums bilden, verliert IN BLOOD nie an Reiz. Es macht einfach süchtig! Diese Neuauflage erscheint auf schwarzem Vinyl.

Die erste britische Pressung seit der Vinyl-Ausgabe von Hangman Records aus dem Jahr 1991! Jetzt erweitert um zwei zusätzliche Titel: ihre ersten beiden Singles - ,Headcoat Girl" und ,Davey Crockett"! "Da saßen wir also, um einen Küchentisch herum, und tüftelten an Ideen und Melodien für ,Girlsville". ,Wild Man" - wow! ,Round Every Corner" (von Billy für uns geschrieben), ,First Plane Home", ein Kinks-Cover, das wir immer live spielten, ebenso wie ,Meet Jacqueline" (anscheinend von Albert Hammond geschrieben, seltsam!). Jeder Track war ein Hit, finde ich. Dann machten wir uns auf, die Welt zu erobern - mit unseren Alben ,Have Love Will Travel", ,Bozstik Haze" (nicht lila!) und ,Punk Girls" sowie zahlreichen 7"-Knallern. Was für ein Spaß, bis ,Here Comes Cessation" kam. Na ja, dachten wir zumindest..." - MISS LUDELLA BLACK - JAN 20206

No one can say Jim Keller hasn't been busy - Since his last European shows in 2023, he's recorded and released two albums, 2024's Daylight and 2025's End of the World - He's toured the United States - And while he intends to get back to Europe this year, he's first giving his fans a treat: Vinylly!, a collection of his greatest hits that will only be available in Europe, for Record Store Day 2026 The record includes a dozen songs spanning the six albums of his late- career renaissance, four decades after he and his band, Tommy Tutone, topped the charts with "867-5309/Jenny." Born and raised in New Jersey, Keller found fame after moving to San Francisco, where he launched Tommy Tutone in the late 1970s.

Despite their meteoric rise, the band was short- lived, and Keller soon found himself in the proverbial wilderness, struggling to make ends meet until he talked his way into a job with famed composer Philip Glass. For the next 25 years, Keller would go on to run Glass's publishing company, eventually managing his career outright in addition to working with luminaries like Tom Waits, Ravi Shankar, and Rufus Wainwright.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Seit fast zwei Jahrzehnten verbreiten der King und seine Cumberland Three ihren Rhythm & Punk-Spaß in der ganzen Welt und bringen jede Menge ausgelassene Energie, Albernheiten, gute Laune und Schweiß mit! Mit diesem Quartett ist jede Show eine Party! Anlässlich ihres 20-jährigen Jubiläums, in dem sie unermüdlich weltweit auftraten und Dutzende von Platten veröffentlichten, haben King Salami & The Cumberland Three tief in ihrem umfangreichen Katalog gegraben, um 16 ihrer besten Tracks auszuwählen. Das Ergebnis ist diese energiegeladene Zusammenstellung, ein Album voller Spaß, das verrückte Klassiker wie ,The Pulpo Dance", ,Pineapple Mama", ,Shake it Wild" und ,Do the Wurst" enthält, neben ihrem weniger bekannten Instrumentalstück ,Itch!", das kürzlich in der Dreamies-Katzenfutter-Fernsehwerbung zu hören war. ENG For nearly two decades, the King and his Cumberland Three have been spreading the Rhythm & Punk grease all around this big old world, bringing along with them buckets of fun, raucous energy, silliness, smiles and sweat! With this quartet, every show is a party!! To mark their 20 years anniversary of relentlessly playing shows around the globe and releasing dozens of records, King Salami & the Cumberland Three have dug deep into their extensive catalogue to select 16 of their most killer tracks. It makes for a fun-packed album which contains wacky classics such as `The Pulpo Dance', `Pineapple Mama', `Shake it Wild' and `Do the Wurst, alongside their lesser-known instrumental `Itch!' that recently featured on the Dreamies cat food TV ad.

Schwarzweißes Split-Vinyl LP! "Ultra-catchy. A wicked side of garage soul" - CLASH // "One of their catchiest pieces yet, Sassy, groovy, toe-tapping" - CLASSIC ROCK // "A giddying rush of noise" - MOJO // "The real sound of now busting through my door, new songs that keep kicking the history forward. I can't imagine my turntable without The Courettes" - David Fricke, ROLLING STONE // Die dänisch-brasilianische Band The Courettes war von Anfang an eine Rock'n'Roll-Sensation und kehrte 2024 mit ihrem vierten und bisher besten Album zurück: "The Soul Of... The Fabulous Courettes". The Courettes treffen genau den richtigen Punkt zwischen Garage-Rock, Girlgroup-Pop, Doo-Wop-Harmonien, Herzschmerz und allem, was dazwischen liegt.

CASSETTE VERSION

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

12 Inch Lovers nothing but classix, straight from vinyl! Part 1 of two double vinyl-pack incl. Sasha & Maria, Fatima Yamaha, Brahama, The Mackenzie feat. Jessy, Hatrixx, and Salif Keita & The Base Boys.


After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

In 1978, Muddy Waters released one of his most essential works towards the end of his career.

Titled I'm Ready, the album was produced by Johnny Winter and followed Hard Again, their first collaboration.

It was immediately hailed as a blues classic.

The collaboration between Winters and Waters resulted in three albums, which blues fans describe as a unique combination
that showcased Muddy Waters' rawness and years of experience to perfection. The impressive roster of featured artists included
“Pine Top” Perkins on piano and Walter Horton on the harmonica, making it a dream late-career collaboration.

I’m Ready won the Grammy Award for Best Ethnic or Traditional Folk Recording.

I’m Ready is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

London trio, thredd’s, acclaimed 2025 debut ‘It’s Lovely, Come On In’ available for the first time on vinyl. thredd is the latest project from musicians Will Lister, Max Winter, and Imogen and The Knife who came together as the first (and only) band formed during the infamous Laylow residency in West London.

Over the course of 4 weeks in November 2023, the trio set up a makeshift studio in Laylow’s basement venue and wrote music to be performed live each Wednesday, embracing a raw, immediate approach with no room for overthinking. The result is a sound they call “cold pop”, a mix of atmospheric textures, sharp melodies, and emotional depth. Since then, they’ve built on their diverse strengths having already played the ICA and supported Nourished by Time across the UK.

Having shared a studio in South London together since 2020, the trio have collaborated and cross-pollinated their musical approach while taking time to hone their individual crafts; Will’s drum programming and production, Max’s ear for harmony and composition, Immy’s lyrics, melody and vocal delivery. With music that both feels familiar yet boundary pushing, ear catching and intriguing, it becomes a true sum of its parts celebrating the individualism of each musician.

The album ‘It’s Lovely, Come On In’ moves between late-night indie, synth- driven pop, and stripped-back songwriting with emotional weight. Tracks like ‘Horseshow’ showcase Will’s tight post-triphop inspired beats, Max’s harmonic instincts, and Immy’s evocative vocals. ‘We Don’t Speak Anymore’ came together in a day, capturing a sharp, defiant energy. ‘Something For My Head’ is a late-night, anxious love song, while the title track has a defiant repetitive energy. The lead single ‘Party’ bursts with bold, euphoric energy, and ‘Funny Girl’ strips back to something vulnerable, inspired by a haunting vocal sample and personal notes.

The record channels the layered, mysterious atmosphere of Laylow’s basement, shaped by the building’s winding corridors and hidden rooms. Themes of fatigue, release, and creative survival run throughout, born from a pressure-free, collaborative process.

‘It’s Lovely, Come On In’ feels honest and immediate, a collection made to capture a moment, not polish it away. As they put it, the record is for people who are “Up for a party, down for a cry.” The album doesn’t make grand claims; it simply invites you in.

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)

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

Follow-up to their distinct sold out eponymous debut in 2023, and a vibrant expression of their singular song craft - Produced by Ringlets and Michael Logie (The Mint Chicks) in Auckland at The Lab and mixed by Isaac Keating at Abbey Road Studios - Opened/supported in NZ for the Foo Fighters, Black Country New Road, Water From Your Eyes

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Get ready for a musical history lesson of the wildest kind! Vancouver's garage-punk specialists THE BAD BEATS are back with a bang On their new album "Shiver and Shake - 14 Canadian Cold Cuts," released via SOUNDFLAT RECORDS, the band pays homage to the musical heritage of their Canadian homeland--with 14 hard-hitting cover versions. After proving they have the 60s "fuzz" spirit in their DNA with albums like "His Vengeful Hand" and "Off the Hook," they've now dug deep into Canadian music history. Instead of the usual hits, THE BAD BEATS present a selection of "Cold Cuts"-- raw, unpolished gems from cult bands that shaped the sound of the North. Look forward to high-energy reinterpretations of legends such as THE DEVRONS (who would later become THE GUESS WHO with the classic "She's Your Lover"), DAVID CLAYTON THOMAS & THE SHAYS (with the gripping "Take Me Back"), LES LUTINS ("Je Cherche") and of course, a tribute to the legendary NEIL YOUNG, with a gritty version of "Mr. Soul," is a must.

Mit "Folklore" vertiefen 16 Horsepower ihre unverwechselbare, düster-spirituelle Interpretation amerikanischer und osteuropäischer Traditionals. Das Album verbindet eigene Songs mit radikal neu gedeuteten Klassikern, die die Band in rituelle, minimalistische und zugleich kraftvoll aufgeladene Klanglandschaften verwandelt. Banjo, Cello, Hurdy-Gurdy und Bandoneon bilden ein archaisches Fundament, das David Eugene Edwards" intensiven Gesang eindrucksvoll trägt. Die Oxblood Vinyl Edition bringt diesen Meilenstein in besonderer Form zurück - passend zur Reunion-Tour 2026, bei der die Band erstmals seit zwei Jahrzehnten in ihrer Originalbesetzung auf europäischen Bühnen steht. Folklore bleibt eines der charakteristischsten und atmosphärisch dichtesten Werke der Band: dunkel, entrückt, hypnotisch - ein Album, das die Grenzen zwischen Tradition, Mythos und moderner Alternativkultur auflöst.

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

In The Wee Small Hours Of The Morning / Mood Indigo / Glad To Be
Unhappy / I Get Along Without You Very Well / Deep In A Dream / I See Your Face
Before Me / Can't We Be Friends / When Your Lover Has Gone / What Is This Thing
Called Love? / Last Night When We Were Young / I'll Be Around / Ill Wind / It Never
Entered My Mind / Dancing On The Ceiling / I'll Never Be The Same / This Love Of
Mine / The Girl Next Door

To celebrate the 30th anniversary of its release, Happening Songs, the debut album by Dionysos, is finally being issued on vinyl for the very first time.

Recorded in 1996, the record captures the early days of a band still in its rawest form, already driven by a singular stage energy and a boundless imagination. Entirely sung in English, Happening Songs unfolds a free and inventive sonic universe where indie rock, dark humor, and surreal visions intertwine. Tracks such as "Wet," "Polar Girl," and "Screamin' Like an Egg" sketch the foundations of a poetic, strange, and deeply endearing artistic world that would become Dionysos' signature.
Long regarded as a cult album, passed from stage to stage and through word of mouth, it now returns in a brand-new vinyl edition, faithful to its original spirit.
This anniversary release is presented by EGGMAN RECORDS, the label founded by Mathias Malzieu, giving new life to this foundational work and inviting listeners to rediscover the initial spark of a project that has since become essential.
Thirty years on, Happening Songs remains the opening chapter of a unique artistic journey: inhabited, unruly, and profoundly free rock.

Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike. His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe.


Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.

'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.

PISS in collaboration with The state51 Conspiracy is excited to release a limited 7” pressing of “three demos”.
In the span of two years, PISS has gone from a complete unknown in the Vancouver underground scene to an international touring act. The noise punk quartet has never released a full-length record; their reputation grew from their frenetic, intimate live show and three self-produced demos.
These demos were recorded in Paterson’s basement apartment. For the vocal tracks, Paterson and Zantingh drove an old camper van to an industrial neighborhood of Vancouver to avoid disturbing their neighbors. They were mixed by Paterson, with drums for two of three tracks engineered and tracked by Chris Bede.

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

On Dreams ’24 / ’25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary.

The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells’ dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances.

For Dreams 2025, Aby Vulliamy — one of Yorkshire’s best kept musical secrets — takes over vocal duties. In mid 2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal.

The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, Mackenzie’s Return, was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album’s blend of humour, strangeness and quiet melancholy.

Dreams ’24 / ’25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination.

The album is accompanied by a striking cover artwork by Annabel Wright.

New album from Girl"s Chat Room which is Zillas On Acid and Babystar"s project.The band"s chug-pop style combines jaunty basslines, tight drum machine programming, and sage observations on modern life (the ease of depleting your bank account).

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!

Nurtured on 90s alternative indie, lucky break's music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here. lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit. made it! collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like "Crush" pair sharp lyrical insight with big drums and crisp bass, while "Head Down" uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency. Confessional, direct and emotionally precise, lucky break's songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, made it! is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future. Digisleeve-CD and coloured Vinyl-LP w/ dlc available!