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A long-lost masterpiece of Yugoslavian jazz-funk and disco finally returns! Originally released in 1979 on the iconic Jugoton label, YU Disko Expres by Igor Savin and Orkestar Stanka Selaka is a rare gem—an electrifying fusion of jazz, funk, electronic music, and traditional folk elements. Decades ahead of its time, this album remains a strikingly modern and danceable exploration of sound, seamlessly blending synthesizers with tight horn arrangements and deep, infectious grooves.
Igor Savin, one of Croatia’s most respected composers and pioneers of electronic music, was a driving force in blending contemporary jazz with emerging electronic sounds. A classically trained musician with a deep love for jazz, he left a lasting mark on the region’s music scene, working across film, TV, and avant-garde composition.
Backed by an all-star ensemble featuring some of Yugoslavia’s finest musicians—trumpeter Stanko Selak, bassist Miljenko Prohaska, drummer Silvije Glojnarić, saxophonist Stjepan Mihaljinec, and more—YU Disko Expres delivers an unparalleled groove that has remained a collector’s favorite for decades.
For the first time ever, this sought-after album gets an official reissue, fully remastered from the original tapes. DJs, hip-hop producers, and groove aficionados take note: YU Disko Expres is back, sounding fresher than ever. Don’t miss your chance to own a piece of Yugoslavian music history!

Celebrating the 20th anniversary of their self-titled iconic debut – the UK’s best-selling album of 2004 – Scissor Sisters release a brand-new Limited Edition 2LP.

Taking the world by storm with their eccentric style, high energy, and feel-good lyrics, it’s no surprise that this album, originally released on February 2nd, 2004, catapulted the band to international success. Since then, the album has sold nearly 4 million copies globally, has 300 million streams to date and won ‘Best International Album’ at the 2005 BRIT Awards.

This 20th Anniversary expanded 2LP features hit singles ‘Laura’, ‘Comfortably Numb’, ‘Take Your Mama’, ‘Mary’ and ‘Filthy / Gorgeous’ alongside a plethora of b-sides and rarities. The 3CD also includes a bonus remixes disc.

A warm breeze drifts through the open cabin of the boat, carrying the scent of salt and sunwarmed teak as it stirs the linen curtains. The man moves easily, bare feet against the wooden floor, the slow rhythm of the harbor rocking beneath him. He flips through his records with a knowing touch, pulling out a favorite—something smooth and mellow, with buttery vocals and melodies that drift like a sailboat on calm waters. The needle drops, and honeyed guitar riffs spill into the air, effortless and sunlit. He reaches for the bottle of rum, the ice in his glass chiming softly as he pours, then adds a squeeze of lime, a lazy stir. Outside, the water glows in the last light of day, golden ripples stretching toward the horizon. He leans back against the cushioned bench, drink in hand, the music swirling around him like the evening breeze—unhurried, weightless, exactly where he wants to be.


Small Talk brings together a carefully curated selection of long-forgotten, yet remarkably smooth and captivating soft rock and AOR tracks from the ‘70s and ‘80s, compiled by Brandon McMahon. These lesser-known songs are drenched in lush harmonies, dreamy guitar riffs, and mellow rhythms, capturing the essence of an era without the mainstream recognition. For those with an ear for the obscure and a taste for the subtle, Small Talk offers a fresh perspective on an era’s most overlooked gems.

Coral Grief, das Rocktrio aus Seattle, und Air Between Us, sein Debütalbum, sind treffend betitelt. Die ersten Töne von Sam Fasons Gitarre im Opener ,Starboard" treffen wie ein Windstoß Seeluft ins Gesicht. In nur wenigen Sekunden schwebt man, zu gleichen Teilen unter dem Himmel und über dem Meer. Es ist ein ähnliches Dazwischen, in dem Coral Grief gedeihen, denn sie konstruieren ein kunstvolles Geflecht aus doppelten Bedeutungen in dieser Hommage und Lobrede auf ihre Stadt und Community. Die Sängerin und Bassistin Lena Farr-Morrissey und Fason sind durch die psychische Chemie verbunden, die man nur durch jahrelanges gemeinsames Spielen in Bands entwickeln kann. Die Gitarre von Fason ist das Segel zu Farr-Morrisseys Anker, und hier schafft er Texturen, die so dicht sind wie der Wind. Das Bindeglied - der Motor in dieser nautischen Metapher - ist Schlagzeuger Cam Hancock, der von gemeinsamen Freunden wärmstens empfohlen wurde. Sein treibendes Spiel dient als Brücke der Ideen, als letztes Puzzlestück, als Meister der Dynamik und Übergängen, der ihre Songs in neue Gefilde treibt, ohne dabei aufzufallen. Gemeinsam lassen sie sich von Stereolab, Broadcast, Th' Faith Healers und Seefeel inspirieren, und umrahmen diese sehr spezifische Sorte von britischer Coolness auf eine einzigartige Weise wie es sie nur im pazifischen Nordwesten gibt. Um die Songs zum Leben zu erwecken, begab sich das Trio ins The Unknown - eine eine stillgelegte Kirche, die als Segelmanufaktur und Aufnahmestudio in Anacortes, WA dient. In Zusammenarbeit mit dem Toningenieur Nich Wilbur, der sich von fünf Matchas pro Tag ernährte, wurde der Arbeitsraum zu ihrem Workshop. ,Wir wollten die Dinge zu dritt angehen, aber auch, dass es so üppig und voll wie möglich klingt", erklärt Fason.

Eines wollen die Forth Wanderers vor der Veröffentlichung ihres dritten Albums "The Longer This Goes On" klarstellen: "Wir sind nicht zurück", sagt Gitarrist Ben Guterl mit Nachdruck. Das ist vielleicht eine unerwartete Aussage für das erste Album der Band seit ihrer Trennung vor sieben Jahren, aber die Band besteht darauf, dass es eine ehrliche Antwort ist - sie haben sich zusammengefunden, um die zehn kompliziert konstruierten Perlen aufzunehmen, die dieses neue Album ausmachen, und sie sind immer noch dabei herauszufinden, was es für sie bedeutet, in Forth Wanderers zu sein. Wenn man sich diese Songs anhört, von denen jeder einzelne ein glitzerndes Fest der eindringlichen und intuitiven Texte von Sängerin Ava Trilling und der natürlichen musikalischen Chemie der Band ist, hat man allerdings kaum das Gefühl, dass irgendetwas ungesagt bleibt. Das Album ist voller glänzender Melodien, klingender Gesangsharmonien und schlüpfriger, schräger Rhythmen und ist mehr als nur eine Rückkehr zur alten Form. Die Band scheut sich nicht, den Umweg über eine Hook zu gehen, indem sie instrumentale Schnörkel übereinander legt, um die leeren Stellen zu füllen, Raum für Trillings eindringliche Stimme zu schaffen oder ein Riff oder einen Text zu wiederholen, bis er zu einem Zen-Koan wird. Auf "The Longer This Goes On" klingen Forth Wanderers selbstbewusster und selbstsicherer als je zuvor. Man sollte es nur nicht als Comeback bezeichnen. Der Weg zu "The Longer This Goes On" begann im Sommer 2021 in einem Café in Brooklyn. Dort trafen sich Guterl und Trilling zum ersten Mal seit der Auflösung der Forth Wanderers im Jahr 2018. Die drei Jahre, die sie voneinander getrennt waren, hatten den Druck, den die Band während der Tourneen mit ihrer früheren Musik verspürte, teilweise abgebaut: "Wir fühlten uns alle frei, herumzualbern und Spaß zu haben", sagt Guterl. Die Wiedervereinigung mit dem Bassisten Noah Schifrin, dem Gitarristen Duke Greene und dem Schlagzeuger Zach Lorelli führte dazu, dass sich das Spielen so gut anfühlte, wie seit der Gründung der Band nicht mehr. "Es fühlte sich an, als wären wir wieder in der High School". Die Band hat die Art und Weise, wie sie bisher gearbeitet hat, neu definiert. "Dies ist das erste Mal, dass ein Großteil der Musik organisch entstanden ist", erklärt Schifrin. "Alle fünf von uns haben wirklich auf eine Art und Weise zum Schreibprozess beigetragen, wie wir es in der Vergangenheit nicht getan haben", fügte Guterl hinzu. Das daraus resultierende Album, das unter dem wachsamen Auge von Dan Howard produziert wurde, zeigt die Band so präsent und unbelastet, wie sie ihren Sound zum ersten Mal in Echtzeit geschaffen hat. Die Texte sind vollgepackt mit Bekenntnissen, die so breit gefächert sind, dass sich jeder, der sich in den Wirren einer unsicheren romantischen Vorhölle verirrt hat, verstanden fühlt, und doch so präzise geschrieben, dass sie eindeutig aus eigener Erfahrung stammen müssen. Das ist genau das, was Forth Wanderers sowohl so universell nachvollziehbar als auch so speziell macht. Auf "The Longer This Goes On" haben sie diese Fähigkeit, mit minimalistischen Texten und üppiger Instrumentierung an den starken Fäden der romantischen Langeweile zu ziehen, noch vertieft. Forth Wanderers sind sich nicht sicher, was als Nächstes kommt - sie wissen nicht, ob sie weiterhin neue Musik aufnehmen werden oder ob sie diese Songs jemals live aufführen werden. Diese Aufnahmen sind also zehn flüchtige, aber unschätzbare Eindrücke aus der Zeit, die sie als Band verbracht haben; das Wiederaufleben von Freundschaften zwischen Highschool-Kumpels, deren Träume sie ins Rampenlicht katapultiert haben, bevor sie alt genug waren, um Auto zu fahren; Songs, die die Ungewissheit der Zukunft ebenso einfangen wie ihre Musik ihr eigenes Selbstvertrauen in der Gegenwart zementiert. Auf "The Longer This Goes On" machen die Forth Wanderers Musik zu ihren eigenen Bedingungen.

Teasing dread atmospheres and zooming in on microscopic details that bring every beat in every bar to life, Seb Uncles returns to Samurai Music with another deep dive into his exquisitely crafted, cinematic progression of the drum & bass tradition.

Even a cursory glance at the Eusebeia back catalogue tells you Uncles is an artist committed to the storytelling promise of breakbeat culture. His work has been heavily tipped towards albums since he first broke through around 2015, and across more than 10 long-players he's cultivated a strong line in moody, evocative jungle and drum & bass more concerned with world-building and subtle detail rather than aggression and intensity.

Following up on his 2023 LP for Samurai, X, on Undertones Uncles applies his signature meditative tones to a broad expanse. There's a consistent sound palette that leans on the warm snarl of monosynth low end and aqueous pads, delicately edited breaks and crisply sculpted synth percussion, but Uncles moves with dexterity around different tempos and structures within this considered sound world. The overarching notion is one of things lurking beneath the surface - a comfortably open theme to be approached and understood from any number of angles. It certainly chimes with the upfront detail and brooding tension that gives the Eusebeia sound such depth.

There are moments of direct drum pressure, such as fierce opener 'Undertones' with its diced-up breaks and icy chords, the boisterous jungle dread of 'Uncover' and chasmic roller 'Root Out', but on the likes of 'Beneath The Surface' and 'Out In The Open' it's the mellow elements that take precedence over the deft drum science. The motion is persistent and nuanced, but it's achieved without deferring to default dancefloor tropes.

'Emergence' marks a pointed shift towards a delicate strain of techno that maintains the album's sound at a mid-paced pulse, focusing on synth shapes and textures to achieve propulsion with only the lightest of drum parts. Alongside the energetic intrigue of Uncles' sonic choices, the melodic make-up of the track is a compelling showcase for his emotionally ambiguous approach, both rousing and chilling in the same curious chord shapes.

From the half-time prowl of 'Lifting The Veil' to the creeping textures and haunted phrasing of 'Brought To Light', Undertones is another stunning exercise in widescreen jungle. It flows naturally from the rich body of work Uncles has cultivated over the past 10 years while carving out its own unique pocket - a reminder if you needed one of the profound sound bedded into the Eusebeia project.

Representing the spirit of the underground in Dubai, Shadi Megallaa is a multifaceted music lover whose unwavering passion for music permeates throughout all of his endeavours. A pioneer of Dubai’s electronic music culture, Shadi’s roots lie with the foundations of modern day electronica: all shades of house, techno and beyond. His commitment to preserving and evolving the culture is inherent in his record shop, The Flip Side, which has been intrinsic to the growth and development of music culture in Dubai. As a DJ and producer he draws on a multitude of experience, diverse taste and a refined ear that has instilled the ability to craft compelling productions. On Spirits Of The Deep we find Shadi exploring the deeper side of electronic music, creating layers of vibration designed to immerse the listener in layers of positive vibration.

As prescribed by Shadi himself, we start the traditional way, with Side B (the info side), where ‘Microgravity’ transports us into the cosmos. Soothing sonics envelop a taut low end with crisp percussion and swathes of pad work cultivating an interstellar atmosphere. Subtly shifting layers keep you locked into a groove, as the track maintains its energetic pulse. The synth lines increase with intensity midway through, adding more potency. Across almost nine minutes Shadi takes us on an excursion beyond the stars…

This is followed by ‘G-Dub’, a smooth jazz-inflected piece full of soul nourishing goodness. Intuitive drum programming with a groove-laced low end form the propulsive backbone of this track. The dreamlike melodic elements are almost transcendent in their illuminating impact. With all of its elements combined, ‘G-Dub’ is a glorious foray into the depths of true deep house. Shadi keeps things interesting throughout, adding and subtracting layers to complement the pace. Those hi-hats and intermittent cymbal crashes are especially impactful. A delight.

On the flip we have ‘Pressure’, where Shadi’s UK breaks influence comes through. A characterful vocal sample features throughout the intro before we enter a world of unusual sounds. The beats are, once again, impeccably executed, accompanied by a dubby bassline and an ever-evolving cacophony of squelchy sounds and chirps. Running at just over 9 ½ minutes, ‘Pressure’ sees Shadi flexing his creative muscles with a heady, expansive composition that invites us on a deep musical trip.

Finally, ‘The Poet’ closes out the EP on an emotive tip. The track is dedicated to the Palestinian poet and activist Refaat Alareer, who was killed during an airstrike on Gaza in December 2023. It utilises Refaat’s powerful poem If I Must Die, with the spinetingling words taking centre stage, as Shadi’s beats, bass and bright pads provide the backdrop. A piano-led melody appears in the latter part of the track, amplifying its emotionally-charged atmosphere. A wonderfully imagined homage to a martyr for peace. As the samples state, Let it bring hope…

A true royal rebel without a cause joins the Step Ball Chain chosen family. Berlin psy-con Yazzus presents a sexy sweatfest; a four track original EP featuring DJ Fuckoff of tech-trodden club stompers that will shake and break you. Operating in a lane of her own, she draws on her UK roots with bass laden bounce and never forgets to add that sapphic touch crucial to SBC. “Rebel Royale” is keeping techno freaky, cheeky and ahead of the curve.

Quintessentially out of control, elements of tension and release are toyed with throughout all the tracks, the building and driving addictive synth work in Venom & Vision; Serpent’s Rising sending even the most sane into a spiral. Basslines come thick and heavy, chunky by nature and particularly prevalent in Delicately Mad and My Lipgloss My Rules, they are the backbone of the record. Don’t get it twisted, this isn’t some run of the mill techno; the modular bleeps and freakouts, FX and vocals are wired and inspired; the glue showcasing Yazzus’s fully sick technical abilities. Last but not least, she entails the help of friend DJ Fuckoff; haunted slippery vocals are a match made in heaven for the percussive psy workout Erotica.

Repress alert! For the first time since its initial release in 2019, Voyage proudly present a repress of Huerta’s debut album Junipero. With copies changing hands on the second-hand market for £90, here’s a chance to own this cult classic!

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for. Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience; a long player capable of taking you to an elevated state of mind.

Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019

Sleeve Design: Sam Donaldson

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Gold Nugget Vinyl, limited to 400 copies. Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025

Under his Orion Westbrook alias, the man cooks up some serious heavy-hitting house grooves with a funky twist that hits just right. Side A brings the heat with Pasadena’s own queen Moniquea, laying down her signature style — smooth, confident, somewhere between singing and rapping, and always on point. She glides effortlessly over this modern boogie gem, oozing style and swagger. The wildest part? These two only met once — but the chemistry is undeniable. Flip it to Side B and you’re treated to the sultry voice of Mae Rojas, a familiar name from the Cee-O-Funk sessions. Her sweet R’n’B flavor blends perfectly with a catchy, cosmic-tinged beat that’s equal parts seductive and futuristic. Personal but danceable — the kind of cut that lingers. Both tracks walk the line between dancefloor fire and laidback cruise, and that’s the magic here — funky, versatile, and 100% fresh.

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Dogs Of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. This one marked a period of changes for Saxon, both in their sound and lineup. Thanks to early ‘90s albums like Solid Ball Of Rock and Forever Free, Saxon convinced many skeptics that they still have plenty of quality heavy metal to offer and after a three-year recording hiatus, the band returned to glory with the massive-sounding Dogs Of War. Once past its thunderous opening title track, Dogs Of War delivered a slew of improbably memorable and distinctive numbers, including ""Big Twin Rolling (Coming Home),"" ""The Great White Buffalo"" and ""Demolition Alley."" It was also the last album with longtime guitarist Graham Oliver as a member of the classic formation, who left shortly after the album release. Dogs Of War is available is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

Dogs Of War by Saxon, released 12 April 2024, includes the following tracks: "Don't Worry ", "Hold On ", "Demolition Alley ", "Give It All Away " and more.

This version of Dogs Of War comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

DJ Support: DJ Harvey, Masalo, Mendel, Antal

Dutch edit maestro Pete Blaker debuts on RNT with a pair of extended play summertime heaters!

LOVE AND DEVOTION has been a staple in Harvey’s sets this year, and for good reason; it’s quite simply a disco banger of legendary proportions that reaches peak after peak in the course of its nearly 16 glorious minutes.

On the flip DISOC takes us on a deep and mystical journey, with pulsing bass, shimmery synth and guitar work, swirling strings building to a climactic vocal hook. This 12” is a callback to the early double A-side days of RNT, with a pair of tracks that are worth their 180g weight in dancefloor bliss!

Als Künstler und Performer hat Jamie Lidell ein höllisches Leben geführt, das ihn von der Avantgarde über Clubland-Hedonismus bis hin zum Mega-Mainstream und allen Punkten dazwischen katapultierte. Er hat verschiedene Persona angenommen - vom gesichtslosen, namenlosen Techno-Produzenten bis zum extravaganten Showman. Er hat monströsen Lärm und süße Musik gemacht. Er hat in Kunsträumen, Rave-Dungeons und auf einigen der größten Bühnen der Welt in einem Wirbelwind der Kreativität performt. Doch seit seinem Umzug nach Nashville und der Gründung einer Familie erlebte Jamie Lidell Isolation und Introversion. Indem er mit seiner eigenen Neurodivergenz konfrontiert wurde, musste er seine Beziehung zu sich selbst, seine Geschichte, seine Musik und seinen kreativen Prozess komplett neu bewerten. Und all das drückt sich nun in 'Places of Unknowing' aus, seinem ersten Album seit fast einem Jahrzehnt - eine karge und schöne Abkehr von allem, was er je zuvor gemacht hat.

Sneaker Social Club is pleased to direct your attention to this sparse and weighty club gear incoming from a sizeable new talent on the scene, Beton Brut.

Following on from his previous drops on Plasma Sources and Coyote Records, Beton Brut steps onto this latest platter with a surefooted sound. It’s informed by weightless grime, minimal techno and brittle electro, but he carves his own incisive path towards the hoods-up-heads-down Dancefloor.

This is stark, moody gear to get lost in — the dexterous sound design slipping around the rhythm core of ‘Tobacco Earthworm’; gleams in high-definition, but never at the expense of the eerily stripped-back atmosphere. ‘Booters’ snips up a clutch of clippings from grime and scatters them across the timeline in a scrapbook style, making a deadly, dislocated love letter to the sound in the process. Approaching mutant, hybrid club music with a considered poise, this is exactly the kind of forward-thinking bassweight gear that Sneaker thrives on.

Bruch once again proves to be a grim and bighearted crooner and multi-layered genre-bender between repetitive pulsating electronic music and brilliant organ minimalism, between destructive rock'n'roll and world-embracing pop. Bruch is Philipp Hanich's alter ego as a music producer. Born and raised in Munich / Germany, he has been living and working in Vienna / Austria as a visual artist and musician for 20 years now. He is equipped with a long pedigree of DIY-counterculture, gathered since the early 2000s whilst touring with different bands, creating off-spaces and co-running the labels Totally Wired Records (2012-2016) and Cut Surface (since 2016). The Harbour of the Broken Hearted (THOTBH) can be a state of mind, ramshackle but transcendent. Oscillating between the repetitive pulses of electronic music and organ-orchestrated minimalism, Bruch throws out comforting loops of sound just like fishing nets, that suck you into his stories unwaveringly. His evocative and unadorned vocal style adds to Bruch's depth, soul and sincerity. Drifting and driven amidst uplifting gloom. At times, solemnly striding against foggy and dogmatic black-and-white-thinking, rearing up in opulent resistance, then again just hopelessly beautiful and achingly wistful. Occasionally, Bruch's laid-back observations can also end in a wild ride. By introducing The Crusher, Bruch enters the harbour with full sails of self-reflexion - and we realize, sometimes it's all just about having to endure yourself. Or_ is it all about love? In the end, each and every of THOTBH's songs turns out to have a cathartic quality. Bruch's THOTBH might not be a safe space, but it accepts us as we are. With our doubts, our own frailties and our shortcomings. No need for embarrassment within the fragile. No need for shame and fear in expression. No need to shy away from creating something beautiful. You better learn to spell ,Sehnsucht" - as it turns out to be the everlasting keyword!

Der Bandname hat sich geändert, von easy zu hart, doch die Musik bleibt genauso mitreißend, beats-lastig,
ironisch und auf die Zwölf wie bereits in den vergangenen Jahren.
Nach einem Rechtsstreit mit dem Großkonzern easyJet (2023) musste die Band rund um Frontman Murray
Matravers ihren Namen von easy life zu hard life umändern.
Nun melden sich die britischen Durchstarter zurück und veröffentlichen am 18. Juli ihr neues Album
„onion“.
Besonders in Großbritanien feiert die Band bereits große Erfolge: Mit 2 Alben, die beide auf #2 der UKCharts landen, 3 NME-Nominierungen bis hin zu Auftritten auf dem Glastonbury-Festival, ausverkaufte
Headline-Shows im Londoner Alexandra Palace und Kollaborationen mit Arlo Parks, Kevin Abstract und
FINNEAS.
Als Nachfolger von „MAYBE IN ANOTHER LIFE…“ (2022) befasst sich das neue Album „onion“ mit
Themen wie Trennungen, persönlichem Wachstum, sowie dem Mut, sich wieder selbstzufinden.

Turning heads with their unique blend of garage, psych, punk rock Bad Bangs played across notable festivals and club shows throughout a 23 show run in 2024. Making waves at Left of The Dial (NL), Leffingeleuren (BE), Truenorayo (ES) and Gliding Barnacles Festival (PT) Bad Bangs make a charging return to the 2025 European Summer festival circuit. Their 2024 sophomore release Out Of Character was the first offering since their debut album Character Building. Somewhere between punk and country, folk and psych, Bad Bangs find themselves Out Of Character. The Melbourne based outfit's sophomore album bends across genres to form a unique soundscape of their own. Live tracking with the masterful Paul Maybury (Cash Savage & The Last Drinks, The Murlocs) captured the bands enigmatic live energy, whilst mastering by Jim Diamond (Ghetto Recorders, The White Stripes, The Dirtbombs, The Gore Gore Girls) secured the signature gritty sound of Bad Bangs. The album arrives with the punchy, punk-laced opening track Contest, which questions the fabric of an industry hell bent on image and conformity, and concludes with the psych infused Wild Mess which laments the shifting state of the natural world. Themes of social and environmental unrest swirl in the undercurrent of an album reflecting on immediate frustrations and personal reflection. With a staple cult following in their hometown of Melbourne, Bad Bangs have supported a high caliber of contemporaries over the years such as Shannon and The Clams, The Murlocs, Rolling Blackouts Coastal Fever and Chastity Belt. Bad Bangs Out Of Character is set for re-release through Beast records (FR) and locally released via Blossom Rot Records (AU&NZ) (Snowy Band, Cassie Ramone and more) Bad Bangs are part of Ya Ya Yeah's booking roster throughout EU. Bad Bangs members are Shelby De Fazio, Tim Ryles, Sophia Lubczenko and Gab Portocarrero.

*US IMPORT**
The coming together across the globe to meet in the city of Detroit. TIP!

Am 14. Juni 2023 ist DJ Patex nach langer Krankheit gegangen. Wohin, das wissen wir nicht genau. Darüber werden wir uns heute auch nicht einig. Der Autor dieses Textes will jedoch ahnen, dass sie dort – frisch angekommen – erstmal von ihren vorausgegangenen Lieblingshundis überrannt und abgeschleckt wurde. Der Autor mag dieses Bild. Auch weil Patex sich zeitlebens mit Hundis leichter getan hat als mit Menschen. Hunde durften bei ihr alles, was sie vom Menschen getrennt hat: Parolen kläffen, Eigentum heranzerren, egoistisch und unterkomplex sein. Nie hat sie auch nur einem Hund jemals etwas krumm genommen. Der Menschheit begegnete Patex eher mit pessimistischen Sätzen: „An Allem ist zu zweifeln“ ist so eine Feststellung. Oder: „Nur Weil Du Mir Deine Wunden Zeigst Bist Du Noch Lange Nicht Mein Heiland“.
Damit wären wir auch bei der A-Seite der vorliegenden Single. Sie berührt. Ihr Text zeigt in viele Richtungen. Die Coverversion von Mitpudeln enstammt ihrem finalen School-Of-Zuversicht-Album und dokumentiert eine Patex, die an ihrer schweren Krankheit gewachsen ist, statt zu brechen. Auch weil sie sich erlaubt hat, ihre typische Skepsis mit einer Art Camu’schen Akzeptanz zu tauschen. Denn Ablehnung hat in ihrer Situation nicht gegriffen, sie hätte alles viel schlimmer gemacht. Nicht das Nicht-leiden oder gar das Nicht-leiden-wollen besiegt das Leid, sondern dessen voll umfängliche Akzeptanz. Das hat sie einfach genial hingekriegt. Und damit vielleicht das Leben und den Tod gleichzeitig besiegt. Noch besser: Für diese Erkenntnis musste sie nicht einmal ihren Pessimismus über Bord werfen. Denn auf einer Ebene, viel weiter im Vordergrund, handelt das Lied natürlich vom Mitleid, oder besser Mitleiden. Mitleid gerät in Schieflage, wenn wir vergessen, worum es wirklich geht. Empathie verbindet uns mit der Welt, sie erfüllt uns. Sie eignet uns aber allzu schnell das Leid anderer an, ohne dass wir selbst wirklich leiden müssen. Und wenn wir nicht aufpassen, dann macht sie uns selbstgewiss.
An Allem ist zu zweifeln, merkt Euch das. Außer daran, dass uns Patex fehlt. Uns fehlt was sie umtreibt und die Fragen, die sie uns schenkt. Und dass die umwerfende B-Seite, die uns über Hans Nieswandt aus Südkorea erreichte, nur ekstatisch tanzend erklärt werden will — und daran, dass Ihr Euch jetzt diese Single kauft. Text: Sebastian Reier

Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Protector Edition: Amethyst Swirl Vinyl. Mit "Sharon Van Etten & The Attachment Theory" präsentiert Sharon Van Etten eine aufregende neue Dimension ihres Sounds und Songwritings. Zum ersten Mal wurde das Album in völliger Zusammenarbeit mit ihrer Band - Jorge Balbi (Schlagzeug, Maschinen), Devra Hoff (Bass, Gesang) und Teeny Lieberson (Synthesizer, Klavier, Gitarre, Gesang) - geschrieben und aufgenommen, was Van Etten genau die Freiheit gab, die sich aus dem Loslassen ergeben hat. Die Themen sind zeitlos, klassisch Sharon, aber die Klänge sind neu, vollständig realisiert und scharf wie Glas. Diese neue Herangehensweise begann während der Proben in der Wüste für eine bevorstehende Tournee, als Van Etten ihre Band in den kreativen Prozess einbezog: "Zum ersten Mal in meinem Leben habe ich die Band gefragt, ob wir einfach jammen können. Worte, die nie aus meinem Mund kamen - niemals! Aber ich liebte alle Sounds, die wir bekamen. Ich war neugierig - was würde passieren?" Offenbar Magie. "In einer Stunde schrieben wir zwei Songs, aus denen schließlich "I Can't Imagine" und "Southern Life" wurden." Das Album wurde im ehemaligen Studio der Eurythmics, The Church, aufgenommen, das perfekt zu der mystischen Mischung aus Elektronik und analogen Texturen der Band passt. Die Produzentin Marta Salogni (Björk, Bon Iver, Animal Collective, Mica Levi) war sowohl als Bindeglied als auch als Produzentin unverzichtbar, da sie "die Synthesizer liebte und einen Sinn für Abenteuer hatte" und es verstand, "die Dunkelheit und die einzigartigen Klänge zu umarmen, die wir während des Schreibprozesses entwickelt hatten", so Van Etten. Über diese neue künstlerische Geisteshaltung und die Kunst des gemeinsamen Schreibens sinniert Van Etten: "Manchmal ist es aufregend, manchmal ist es beängstigend, manchmal fühlt man sich festgefahren. Jeder Tag fühlt sich ein wenig anders an - einfach in Frieden zu sein mit dem, was man fühlt und wer man ist und wie man in diesem Moment zu den Menschen steht. Wenn ich einfach offenbleiben kann und gleichzeitig weiß, dass sich meine Gefühle jeden Tag ändern, ist das alles, was ich im Moment tun kann. Das und versuchen, die beste Person zu sein, die ich sein kann, während ich andere Menschen so sein lasse, wie sie sind, und es nicht persönlich nehme und einfach nur bin. Ich bin noch nicht so weit, aber ich versuche, jeden Tag so weit zu sein." Mit "Sharon Van Etten & The Attachment Theory" vertieft Van Etten den Diskurs, der einen Großteil ihres Katalogs belebt, und erforscht, was es bedeutet, einfach nur ein Mensch zu sein. Das ist ihr Genie - schräg, aber auch relevant und persönlich.

Nach dem überwältigenden Erfolg seiner globalen Smash-Single "Ordinary", die auf Platz 1 der Global Charts landete, Platz 3 der Deutschen Single Charts erreichte und bislang über 650 Millionen Streams generierte, ist Alex Warren bereit, die Musikwelt erneut im Sturm zu erobern: Für den 18.07.24 kündigt er nun sein mit Spannung erwartetes Debütalbum "You'll Be Alright, Kid" an!
Neben den Titeln des ersten Album Parts, wie z.B. die Standout Tracks "Carry You Home" und "Before You Leave Me", enthält das neue Werk die Erfolgssingle "Ordinary" sowie seine neueste Single "Bloodline" mit Jelly Roll - und natürlich viele weitere brandneue Songs!

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Jugoton Funk is back with a second instalment gone funkier and crazier than before - now capturing even the early 80s disco and folk decadence occurring after Tito’s death. Jugoton, the Yugoslavian discography leader by all standards, still incites our inspiration and keeps our fingers dusty for more beats, soul and jazz presented here in equal proportion. From unreleased Jugoton associated numbers by Spektar and breakbeat bombshell classics like Zlatokosa to early Yugoslavian Soul Finger renditions and groovy jazz infusions from Josipa Lisac - this compilation rounds it all up. Enjoy it while we take another 5 years to get to Vol.3.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

Yowzers is a new album by Chicago composer, improvisor, and musical folklorist Ben LaMar Gay. Yowzers features Gay"s working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice), as well as guest instrumentalist Rob Frye and a mini-choir. The album recalls the high-minded freedom of Liberation Music Orchestra, the glitched-out electronic webs of Robert Aiki Aubrey Lowe, the unbridled rhythms and sandpaper bellows of Bukka White, and the harmolodic cartoon glory of Arthur Blythe"s Illusions. It"s all there, filtered through an improvisational approach and a lifetime of secrets embodied. For a man who has inhabited and traveled these continents so extensively, it"s safe to call this work true "Americana", despite what that word might mean to the average person in the United States.

Wet Leg sind endlich zurück – und veröffentlichen am 11. Juli ihr neues Album moisturizer. Parallel dazu erscheint eine 7-Inch-Vinyl mit zwei Songs daraus: „davina mccall“ und „CPR“. Beide Tracks stammen aus dem mit Spannung erwarteten zweiten Album und zeigen erneut die stilistische Vielseitigkeit der Band. „davina mccall“ glänzt als bittersüße Ballade, in der Popkultur-Referenzen auf echten Herzschmerz treffen – irgendwo zwischen Shakira und britischem Reality-TV. „CPR“ hingegen ist ein ironisch gebrochenes Liebeslied mit düsterem Unterton: „Is it love, or suicide?“, fragt Rhian Teasdale im Refrain. Der Song beginnt zurückhaltend und entlädt sich in einer kraftvollen Hook – ganz im typischen Wet-Leg-Stil: scharf, verspielt, unvorhersehbar.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

Martin Scorsese ist einer der wichtigsten Filmregisseure der New-Hollywood-Ära. Dank Filmen wie »Taxi Driver« (1976), »Raging Bull« (1980), »The Wolf of Wallstreet« (1986), »Goodfellas« (1990), »Casino« (1995) und »The Irishman« (2019).

Außerdem erhielt Scorsese zahlreiche Auszeichnungen, darunter einen Academy Award, vier BAFTA Awards, drei Emmy Awards, einen Grammy Award und drei Golden Globe Awards. Hier sind Songs von Dean Martin, Frank Sinatra über Ella Fitzgerald, Dinah Washington, sowie Howlin Wolf und John Lee Hooker vertreten. Auf dem vorliegenden Soundtrack-Album sind somit 21 Stücke aus der Filmmusik der erfolgreichsten Scorseses Film-Meisterwerke enthalten.








h Walk on the wild side part 1 (1962) from casino & the color of money








h Walk on the wild side [part 1] (1962) from casino & the color of money








[h] Walk on the wild side [part 1] (1962) from casino & the color of money








[h] A8 | Walk on the wild side [part 1] (1962) from casino & the color of money

Mannequin Records presents Artificial Salvation, the long-awaited next chapter from Taiwan-born, Berlin-based artist Jing. A visceral journey into fragmented identity, post-human desire, and sonic disobedience, the album marks a bold evolution in Jing's unmistakable language—where rhythm is weapon, voice is distortion, and silence is political.

Known for her uncompromising DJ sets and past releases exploring industrial textures, field recordings, and haunting spoken word, Jing now delivers her most narrative-driven and confrontational work to date. Artificial Salvation lives at the intersection of club dystopia and spiritual unease: glitched-out techno structures collide with ghostly chants and collapsing machinery, echoing themes of surveillance, digital exile, and existential displacement.

Crafted between Taipei and Berlin, the album draws from a palette both hyper-modern and deeply ancestral—melding broken beats, noise, and vocal manipulation into an unflinching statement of intent. This is not music for escapism. This is a sonic exorcism.