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“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

“Yeah Yeah Yeah just arrived out of the blue. I just took a chance. I had some ideas for a new album I’d been working on, but we weren’t planning on recording until the year after. It all happened very fast. There was a window of opportunity- youth was free, the studio was free, and the band were free- and I thought, let providence prevail. No one had heard the songs apart from myself and Alan McGee, but we both thought that we had something. You could feel it, even though none of the songs were really finished, and so we decided to roll with it and go and record them. I think with Yeah Yeah Yeah it was more than just trying to capture a vibe- it was about trying to record something majestic, which is how youth describes the record. There are gospels and strings on tracks like Free Love and don’t look away, which have kind of turned into these massive anthems. It has P.P. Arnold as a featured vocalist on a couple of tracks- the first, the single poison vine, which has a groove and a blistering chorus. She’s also on another song that’s a psychedelic funk track: the way it’s gotta be (oh yeah). Songs like Teardrops or Birds Heading South- we’ve tried to capture that classic, slightly
Wistful theme- whereas the weight of the world just rocks out. There’s also a little acoustic track to break it all up called the devil and the deep, which is a favourite of mine. We recorded the album over in Spain at space mountain, Youth’s studio, way up in the mountains, just as the almond trees were in blossom- which I took as a good omen for the session”.

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

Originally released in 1994, GVSB’s second full-length release for Touch and Go Records, Cruise Yourself, is characterized by catch vocal lines wrapped in a sonic double-bass low end. Guitars filter in and out of songs driven by heavy powerhouse groove drumming. There is noise, there is melody. “Tucked In” churns, “Kill the Sexplayer” pounds relentlessly, “(I) Don’t Got A Place” glides, and “Psychic Know-How” blows your head off… but you regain it immediately in the ominous groove of “Explicitly Yours.”

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

Rough Trade Records freut sich, das fantastische Debütalbum von Tyler Ballgame ankündigen zu dürfen: For the First Time, Again erscheint am 30. Januar 2026. Mit zwölf Songs, die zwischen Classic Rock, Indie und Americana oszillieren - Ballgame zeigt, wie große Stimmen und starke Melodien Herzen bewegen und Horizonte öffnen können. Die erste Single I Believe in Love, eine hymnische Mischung aus Lennon und Orbison, ist ab sofort mit Video erhältlich - gefilmt von engen Freunden in Ballgames WG. Entstanden am Küchentisch und inspiriert vom Rat seines Produzenten Jonathan Rado ("Schreib den größten Song der Welt"), wurde daraus eine Ode an die Liebe selbst - und an die Narren, die sie macht. Produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus) und Ryan Pollie (Los Angeles Police Department), bringt das Album analoge Wärme, akustische Energie und üppige Harmonien zurück - mit Unterstützung von Amy Aileen Wood (Fiona Apple) am Schlagzeug und Wayne Whitaker am Bass. Ballgames Weg hierhin war alles andere als geradlinig: Vom Kellergeschoss in New England über Coverband-Auftritte in Rhode Island bis hin zum mutigen Neustart in Los Angeles. Offenheit, Risiko und der Glaube an sich selbst prägen seine Songs - und werden live zur großen Bühne.

The label ORED Recordings was founded in 2013 by Circassian friends and fellow musicians Bulat Khalilov and Timur Kodzoko, in order to start an activity which is dedicated to documenting and preserving the traditional and post-traditional music of the North Caucasus. Khalilov and Kodzoko, were just as excited about this music as it sounded like a force that transcends borders and in which time dissolves and community becomes the only compass.

Through hundreds of field recordings, which have been made at communal gatherings, local festivities or family meetings, the label has captured a wide range of individual voices and their unique acoustic manifestations. All recordings on this album capture the raw expressiveness of the mountainside villages. Music performances being played by people who dedicate their love to music and an additional willingness to share intimate emotions.

Whereas most academic ethnomusicologists travel around the world in order to study foreign cultures, Bulat Khalilov and Timur Kodzoko were fascinated by what they just heard in the familiar regions of their then home town Nalchik. In resolute contrast to Russian academic circles, they soon developed a DIY Punk ethos for their far reaching work, beginning to formulate their own language in the field of ethnomusicology and to push the traditions forward.

However, the label’s work goes far beyond mere preservation. »We started traveling around the North Caucasus and did recordings with people from many different ethnic groups. In the North Caucasus, our work had a political dimension because there used to be (and still are) a lot of conflicts between different ethnic groups. We quickly understood that our work is not just about music and art,« states Bulat Khalilov.

The work of the label aims to reflect not only the great music of the Caucasus and its various communities but also to tell the stories behind it. They are stories of struggle, of independence, of working with historical memory in the present times of the 21st century.

Since Bulat Khalilov and Timur Kodzoko are now based at the University of Göttingen, we were able to meet each other many times and to eventually exchange ideas which resulted in the release of this collection of recordings. The compilation »Music from the Caucasus« provides a first introduction to the comprehensive work of ORED Recordings. For this collaborative release on TAL the recordings are being made accessible for the first time ever on vinyl, CD and various digital formats, all coming with extensive liner notes and yet unpublished photographs.

Bulat Khalilov and Stefan Schneider, November 2025

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

Adventure's self-titled 2000 debut is finally getting the reissue treatment, remastered by Jacob Holm-Lupo. This album got great reviews at the time, and helped kickstart a new Norwegian prog scene. The music was inspired by bands like Kansas, Uriah Heep and Camel, with an added touch of folk music. ADVENTURE is the brainchild of the Norwegian multi-instrumentalist Odd Roar Bakken, who had 23 years of experience in Rock bands playing guitars & mandolins, and singing in bands like Tammatoys and Nordagust until 1990, when he met Nils Larsen, Torkel Aune and eventually the talented guitar player Terje Flessen. They started working together, each time getting closer to the Symphonic sound they aimed for But they still had a hard time finding a singer that could fit their style - until 1995 when they finally met Verbjorn Moen. They soon started work on their self-produced and self-released, self-titled debut album, a process lasting all the way until November 1999, with a release in the year 2000. The album is a great expression of Symphonic Prog - inspired mostly by Camel, but with an added hard rock influence from bands as Ayreon and Uriah Heep. The lineup of their debut album is consists of Odd-Roar Bakken (Keyboards, Acoustic Guitar, Mandolin, Lead Guitar and Backing Vocals), Terje Flessen (Lead Guitars, Rhythm Guitars, Acoustic Guitars and Bass Guitars), Vebjorn Moen (Lead Vocals and Backing Vocals) with some guests like Elisabeth Nilssen and Stine Mostervik on flute and Stein Egil Bratland on drums and backing vocals. ADVENTURE is a rare example of a band that didn't played Progressive Rock by nature: They set out to perform music in the vein of the classic symphonic prog genre - but adding some Norwegian Hard Rock, inspired by the Byron & Thain Uriah Heep line-up, something entirely different manifested itself.

Forked tongue stuffed deep in their cheek and rubber baby masks stretched over their heads, Ty & the Muggers bottle the free spirits of the Emotional Mugger tour, then heave them into the audience on this stomping BBC performance from 2016. Gloriously guttural and blown-out sonics support Ty"s all-to-the-wall vocal performances on every song. "LIVE" "AT" "THE" "BBC" puts the "sick" back into "satiric" and the "the fuh!?!" back into "FUN!". One side has all the music, the other side"s got a rendering of the babyman mask that"s haunted so many punters over long nights of the soul since then.

Building logically on the natural development of their two previous collections, this time the fearless threesome can be heard roaming further than ever before into the uncharted hinterlands where the deep jazz tradition of the classic tenor trio format, laden with melody and swing, ventures into the untamed regions of free improvisation. At the heart of the band is the unmistakable beat of drummer Spike Wells, who this year celebrates his 80th birthday and the 65th year of his extraordinary career at the forefront of jazz in the UK, providing the driving force behind everyone from homegrown heroes Tubby Hayes to Bobby Wellins to visitors like Stan Getz and Roland Kirk and countless others. Riding at his side to represent the current Londonbased millennial cohort is saxophonist Riley Stone- Lonergan , whose intriguing compositions and boundless creative imagination as an improvisor continue to add to his burgeoning reputation.

Representing the diversity of tastes and interests and uncompromising creative stance typical of Gen X, big- toned bassist Eddie Myer rounds up the posse. The trio initially got together through their mutual love of Sonny Rollins' touring pianoless trios of the late 50s and early 60s, but soon found themselves expanding their repertoire to explore the rich and varied territory opened up by their unique combination of individual tastes. This album is their most coherent, wide-ranging and adventurous set of recordings yet. From Ayler to Strayhorn, from be-bop to calypso, from cowboy movie to free-jazz shootout, there's a surprise at every turn, but always delivered with total sincerity and conviction and a driving desire to bring the audience with them every step of the way. 'The Rule of Three' is a bold and confident statement of intent from a real long-term project that's as invested in the music's future as it is inspired by and reverent of its past.