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With Texas- sized defiance and drive, he's spent four decades flying the flag for his own brand of honky-tonk, outlaw country, western swing, and rockabilly. That signature sound has a name -- "Ameripolitan" -- and its originator is Watson himself: a singer, songwriter, guitarist, producer, actor, cultural architect, and rulebreaking traditionalist for the modern world, championing the traditions that fly in the face of the homogenous mainstream. With Unwanted, he fires another doublebarreled shotgun blast of country twang and honky- tonk bang fueled by the heartaches, hard- won lessons, and high- speed thrills of a life largely logged on the road. Singing with a booming voice that could cut through the chaos of a packed dancehall, Watson runs the show like a roots-rock ringleader. He salutes his vices on the galloping "Willie Waylon and Whiskey," reflects upon a lifetime of loss with the gorgeous ballad "If You Really Loved Me (Outlive Me)," and gets wistfully contemplative on "Life is Like a Song." Entirely written and produced by Watson, Unwanted is the sound of an Ameripolitan diehard with plenty of life left in the tank, speeding toward a horizon of his own making.

Time spent drifting from the northwest to Mexico to New Orleans and now to Montana has kept her off of the industry's radar until recently. Now, following her Newport Folk Fest appearance, she opened concerts for Big Thief and the Deslondes. Her performances on the Western AF have combined to garner over 200k views with the tastemaker site calling her "the GOAT." Cavazos' fans include Esther Rose, Benjamin Todd (Lost Dog Street Band), Riley Downing, Chris Acker, and Luke Bell. She collaborated as a member of a band (called Sundown) with Alynda Lee Segarra (of Hurray For the Riff Raff) and Sam Doores (of The Deslondes), the latter of whom produced this album.

It's a realisation that the ground beneath our feet is alive, and we're all just passengers on its pulse. It's that hum of dread and wonder that defines Armed For Apocalypse's fourth full- length album: a towering, grooved- out, post- metal monolith carved from grief, power, and purpose. Formed in Chico, California between longtime friends Nick Harris (drums) and Cayle Hunter (guitar), Armed For Apocalypse is a what- if turned war machine. Over the years, the band has endured enough shakeups and setbacks to bury most acts: relocations, divorces, day jobs, family changes and not to mention complete lineup overhauls. But where others fractured, AFA sharpened.

One which lyrically questions some of the radical changes affecting society. A society of increasing division and tension. Social media, influencers, online dating, the distraction of mobile phones, young adults financially trapped in the family home, AI, and bullying: are all scrutinised. Musically, the style has moved on since the last album, 'Things Are Getting Stranger On The Shore'. New members, Luxagen (keys, vocals) and Steve Thompson (bass) have added their considerable musical talents to an already strong line up of Mordecai (vocals, guitar) Tabitha (Sax, clarinet) and Michael Creech (drums, percussion). The new direction tips a nod to the "Art Rock" and "New Wave" music of the 1970's, with plenty of modern innovation in store to keep things sounding fresh and exciting. Previously, Mordecai Smyth has worked with Terry Bickers (House of Love/Levitation) and recently played live shows supporting Bickers' new band. He has had three albums released by Mega Dodo and has written soundtracks to historical films for the British Film Institute. 'Gather The Scattered Mind' is limited to 100 copies, comes in a gatefold sleeve with lyric insert.

'The 1975 return new album, ‘Being Funny In A Foreign Language’, which will be released on 14th October via Dirty Hit.

The band’s fifth studio album was written by Matthew Healy & George Daniel and recorded at Real World Studios in Wiltshire, United Kingdom and Electric Lady Studios in New York.

Formed in Manchester in 2002, The 1975 have established themselves as one of the defining bands of their generation with their distinctive aesthetic, ardent fanbase and unique sonic approach.

The band’s previous album, 2020’s ‘Notes On A Conditional Form’, became their fourth consecutive No. 1 album in the UK. The band were named NME’s ‘Band of the Decade’ in 2020 after being crowned ‘Best Group’ at the BRIT Awards in both 2017 & 2019. Their third studio album, ‘A Brief Inquiry Into Online Relationships’, also won ‘Mastercard British Album of the Year’ at the 2019 ceremony.

The Swallows were one of Singapore’s standout bands of the 1960s, rising from the explosive Pop Yeh-Yeh movement, the regional response to the global beat-band wave, with strong garage-rock roots. Fusing surf rock, early Beatles-inspired pop, and gritty, fuzz-laden guitars with a distinctly local sensibility, they became youth icons of the era. Defined by sharp suits, infectious melodies, and a rebellious spark, The Swallows captured the restless energy of post-independence Singapore, securing their place in the island’s golden age of bands and in the wider story of Southeast Asian rock.

Single cut from the compilation album “ISLAND LOVE ~Song For Lovers~” arranged by HAKASE-SUN, also known as a member of Little Tempo and ex-Fishmans!

This is the second 7"single cut project from the album"Ghibli HOUSE essential PIANO set", which blends the beautiful melodies of the original Ghibli classic songs with the vibrancy and exuberance of house!

"Kaze Ni Naru" is a refreshing arrangement of the theme song for the movie"The Cat Returns"released by Ayano Tsuji in 2002. The song incorporates the essence of house music without losing the bright atmosphere of the original. The B-side "Kimi Wo Nosete" is an instrumental cover of the theme song for "Castle in the Sky," written by Hayao Miyazaki and composed by Joe Hisaishi in 1988. The beautiful melody with a hint of sadness is reworked in an up-tempo style, making it perfect for floor use. A must have for Ghibli and house fans!

What is Tentacletek? Don't you know? Then listen to the new album by those fellow underwater friendos LOS PULPITOS. The two legendary music producers Felipe Salmon (Dengue Dengue Dengue) and Dirk Leyers (one half of Closer Musik and A08 formerly known as Africaine 808) have spent the last two years in seclusion deep down in their hidden diving station creating a bigger than life wave breaker album! From the very first track, gently gyrating, digitally processed, electro-acoustic sound tentacles spiral into your techno ears. These seducing limbs will suck you directly to all the festival dancefloors of the seven seas. Caribbean 3/4 disco polyrhythms meet state of the art techno UK dubby bass music.

"Mola Mola" floods your body as if you had fallen into the Mississippi and been dragged back to Atlantis by Drexciyans. While the wonderfully deep, monstrous dancehall-like bass of "Lab Lab" describes the metallic burst of a sinking spaceship. The cumbia-dancehall-drum&bass "ii ii ii" effortlessly equalises that pressure. In the Bermuda Triangle, a well-camouflaged "Antennariidae" fishes for its diving listeners with endless deep dub, giving them ice-cold shivers down their spine until all their legs and teeth are rattling voodooesque. "Sirens" sings of West London broken-beat strings while "Squidler" gallops fluidly on a seahorse down the Aquabahn straight to Detroit. "Catfishy"! rides in the wildest water bull in reverse-cowboy rodeo style. "Pannetronica" overflows like an Abyssopelagial pool?

LOS PULPITOS debut album is a wonderfully playful and stringent, excellently produced electronic concept album. The 10 tracks are unrivalled in their merciless yet extremely balanced bassiness.

(Mirko Hecktor)

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than 15 years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album ‘Andros Insidium’. On ‘Andros Insidium’ Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful. Sonically ‘Andros Insidium’ is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, ‘Andros Insidium’ suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice. * New solo album of Leila-Abdul Rauf of VASTUM (also has played in Amber Asylum, Hammers of Misfortune, and others) * Dark and heavy mix of Dark Ambient, Industrial, Ritual / Neo Folk, Electronic

* FFO: Dead Can Dance, Diamanda Galas, Arcana, Amber Asylum, Jarboe/Swans, Chelsea Wolfe, Cold Meat Industry

Von den Medien (Les Inrocks, Konbini, Yard…) als einer der vielversprechendsten Newcomer des französischen Rap beschrieben, machte sich Josman mit seinen Mixtapes „Matrix“ (2016) und „000$“ (2017) einem breiten Publikum bekannt. Als Rapper, der sich in allen Stilen zu Hause fühlt, legt Josman großen Wert auf seine Melodien und den Einsatz seiner Stimme, untermalt von den Produktionen seines langjährigen Partners Eazy Dew. Weit davon entfernt, sich anzupassen, bahnt sich Josman seinen Weg in einem originellen Universum. Mit seinem ästhetischen Geschmack und seiner Lässigkeit verkörpert er den Storyteller, der authentisch bleibt.

Purple Haze started out in Linköping in 1981. When singer Christer Göransson joined them towards the end of the year, they soon changed their moniker to Genocide (after the Judas Priest song of the same name) and supported local metal heroes Axewitch. A final name change was to follow: In August 1983, the band, now called Mindless Sinner, recorded a four-track demo entitled »Master Of Evil«, consisting of the title track, “Broken Freedom”, “Key Of Fortune” and “Screaming For Mercy”. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album with an awful cover and getting the band’s name wrong (spelling it Mindless Sinners). By then, the line-up of the band was Anders Karlsson (bass), Magnus Danneblad (guitar), Jerker Edman (guitar), Tommy Johansson (drums) and vocalist Christer Göransson. »Master Of Evil« originally saw the light of day on Fingerprint in January 1984. Christer Göransson takes us back to the early days of Mindless Sinner saying: “We wanted to record an album, but we couldn’t afford the studio cost. We were lucky to win a music contest, and the price money paid for the studio. I remember walking into the studio, and we thought it was like a spaceship in there, with all the buttons and flashing lights everywhere. We recorded the four songs that would become »Master Of Evil«. We then gave the tape to the Axewitch guys, and they played it to their record label at the time Fingerprint/Web Records and they liked it so much that they signed us as well.” Over the years, the music of Mindless Sinner has often been compared to the Tygers Of Pan Tang from England but Christer Göransson doesn’t see too many similarities: “We really love Tygers Of Pan Tang but I don’t think they were a big influence. It was more Judas Priest, Iron Maiden, Saxon, Black Sabbath, Ozzy, Dio etcetera. That kinda stuff.” In addition to the four tracks of the original edition of »Master Of Evil«, the current High Roller Records pressing also contains the five songs of the band’s first demo tape from early 1983 (including “Mindless Sinner”, “Higher And Higher”, “We All Go Back”, “Heavy Metal Will Never Die” and “City Games”). All nine tracks were mastered by Patrick W. Engel at his Temple Of Disharmony in November 2025. Cutting by SST Germany on Neumann machines for maximum quality on all levels ... The ultimate audiophile re-issue of this Swedish metal classic!

Mystic Force was a progressive power metal band from Baltimore, Maryland. After releasing several demo tapes, they signed a contract with the German label Rising Sun Productions. This resulted in two albums, “The Eternal Quest” (1993) and “A Step Beyond” (1995). Their third album, “Man Vs. Machine,” followed in 2001 on Siegen Records. After Mystic Force broke up, drummer Chris Lembach and guitarist Rich Davis formed the group Shift and recorded two albums with them. Rich then started his own solo project (for which he played all the instruments and sang), before looking for suitable fellow musicians again and releasing the CD “Inside The Upside Down” in 2024. Mystic Force was originally formed in 1984 by guitarists Rich Davis and Marc Rouchard together with bassist Keith Menser. After numerous line-up changes in the early days, they finally found suitable bandmates in Chris Lembach (drums) and Bobby Hicks (vocals). In 1987, Mystic Force released their first 4-song demo, followed by “Blind Vision” a year later. After selling large quantities of self-produced cassettes (the first 4-track demo is said to have sold over 5,000 copies), it was time for their first vinyl release. In 1990, the album “Take Command” was released on the English label C.M.F.T. Records, which included the first demo and four brand new tracks: “Take Command,” “Awakened By The Dawn,” “Immortal Souls,” and “Silent But Deadly.” Later that year, the 12“ single ”Shipwrecked With The Wicked“/”Eternal Quest" was released in a limited and numbered edition by the band's own company, Pro-duction. The widespread distribution of Mystic Force's material (also via underground distributors such as Oliver Jung's “Demolition”) led to an increasing number of labels taking an interest in the band. Ultimately, the choice fell on Rising Sun Productions, who released the debut album “The Eternal Quest” in 1993, featuring tracks such as “Shipwrecked With The Wicked,” “Another World,” and “Answers Of The Mystery”—a forgotten gem of progressive power metal somewhere between Fates Warning and Hades.

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios

For the last few years Acid Jazz has been the proud custodian of the Albarika Store legacy. Hailing from the small but culturally-significant state of Benin, the label was operational from the late-‘60s until the early ‘80s, and was home to some of the finest, deepest, rawest West African cuts ever. A font of local and regional music, infused with contemporary Western influences, the beating heart of the Albarika sound was the mighty T.P. Orchestre Poly-Rythmo, who in various guises released dozens of recordings for the label, under the leadership of Mêlomé Clément. The intoxicating originality of their sound stems from their combination of folkloric and sacred rhythms of the region, with the modernist sound of soukous, afrobeat, soul and funk. Recorded at EMI Studios in Lagos, these recordings have a unique high fidelity and have been a target for grail-hunting record collectors for decades. For this incredible 2LP collection, Dean Rudland and David Hill compile the Poly-Rythmo 45 releases; 7” single and EP sides lost to the seeds of time. Until now. Brought together for the first time, presented in a beautiful wide spine layout, the 2 LPs present a snapshot of some of the group’s finest work from the ‘70s, their distinctive beat already honed. The printed inner sleeves include images of the rare and collectable original labels and sleeves, along with sleeve notes by Francis Gooding

Freerange have commissioned a limited repress of Reflections Vol. 1 on splendid pink vinyl. The four track VA contains the much-prized Better by Cody Currie plus complementary tracks from James Kumo, Jimpster & Bishy, and Radic The Myth.

2xLP Black Vinyl. Jane Remover is something of an internet legend. They are credited with playing a key role in the creation of the digicore music microgenre, an overstimulated relative of hyperpop.
In fact, everything Jane Remover does has an overdose of stimuli: their songs are like the Tasmanian devil from Looney Tunes. A whirlwind of warped and excessive digital pop.

Welcome ALL to another amazing modern soul release by Louise Marshall & Geoff Gascoyne – after the hits soul release from last year “Happy on my own” & Stop look and Listen” both these tracks had lots of radio spread around the world.

Two superb vibes A side - “And I was like….” a mid-tempo eyeworm soul vibe with a funky cheeky message with its. On the double AA side is the uplifting “Where’s the Party?” this has a strong dance groove and feel, superb top like vocals which you just can’t help to sing along