Cerca:her fr

Pioen is the second album by Elisabeth Klinck & Nils Vermeulen, released on blickwinkel. It was recorded in a small chapel of a monastery in the city center of Ghent. A chapel by nature is a place of contemplation and meditation, which automatically had influence on the music. Movements slow down, attention is sharpened and the overwhelming silence of the space becomes part of the music. Sound and silence are meticulously woven into each other. Even when the music grows at times dense and heavy, there is an ever-present sense of closeness and intimacy. This is reinforced by the use of the voice, which naturally appears throughout the album, not as a separate layer but as an extension of the instruments.

The pieces – this time more curated than on their previous album Pair, Paire – arose from hours-long improvisations where sound became space and space became sound. Bringing together violin, double bass and voice, Pioen unfolds as a serene and honest journey, inviting the listener into a state of contemplation.

Elisabeth Klinck is a contemporary violinist, composer and performer based in Brussels, known or her timeless, deep-listening sound worlds. Her album Picture a Frame (2023) and Chronotopia - selected by The Quietus as one of the best albums of 2025 - were released on the Swiss label Hallow Ground. A big part of her work revolves around tactility, fragility, and a very physical approaches to sound.

Nils Vermeulen is a Belgian double bass player active in all varieties of adventurous music. He has played with Paul Lytton, Martin Küchen, Seppe Gebruers, William Parker, John Dikeman, Luis Vicente, among others. He works across many scenes, from free improv to jazz to contemporary classical music, and in many distinct constellations, such as his own groups Kabas and Jukwaa, a Norwegian free jazz trio with Tollef Østvang and Heidi Kvelvane, a string duo with Elisabeth Klinck, and as the double bassplayer of Nemo ensemble. In 2023, he released his debut solo album on Aspen Edities.

PinkPantheress announces a suite of physical products available to pre-order now.

Fancy Some More? sees PinkPantheress bring together an international spectrum of artists, delivering 22 remixes. Remixes come from artists including Anitta, Bladee, JADE, JT, Kylie Minogue, Oklou, Rachel Chinouriri, Ravyn Lenae, Yves, and Zara Larsson; genre-defining groups and collectives such as Basement Jaxx, Groove Armada, SEVENTEEN (THE 8, MINGYU, VERNON.), and Sugababes; and acclaimed producers and DJs including Adame DJ, DJ Caio Prince, Joe Goddard, Kaytranada, Kilimanjaro, Leod, Loukeman, Mochakk, Nia Archives, and Sega Bodega. Each track offers a new perspective to the signature PinkPantheress sound, expanding the Fancy That universe.

Released in May this year and written and produced by PinkPantheress, Fancy That was created alongside aksel arvid, Count Baldor, phil, Oscar Scheller, The Dare and others, bringing together a collective of creative minds to shape her latest sonic evolution. As she steps into her fun and kitsch-y era, rooted in British culture, the 9-track project showcases her signature vocals and genre-blurring sound.

Svarta Havet's sophomore album out in February via Svart Records Hailing from Turku, Finland, SVARTA HAVET are set to release their sophomore album Månen ska lysa din väg for the European market via Svart Records on February 27th, 2026. Originally released by the US based Prosthetic Records in May 2025, Månen ska lysa din väg casts a critical eye over the negative effects of Western colonialism, capital greed and convenience at the cost of sustainability, presenting a rallying cry for change whilst never losing sight of the light that this world has to offer. Formed in 2018, SVARTA HAVET is a self-described dyster (gloomy) post-hardcore group born from the Finnish DIY punk and hardcore scene, with the members bonding over a shared affinity for punk music and community-first ideals with a focus on antifascist, feminist, trans and queer politics.

Where their 2021 debut full-length, JORD/VATTEN, served as an introduction to SVARTA HAVET’s amalgam sound of post-metal, hardcore punk and black metal, Månen ska lysa din väg is a deftly woven together panorama of their respective influences and a captivatingly urgent political and compassionately personal case for humanity’s course correction. With communities residing at the heart of their purpose, on a localised and a broad scale, SVARTA HAVET are not ones to lay idle in their hopes of a better world. 2026 will continue to see the band both touring their home country and beyond, as well as being deeply involved in organizing gigs and events through the collectively-run venue, Kirjakahvila ("Book Cafe") – a queer feminist, anti-capitalist DIY community space in Finland. In addition to hosting local acts, the group’s tireless efforts to support international bands will continue to see SVARTA HAVET helping to foster a vibrant underground scene in the process. SVARTA HAVET is: Lotta (she/her) - vocals Joakim (he/him) - guitar Anders (he/him) - bass Jara (she/her) - drums

Uw energieboost in plaatvorm: zo klinkt de nieuwe Admiral Freebee. Geboren uit een oerdrive om samen met zijn vrienden slash helden muziek te maken en de studio in te duiken. Openingstrack Seeking A Friend zet meteen de toon: drums zwellen aan, een snedige riff valt in en Tom Van Laere giet er een rauw ‘Armageddooon’ over uit. De wereld staat in brand en Admiral Freebee is er niet blind voor, maar het spelplezier staat voorop. Uptempo, groovy, dansbaar zelfs, met synths en welgemikte opzwepende HEY’s: negen songs lang spatten good times uit de muziek, van eerste single Q&A With Myself over knallers als Future Fathers Of Utopia en The Hunger. Zoals we van Admiral Freebee gewend zijn, is er ook ruimte voor humor en een introspectieve blik. Maar vergis je niet, een schoothondje is hij niet (No One’s Puppy). In slottrack Dog That Never Dies gaat de voet van het gaspedaal en legt het enige ingetogen nummer het album neer, als een synthese van alle thema’s die aan bod komen. En we mogen gerust zijn: met Admiral Freebee gaat het goed, en zowel hij als zijn muziek lopen over van het plezier. Even alle zorgen vergeten en genieten van pure fun.

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Your energy boost in record form: that’s how the new Admiral Freebee album sounds. Born from a primal desire to make music with his friends aka heroes and dive into the studio. Opening track Seeking A Friend sets the tone: drums swell, a sharp riff takes centre stage and Van Laere lets out a raw ‘Armageddooon’. The world is on fire and Admiral Freebee does not turn a blind eye, but first we have some fun. Uptempo, groovy, danceable even, with funky synths and a bunch of infectious HEYs: for nine songs good times are all over the place, from first single Q&A With Myself to bangers like Future Fathers Of Utopia and The Hunger. As always with Admiral Freebee, there’s also room for humor and he doesn’t shy away from introspection either. And make no mistake: Tom Van Laere is no lapdog (No One’s Puppy). Closing track Dog That Never Dies is the only intimate song on the album and sounds like a synthesis of all the album’s themes. And rest assured: Admiral Freebee is doing fine, and both him and his music are bursting with joy. So leave your worries behind for a moment and have some raw fun.

Picture by Ed Templeton/ Courtesy Tim Van Laere Gallery

Artwork by Jelle Jespers

Admiral Freebee is Tom Van Laere – Tim Coene, Senne Guns en Laurens Billiet. Recorded in summer 2025.

Uw energieboost in plaatvorm: zo klinkt de nieuwe Admiral Freebee. Geboren uit een oerdrive om samen met zijn vrienden slash helden muziek te maken en de studio in te duiken. Openingstrack Seeking A Friend zet meteen de toon: drums zwellen aan, een snedige riff valt in en Tom Van Laere giet er een rauw ‘Armageddooon’ over uit. De wereld staat in brand en Admiral Freebee is er niet blind voor, maar het spelplezier staat voorop. Uptempo, groovy, dansbaar zelfs, met synths en welgemikte opzwepende HEY’s: negen songs lang spatten good times uit de muziek, van eerste single Q&A With Myself over knallers als Future Fathers Of Utopia en The Hunger. Zoals we van Admiral Freebee gewend zijn, is er ook ruimte voor humor en een introspectieve blik. Maar vergis je niet, een schoothondje is hij niet (No One’s Puppy). In slottrack Dog That Never Dies gaat de voet van het gaspedaal en legt het enige ingetogen nummer het album neer, als een synthese van alle thema’s die aan bod komen. En we mogen gerust zijn: met Admiral Freebee gaat het goed, en zowel hij als zijn muziek lopen over van het plezier. Even alle zorgen vergeten en genieten van pure fun.

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Your energy boost in record form: that’s how the new Admiral Freebee album sounds. Born from a primal desire to make music with his friends aka heroes and dive into the studio. Opening track Seeking A Friend sets the tone: drums swell, a sharp riff takes centre stage and Van Laere lets out a raw ‘Armageddooon’. The world is on fire and Admiral Freebee does not turn a blind eye, but first we have some fun. Uptempo, groovy, danceable even, with funky synths and a bunch of infectious HEYs: for nine songs good times are all over the place, from first single Q&A With Myself to bangers like Future Fathers Of Utopia and The Hunger. As always with Admiral Freebee, there’s also room for humor and he doesn’t shy away from introspection either. And make no mistake: Tom Van Laere is no lapdog (No One’s Puppy). Closing track Dog That Never Dies is the only intimate song on the album and sounds like a synthesis of all the album’s themes. And rest assured: Admiral Freebee is doing fine, and both him and his music are bursting with joy. So leave your worries behind for a moment and have some raw fun.

Picture by Ed Templeton/ Courtesy Tim Van Laere Gallery

Artwork by Jelle Jespers

Admiral Freebee is Tom Van Laere – Tim Coene, Senne Guns en Laurens Billiet. Recorded in summer 2025.

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

ULI SAILOR -> File under: Punkrock am KlavierNach über 30 Jahren auf Bühnen zwischen Punkkeller und Festivalhauptbühne bringt Uli Sailor nun sein erstes Piano Solo-Album heraus. ,Besser Anders" ist das Ergebnis von zwei Jahren intensiver Arbeit - zehn Songs voller Energie, Melancholie und Haltung. Produziert wurde das Album halb in Berlin von Thies Neu, halb in Köln von Tobias Röger (Wohlstandskinder, Udo Lindenberg, Slime).Musikalisch schlägt Uli eine Brücke zwischen Indie-Rock und Punk, bleibt dabei aber weit entfernt von weichgespültem Pop. Klavier, Cello und Gesang treffen auf kantige Arrangements und Texte, die irgendwo zwischen Tagtraum und Knochenfabrik liegen - poetisch, wütend, reflektiert. Themen wie Gentrifizierung, digitale Entfremdung und die unerschütterliche Liebe zum Punk ziehen sich durchs ganze Werk.,Besser Anders" ist ein Album gegen die Austauschbarkeit. Kein KI-Produkt, keine Routine - sondern Handarbeit, Schweiß und Herzblut. Uli zeigt, dass Punkrock auch mit Klaviertasten funktionieren kann, solange man das richtige Maß an Wut, Humor und Zärtlichkeit mitbringt.Patrick Reerink (GUTS PIE EARSHOT) sorgt auf dem Album für die Cello-Parts. ,Kiezblock" entsteht gemeinsam mit Chris Kotze (KOTZREIZ), unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Chor von Freund*innen - unter anderem Dead End Kids, Berlin Blackouts, Von.Orten und Töff Malstroem. In ,Der demagogische Wandel" greift Guido Donot (DONOTS) zur Gitarre und setzt ein Solo, das hängen bleibt. Das macht ,Besser Anders" zu mehr als einem einsamen Solo-Projekt, sondern ein kollektives Statement mit Haltung.Mittel-Version (2600 Zeichen)Sommer 2025: In einem Berliner Proberaum sitzt ein Mensch und macht das, was er am liebsten tut - Musik. Dieser Mensch heißt Uli Breitbach, besser bekannt als Uli Sailor. Seit über 30 Jahren ist er kreativer Arbeiter, mal euphorisch, mal verzweifelt, und nach zwei Jahren intensiver Arbeit erscheint nun sein erstes Solo-Album: ,Besser Anders".Was wie eine klassische Musikerbiografie klingt, steht im Kontrast zur Gegenwart. Während Künstliche Intelligenz längst komplette Bands ersetzt, bleibt Uli Sailors Musik das Gegenteil davon: handgemacht, ehrlich, mit hörbarem Herzblut. Uli geht auf die 50 zu und bringt sein Debüt erst jetzt heraus - nach Jahrzehnten als Teil verschiedenster Bands wie den Skatepunks D-SAILORS, den Indierockern TUSQ und der legendären Deutschpunkband TERRORGRUPPE.Nach deren Ende wagte Uli ein ungewöhnliches Experiment: Punksongs seiner Jugend auf dem Klavier - unterstützt von Cello. Was zunächst abwegig klang, traf einen Nerv. Seine Konzerte führten ihn in kleine Clubs ebenso wie auf große Bühnen - vom Sisyphos über Rock am Ring bis zur Volksbühne. Egal ob Punkkneipe oder Festival: Uli Sailor funktioniert überall.2024 folgte die EP ,Für immer jung", fünf eigene Songs zwischen Wut und Sentimentalität, die von Kritikern durchweg gelobt wurden. Jetzt also das Album. ,Besser Anders", das am 27. Februar 2026 erscheint - zehn Songs, produziert zur Hälfte von Thies Neu (SHIRLEY HOLMES, DYSE, DEAD END KIDS) in Berlin und von Tobias Röger (WOHLSTANDSKINDER, SLIME, UDO LINDENBERG) in Köln.Musikalisch wagt Uli den Schritt vom Piano-Punkrock hin zu einem Mix aus Indie und Punk, ohne dabei seine Haltung zu verlieren. ,Sellout?", mögen manche rufen. ,Hört doch erst einmal rein", wäre die passende Antwort. Denn ,Besser Anders" ist weit entfernt von weichgespültem Befindlichkeits-Pop. Die Texte bewegen sich zwischen Tagtraum und Knochenfabrik, kraftvoll, poetisch und differenziert. Uli Sailor benennt Missstände, bleibt aber empathisch, reflektiert und wirkt nie platt. Es ist ein vielseitiges, eigenständiges Album mit Songs über Gentrifizierung, digitale Abhängigkeit, verblühende Liebe und die unerschütterliche Kraft des Punk.Patrick Reerink von GUTS PIE EARSHOT steuerte die Cello-Parts bei. Mit Chris Kotze (KOTZREIZ) entstand eine gemeinsam geschriebene Anti-Gentrifizierungshymne, unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Backgroundchor, der sich gewaschen hat: Mitglieder von Berlin Blackouts, Dead End Kids, Von.Orten und Töff Malstroem. Bei ,Der demagogische Wandel" wiederum griff Guido Donot (DONOTS) zur Gitarre und setzte ein Solo, das man so schnell nicht vergisst. ,Besser Anders" ist damit weit mehr als ein Solo-Album - es ist ein Gemeinschaftswerk mit Haltung.Vielleicht wird Uli Sailor keine Millionen Klicks erzielen. Aber das ist gut so. Dieses Album ist kein Algorithmusprodukt, sondern das Ergebnis ehrlicher Handarbeit, Leidenschaft und einer großen Liebe zur Musik. Punkrock bleibt hier der rote Faden - anders, besser, echt.

ULI SAILOR -> File under: Punkrock am KlavierNach über 30 Jahren auf Bühnen zwischen Punkkeller und Festivalhauptbühne bringt Uli Sailor nun sein erstes Piano Solo-Album heraus. ,Besser Anders" ist das Ergebnis von zwei Jahren intensiver Arbeit - zehn Songs voller Energie, Melancholie und Haltung. Produziert wurde das Album halb in Berlin von Thies Neu, halb in Köln von Tobias Röger (Wohlstandskinder, Udo Lindenberg, Slime).Musikalisch schlägt Uli eine Brücke zwischen Indie-Rock und Punk, bleibt dabei aber weit entfernt von weichgespültem Pop. Klavier, Cello und Gesang treffen auf kantige Arrangements und Texte, die irgendwo zwischen Tagtraum und Knochenfabrik liegen - poetisch, wütend, reflektiert. Themen wie Gentrifizierung, digitale Entfremdung und die unerschütterliche Liebe zum Punk ziehen sich durchs ganze Werk.,Besser Anders" ist ein Album gegen die Austauschbarkeit. Kein KI-Produkt, keine Routine - sondern Handarbeit, Schweiß und Herzblut. Uli zeigt, dass Punkrock auch mit Klaviertasten funktionieren kann, solange man das richtige Maß an Wut, Humor und Zärtlichkeit mitbringt.Patrick Reerink (GUTS PIE EARSHOT) sorgt auf dem Album für die Cello-Parts. ,Kiezblock" entsteht gemeinsam mit Chris Kotze (KOTZREIZ), unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Chor von Freund*innen - unter anderem Dead End Kids, Berlin Blackouts, Von.Orten und Töff Malstroem. In ,Der demagogische Wandel" greift Guido Donot (DONOTS) zur Gitarre und setzt ein Solo, das hängen bleibt. Das macht ,Besser Anders" zu mehr als einem einsamen Solo-Projekt, sondern ein kollektives Statement mit Haltung.Mittel-Version (2600 Zeichen)Sommer 2025: In einem Berliner Proberaum sitzt ein Mensch und macht das, was er am liebsten tut - Musik. Dieser Mensch heißt Uli Breitbach, besser bekannt als Uli Sailor. Seit über 30 Jahren ist er kreativer Arbeiter, mal euphorisch, mal verzweifelt, und nach zwei Jahren intensiver Arbeit erscheint nun sein erstes Solo-Album: ,Besser Anders".Was wie eine klassische Musikerbiografie klingt, steht im Kontrast zur Gegenwart. Während Künstliche Intelligenz längst komplette Bands ersetzt, bleibt Uli Sailors Musik das Gegenteil davon: handgemacht, ehrlich, mit hörbarem Herzblut. Uli geht auf die 50 zu und bringt sein Debüt erst jetzt heraus - nach Jahrzehnten als Teil verschiedenster Bands wie den Skatepunks D-SAILORS, den Indierockern TUSQ und der legendären Deutschpunkband TERRORGRUPPE.Nach deren Ende wagte Uli ein ungewöhnliches Experiment: Punksongs seiner Jugend auf dem Klavier - unterstützt von Cello. Was zunächst abwegig klang, traf einen Nerv. Seine Konzerte führten ihn in kleine Clubs ebenso wie auf große Bühnen - vom Sisyphos über Rock am Ring bis zur Volksbühne. Egal ob Punkkneipe oder Festival: Uli Sailor funktioniert überall.2024 folgte die EP ,Für immer jung", fünf eigene Songs zwischen Wut und Sentimentalität, die von Kritikern durchweg gelobt wurden. Jetzt also das Album. ,Besser Anders", das am 27. Februar 2026 erscheint - zehn Songs, produziert zur Hälfte von Thies Neu (SHIRLEY HOLMES, DYSE, DEAD END KIDS) in Berlin und von Tobias Röger (WOHLSTANDSKINDER, SLIME, UDO LINDENBERG) in Köln.Musikalisch wagt Uli den Schritt vom Piano-Punkrock hin zu einem Mix aus Indie und Punk, ohne dabei seine Haltung zu verlieren. ,Sellout?", mögen manche rufen. ,Hört doch erst einmal rein", wäre die passende Antwort. Denn ,Besser Anders" ist weit entfernt von weichgespültem Befindlichkeits-Pop. Die Texte bewegen sich zwischen Tagtraum und Knochenfabrik, kraftvoll, poetisch und differenziert. Uli Sailor benennt Missstände, bleibt aber empathisch, reflektiert und wirkt nie platt. Es ist ein vielseitiges, eigenständiges Album mit Songs über Gentrifizierung, digitale Abhängigkeit, verblühende Liebe und die unerschütterliche Kraft des Punk.Patrick Reerink von GUTS PIE EARSHOT steuerte die Cello-Parts bei. Mit Chris Kotze (KOTZREIZ) entstand eine gemeinsam geschriebene Anti-Gentrifizierungshymne, unterstützt von Totze Trippi (BEATSTEAKS) am Bass und einem Backgroundchor, der sich gewaschen hat: Mitglieder von Berlin Blackouts, Dead End Kids, Von.Orten und Töff Malstroem. Bei ,Der demagogische Wandel" wiederum griff Guido Donot (DONOTS) zur Gitarre und setzte ein Solo, das man so schnell nicht vergisst. ,Besser Anders" ist damit weit mehr als ein Solo-Album - es ist ein Gemeinschaftswerk mit Haltung.Vielleicht wird Uli Sailor keine Millionen Klicks erzielen. Aber das ist gut so. Dieses Album ist kein Algorithmusprodukt, sondern das Ergebnis ehrlicher Handarbeit, Leidenschaft und einer großen Liebe zur Musik. Punkrock bleibt hier der rote Faden - anders, besser, echt.

Cranes is a dream pop/shoegaze band formed by siblings Alison and Jim Shaw who rose to stardom following a world tour with the Cure in 1992. After the influential Dedicated label folded in 1998 they went on a two-year hiatus after which they se up their own label Dadaphonic. Here, they released three studio albums between 2001 and 2008, of which this record is their penultimate. This record, as any other on their label, strikes the perfect balance between their typical 90s alt rock underpinnings and modern electronica. Downtempo beats and swirling effects combined with jangly guitars and Alison Shaw's mysterious vocal presence make for a deep and subdued album, in the best way possible. Fans of the band have been requesting a vinyl release for quite a while now and to them we say: ask and you shall receive. Particles & Waves is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on Crystal Clear, Blue & White Marbled vinyl.

Shelf Lives are an Electro-Bass Punk (a genre that probably doesn’t exist—but somehow makes perfect sense when you hear them). After years of creating, releasing, and caring-ish what people think, the band now operate with zero hesitation and total authenticity. The result of this controlled chaos is their debut album ‘hypernormaL’.

The 11-track album, produced by imdead, reveals that Shelf Lives are once again redefining the boundaries of modern punk and electronic music. It captures the duo at their most uncompromising — blistering, self-aware, and disturbingly danceable.  Just when you think you’ve figured them out, Shelf Lives grin, twist the dial, and push the needle into the red. 

The album sees the band collaborating with an enviable list of who’s who, from Danio (Fred Again, Joy Anonymous, Jelani Blackman) on 60K, to writing with Pat Alvarez (Blessed Madonna, Joy Crookes, Good Neighbours) and Lola Sam from Hot Wax playing bass on ‘like heR’. 

Shelf Lives are an Electro-Bass Punk (a genre that probably doesn’t exist—but somehow makes perfect sense when you hear them). After years of creating, releasing, and caring-ish what people think, the band now operate with zero hesitation and total authenticity. The result of this controlled chaos is their debut album ‘hypernormaL’.

The 11-track album, produced by imdead, reveals that Shelf Lives are once again redefining the boundaries of modern punk and electronic music. It captures the duo at their most uncompromising — blistering, self-aware, and disturbingly danceable.  Just when you think you’ve figured them out, Shelf Lives grin, twist the dial, and push the needle into the red. 

The album sees the band collaborating with an enviable list of who’s who, from Danio (Fred Again, Joy Anonymous, Jelani Blackman) on 60K, to writing with Pat Alvarez (Blessed Madonna, Joy Crookes, Good Neighbours) and Lola Sam from Hot Wax playing bass on ‘like heR’. 

The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.

This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's Silence & Wisdom' and 1983's Double Happiness'. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they're a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing.

"Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)

Our Mirage have carved out a distinct voice in the heavier music scene with emotionally charged lyrics, atmospheric textures, and searing intensity. Formed in 2017, the band quickly gained momentum through an ever-growing fanbase and a string of compelling releases. Their 2022 studio album Eclipse has amassed over 15 million streams on Spotify, cementing their reputation as one of Germany’s most exciting new metalcore exports. Now, the band is gearing up for their most ambitious release yet: Fractured Minds, due out on January 30th, 2026. The record promises to be even more explosive, expanding on their signature mix of crushing heaviness and emotional depth. The momentum is already undeniable —with five singles released from Fractured Minds to date, the band has accumulated over 5.5 million Spotify streams on those tracks alone. Meanwhile, Our Mirage currently count more than 260,000 monthly listeners on Spotify, underlining their ever-growing international presence. Beyond streaming success, Our Mirage have proven themselves a formidable live act, playing major festival stages such as Summer Breeze Open Air and delivering powerful, emotionally raw performances night after night. In January and February 2026, the band will embark on a co-headline tour, bringing Fractured Minds directly to fans across Europe.

World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”

Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.

Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.

Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon & Naomi.

When interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale

Jon Lucien’s ‘Search For The Inner Self’ was one of the highlights of Paul Weller’s recently complied Ace CD “That Sweet, Sweet Music”. When also issuing it as a single, we included ‘We Got Love’, a track from his self-financed CD “Precious Is Love”, which proved to be as feted a choice as the top side. Due to this and further encouragement from soul fans, DJs and the Lucien family, we licensed the rest of the Beau Ray Fleming produced 1969 recordings for LP and CD reissue. Here is the very start of Lucien’s songwriting creativity − ‘Precious Is My Love’, ‘A Heart In Love’, ‘Flower Garden’ and ‘The Season Of Spring’ are accomplished and captivating creations, equal to his later much-admired work.

‘Platinum Rare 1’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 1’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 1’ is an absolute enrichment for every true fan of SWEET.

After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn — not away from trance, but deeper into its core.

Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely — bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark.

There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title — the last star before dawn — captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.

Global music superstar Jade announces the deluxe edition of her debut album, 'THAT'S SHOWBIZ BABY! THE ENCORE'.

The deluxe album features 8 new songs including the powerful single 'Church', the generational anthem 'This Is What We Dance For' and JADE's highly praised cover of the Madonna classic 'Frozen'. The Encore, also includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT girl' and ‘Midnight Cowboy’.

This is the grand finale of the THAT'S SHOWBIZ BABY! era!

The dreamy harmonising of Everything But The Girl. The propulsive urgency of The Strokes. The lilting folk-pop of The Coral. The introspective songcraft of Belle and Sebastian. The bittersweet, lyrical side-eyes of The Beautiful South. Vona Vella have all these elements and so many more, all weaving together to form a contemporary sound both gossamer delicate and fiercely robust. Since their eponymous debut album in 2023 (released on Strap Originals, Pete Doherty’s label), the seed of their signature sound – wistful indie-pop harmonies, exquisitely blended male/female vocals – has not so much grown as erupted through the dream-pop meadow into a towering, flowering beanstalk.

Today, with their second album Carnival, the former indie-pop duo have spectacularly evolved into a dynamic five-piece band, with key musical contributions from the musicians they’ve so successfully toured with over the last two years, drummer Jake Bott (who they’ve known since they were 17), bassist Claud J Melton (who they found on TikTok through a search for a female bassist), and guitarist Dexter Howell (a friend of a friend). As a five-piece, their innate pop sensibilities are now newly bolstered by a confident, thrilling propulsion, izzy and Dan, still the main songwriters and vocalists, are thrilled with the sound, where the possibilities are endless. Vona Vella may be names after two flowers, but there’s nothing twee happening here.

After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn - not away from trance, but deeper into its core. Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely - bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark. There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title - the last star before dawn - captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.