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Rotating Irish/international collective United Bible Studies (UBS) releases its 28th album, Strange is the Coastline, this Autumn (CD on Talking Elephant Records / LP on Hobby- Horse).
The album is preceded by the single ‘In The Arms of Lewes’ which was available on all digital platforms from 14th August.
'Strange Is The Coastline' is a collection of original folk-rock songs written by current core members David Colohan (co-founder of UBS) and Alison O’Donnell (Mellow Candle) in the company of multi-instrumentalist Steven Collins (The Owl Service). Melding and meshing classic folk, contemporary pop, and passionate tune-smithery in an inspiringly complementary way; disparate, yet delightfully cohesive, with themes of Albion myth and legend to Victorian-era murder ballads via tales of chilling contemporary stalkerss, and climate chaos.
United Bible Studies was formed in 2001 and over the last couple of decades has been home to a head-spinning array of performers in an ever-evolving merry-go-round of studio and live personnel. Drawing on the broadest community of musicians, the band have created an impressive catalogue of 28 albums of studio and live recordings.
Standard weight black vinyl LP in picture sleeve with lyric booklet. 300 copies for the World.

“...teems with bushy-tailed folk-rock about Albion and Ireland, as well as brutal, bracing songs about singer Alison O’Donnell’s experiences with a former stalker, such as the startling You Often Hid”. (THE GUARDIAN)

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

Über die Jahre hat Numero eine Menge Aufnahmen aus den Tiefen Detroits ausgegraben. Aus allen möglichen Mini-Motowns haben wir Soul, R&B, Funk, Disco, Boogie und aufgrund der Nähe auch Gospel entdeckt. Frühere Untersuchungen der Labels Revival und Big Mack brachten mehr als nur ein paar neue apokryphe Hymnen zutage, und Great Lakes Gospel Vol. 2 versammelt ein Dutzend interessanter Kirchengruppen, die sich hingebungsvoll an die Ausläufer des Genres heranwagen. Verlier dich in ekstatischem Chor-Funk, Kanzel-Rap, direkt eingespeisten Gitarrensoli und dem Heiligen Geist, sollte er dich bewegen. Schau dich im Raum um. Mit diesem Ding könntest du eine Kirche gründen.

Eine Disco-45 mit zwei heißen Tracks von Say She She's neuester LP ,Cut & Rewind". Die NYC Punk-Chic, Discodelic Funk Band hat letzten Oktober ihr drittes Studioalbum rausgebracht. Es ist ein politisch aufgeladenes, Dancefloor-zerstörendes Album, angeführt vom kraftvollen Gesangstrio Piya Malik, Sabrina Mileo Cunningham und Nya Gazelle Brown. Die A-Seite, der Titeltrack ,Cut & Rewind", ist ein Post-Punk-Femme-Funk-Track mit den mitreißenden Harmonien der Gruppe und einer unverkennbaren Funk-Base/Basslinie. Der Song ist hauptsächlich autobiografisch, enthält aber auch subtile Hommagen an Songwriting-Legenden. Die Gruppe hat kürzlich die B-Seite ,Disco Life" live bei Jimmy Kimmel gespielt. Der fröhliche, groovige Track verurteilt den Rassismus und die Homophobie von Steve Dahls ,Disco Demolition Night" aus dem Jahr 1979 und fordert die Tanzfläche als ,Spielfeld, auf dem alle frei sind" zurück.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

It will expand your mind into the depths of psychedelic solitude and the haunting chambers of darkness within. If you so dare, mastermind Astral Shadow will be your guide through the untamed worlds of Black Metal and Darkwave. But beware, for if you choose to travel this path you may lose yourself and forever go mad

Zach Bryan hat seinen Status als einer der einflussreichsten Künstler der zeitgenössischen Country- und Americana-Szene im Jahr 2026 eindrucksvoll untermauert. Sein im Januar 2026 digital veröffentlichtes sechstes Studioalbum „With Heaven On Top“ (WHOT) stieg direkt auf Platz 1 der US Billboard 200 Charts ein und umfasst 25 von ihm selbst geschriebene Titel. Am 13.März folgt nun die Veröffentlichung auf CD und Vinyl.
Der Erfolg wird durch enorme Reichweiten untermauert: Die Lead-Single „Plastic Cigarette“ erreichte innerhalb kürzester Zeit die Marke von 50 Millionen globalen Streams. Zuvor setzte Bryan bereits historische Maßstäbe, als er im September 2025 vor über 112.000 Fans im Michigan Stadium das größte Einzelkonzert der US-Geschichte spielte. Im Rahmen seiner anstehenden Welttournee wird er am 31. Mai 2026 auch in der Berliner Waldbühne auftreten.

Colton Bowlin grew up in the hills of Albany, Kentucky, where hard work and family shaped everything he knew. He grew up working six days a week at his late grandfather’s feed mill, grounding his songwriting in genuine small-town values and working-class experiences. On his new album Grandpa’s Mill, Bowlin traces memory, legacy, and the passing of time with the same quiet honesty that’s always been at the heart of his work, blending songs about his real life experiences with hard lessons learned and tales of rural life in Appalachia. The album was recorded and produced in Athens, Georgia with David Ferguson (Sturgill Simpson, Tyler Childers, Johnny Cash).

Der aufstrebende Country-Künstler und Songwriter Drake Milligan meldet sich mit seinem brandneuen
Album „Tumbleweed“ zurück – ein einzigartiges und lang erwartetes Kunstwerk. Produziert von Trent
Willmon, umfasst „Tumbleweed“ 14 Titel, die traditionellen Texas Country, Western Swing und moderne
Nashville-Elemente perfekt vereinen und Milligans zeitlose Musikalität unter Beweis stellen. „Das ist genau
das Album, das ich immer machen wollte“, sagt Milligan. „Es fängt so ziemlich alles ein, was ich an CountryMusik liebe, und ich freue mich riesig, es endlich veröffentlichen zu können.“ Das Album zeigt Milligans
beeindruckende Vielseitigkeit durch sein fesselndes Storytelling, sein Können und seinen charmanten Humor
in „Goodbye Ain’t All That Bad“. Im Schlusssong „How Much Beer“ holt sich Milligan seinen texanischen
Landsmann Randall King ins Boot, um eine Ode an die Kneipe des Arbeiters zu schaffen – der Song ist
eine schräge Hommage an den Bierliebhaber aus der Arbeiterklasse, seinen Barhocker und die Neonlichter

Repress

Reboot returns to Cécille this November with his five track ‘Lind EP‘, once again showcasing his unmistakable groove driven signature sound across four vinyl cuts and a digital bonus.

Since two decades the Frankfurt born artist has been shaping the underground with his raw, hypnotic and percussive house productions, gracing some of the most respected imprints including Cocoon, Cadenza, Sei Es Drum, Rawax, Mood Child and of course Cécille - the legendary house label founded by Nick Curly and Marc Scholl, which has long been a natural home for his sound. Over the years, Reboot has become a solid part of the Cécille family, regularly appearing on the label’s releases and lineups world wide.

With this release, Reboot once again proves why his productions remain a fixture in record bags and DJ sets worldwide timeless, driving and unmistakably his own.

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

Rather than yielding to despair in these troubled times and offering listeners a rope to hang themselves, Zimmermann (trombonist for Claude Nougaro, Manu Dibango, and Tony Allen) playfully grants them another option - a humorous sarcasm! He mocks the vain shelters of the powerful with the tune "My Little Sweet NZ Bunker", denounces the manufacture of one- track minds with "Les maximiseurs de PI", and escapism with the classic satirical Mose Allison's song "Stop This World (let me off" (translated and sung in French) In more tender moments, he reflects on the intimate consequences of this global unraveling.

Daniel Zimmerman's style, both as a composer and soloist, is that of a melodist above all else; disregarding concepts, he sings and seeks to go straight to the heart. He was voted 'Trombonist of the Year' by Jazz Magazine (Frances most influential jazz publication) in 2021, 2022, 2023 and 2024.

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

The beauty, confusion, complexity, and intensity of their youth - lived under the shadow and around the scars of conflict - are entangled in the industrial dance-punk hybrid encoded in the record's DNA, aptly entitled Crystalpunk. "This record is us waving a flag for that generation -- the ones who inherited confusion, resilience, and a fractured sense of self." They're waving that flag as intensely as possible too. For the uninitiated, Chalk mainlines the reaction between genres, eras, and cultures, commuting this collision into their sound. The Belfast group could comfortably power an underground warehouse party after-dark, incite a mid-day festival mosh-pit, or shake an arena on any given evening.

Their power has seamlessly translated to the stage with the group packing venues and delivering alternately sweaty and electrifying performances to a growing rabid fan base. As a group, they've sold out shows across the UK, EU and USA, notched festival performances such as Glastonbury, SXSW, BBK, Trans Musicals and more across 11 countries and were handpicked to tour alongside IDLES and Fontaines D.C.. Coming from dissimilar backgrounds and rallying together naturally, Ben and Ross first crossed paths in film school. As the story goes, Ben had noticed a framed poster of Dublin disruptors Gilla Band in one of Ross's Instagram photos and felt a kinship before ever actually speaking to him.

"Nobody else at our school was into experimental noise guitar bands, so that was all I needed to see," laughs Ben. Emerging in 2022, Chalk initially made waves with songs like "Them," "Velodrome," and "Static." Ultimately, they come-of-age and tell a story that resonates beyond borders. Not just a portrait of the band, but one of their home, a complicated place where the sacrifices made and risks taken by activists, artists, ravers and punks created the only environment that a band like Chalk could emerge from. Crystalpunk is not about choosing a side, it's about choosing the future.

Kim Gordon hat Kunst und Noise über Jahrzehnte immer wieder neu gedacht - und dabei nie an Schärfe verloren. Vierzig Jahre nach ihren Anfängen wirkt ihre Vision noch immer provokant. Dieses Abenteuer setzt sie mit ihrem dritten Soloalbum "PLAY ME" fort, das am 13. März bei Matador Records erscheint. Mit der Ankündigung erscheint die erste Single "NOT TODAY", begleitet von einem Kurzfilm der Modedesignerinnen und Filmemacherinnen Kate und Laura Mulleavy (Rodarte). Gordon trägt darin ein eigens für sie gefertigtes, handgefärbtes Seidentüllkleid. Der Song offenbart eine neue, fast poetische Spannung in ihrer Stimme: "Da kam eine andere Stimme zum Vorschein", so Gordon. "PLAY ME" ist ein konzentriertes, direktes Album, das ihren Sound um melodischere Beats und den motorischen Drive des Krautrock erweitert. Entstanden ist es erneut mit Produzent Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). Die Songs sind kurz, prägnant und stark rhythmusorientiert - fokussierter und selbstbewusster als zuvor. Nach "No Home Record" (2019) und "The Collective" (2024, zwei Grammy-Nominierungen) richtet Gordon den Blick auf die Gegenwart: Tech-Macht, KI-getriebene Kulturverflachung, den Abbau demokratischer Strukturen und den absurden Alltag des Spätkapitalismus. Trotz dieser Themen ist "PLAY ME" ein nach innen gewandtes, geradezu körperliches und ebenso emotionales Album. Mit verzerrten Stimmen und schroffen Beats legen Songs wie "Square Jaw", "Dirty Tech" oder "Busy Bee" gesellschaftliche Realitäten frei. Der Titeltrack entlarvt die Logik einer durchkuratierten Komfortkultur. "PLAY ME" ist radikal gegenwärtig, widerständig und kompromisslos eigenständig.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Colombian-Argentinian label We Shine In The Darkness is back with a second serving, and this time they throw it back to 1996 to revisit a classic anthem. It's Julian Sanza and La French Toast who add their own 2025 spin to iconic trance cut 'Seven Days & One Week', maintaining its bleepy and bleary-eyed synth sequences but reworking them into a deep and breezy house groove. On the flip, 'Mad Vibes' is apparently an "homage to a local scene bar" and is an emo-licked post-disco chugger with moody lines and distant vocals tugging at the heart.

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.