Magi Merlin’s debut LP, POWER HOUSE, is a high-production, 12-track masterclass in modern pop - an infectious, high-energy record that feels deceptively familiar at first touch, yet every time you reach for a comparison, you realize it doesn't quite fit; a one-of-one project that remains as polished as it is daring.
Conceptually, POWER HOUSE is an exploration of the internal architecture we all inhabit, housing the conflicting rooms of anger, fear, vanity, and ultimately, a reclaimed sense of power. Where Magi Merlin’s previous work, Gone Girl, was a study of external strength, this new era is an ode to the realization that inner work is the only true outer work. With a perspective that is both empathetic and furious, and a grow-as-you-go philosophy, she proves that real change starts small but sounds massiv
Eighteen months on from the runaway success of The Only Place I Know — the debut that crashed in at #1 on the ARIA charts and #2 on the ARIA Vinyl Chart — Lake Macquarie's Surf Trash are back, and they're not watering it down. Their sophomore album No Chaser lands neat, on the rocks, no apologies: ten tracks of melodic surf-pop-punk hammered out by a band that has clearly spent the last year sharpening every edge.
It's a record you can hear the kilometres in. Between The Only Place I Know and now, Andrew Scott, Lachlan Jackson, Patrick Russell and Nick Scott have torn through a sold-out national run, criss-crossed the UK and Europe, and made a habit of leaving rooms louder than they found them. No Chaser carries the dust from all of it — bigger choruses, leaner production, a touch more bruise underneath the gloss. There's still that windows-down, salt-on-the-windscreen feel that made the debut impossible to ignore, but it's wired into songs that swing harder and cut deeper. Less wistful afternoon, more last-light drive home with the volume creeping up.
The four-piece make melodic surf-pop-punk that sounds great turned up loud — driving in your mate's car on the way back to the beach. Their debut, The Fire Note wrote, "delivers a dynamic debut… blending raw energy, introspective depth, and timeless indie rock flair." Manchester World called their first show on UK soil "epic… high energy and great song after great song," and the live reputation has only grown since: a band that's earned every inch of the ceiling it now hits.
No Chaser is the sound of them no longer waiting for permission. Singalong harmonies, fast tempo changes, good old-fashioned rock 'n' roll with a sense of urgency.
Mariá Portugal has been active in the music scenes of Brazil and Europe as a drummer, composer, singer, and music producer. After graduating in composition, she has focused her research on free improvisation and its possible intersections with popular song. This exploration resulted in her acclaimed album EROSÃO (2021) and in the formation of two groups: the EROSÃO Septet and the EROSÃO Percussion Trio, both based in Germany.
She is also a member of the group Quartabê and has toured and recorded around the world with various artists, moving between pop, free jazz, free improvisation, and Brazilian popular music. She has performed and recorded with artists such as Elza Soares, Anthony Braxton, Joe McPhee, Fred Frith, and Tomeka Reid. She is a member of Fire! Orchestra, Fire! Trio, Endless Breakfast and MONSTER.
In 2020, Portugal was the 13th Improviser in Residence at the Moers Festival. As a curator, she has participated in the Soundtrips-NRW in Duisburg and currently coordinates the concert series “TOMA CHOCOLATE!” in Berlin, besides being the guest curator for this year's unlimited Wels festival. She also composes music for dance, theater, and film, including the award-winning soundtrack for the film “1976”, which earned her the Chilean Film Academy Award in 2025. She was nominated for the 2025 and 2026 German Jazz Prize in the drums and percussion category.
Emilio Gordoa is a Mexican sound artist, percussionist, and composer whose work focuses on sound and performance as primary means of expresion. Based in Berlin since 2012, he has been an active contributor to the city’s Echtzeitmusik scene and is involved in the international avant-garde music community.
His projects include solo and ensemble performances, sound installations, and compositions for film, theater and dance. He has collaborated with a wide range of artists, including Jérôme Noetinger, Ingrid Schomliner, Yuko Kaseki, Burkhard Beins, Don Malfon, John Butcher and Sabiene Vogel. Gordoa’s approach combines experimental percussive techniques with electronic elements, leading to invitations to perform at events such as the Moers Festival, Meakusma Festival in Belgium, A’larme!, and Maerzmusik in Berlin.
He founded WildSonico, a platform for experimental music, and has been part of artist residencies at institutions like the Akademie der Künste and Kunststiftung NRW. He also worked as the Improviser in Residence for the Moers Festival. His discography includes albums such as Substantial Myths (2022), Balderi Variations (2019), and GRIFF (2021), which reflect his ongoing engagement with music. His work has been supported by organizations such as the Goethe-Institut, Musikfonds e.V., and INM - initiative neue musik berlin, and he has received recognition, including an Honorary Mention at the Prix Ars Electronica.
Burkhard Beins was born in 1964 in Lower Saxony and has been living in Berlin since 1995. He is considered a stylistically influential percussionist as a composer/performer, due to his individually developed playing techniques. Additionally, he works with analog synthesizers and live electronics, plays electric bass, and has created various sound installations.
He collaborates as a soloist, as well as with artists such as Chris Abrahams, Keith Rowe, Sven-Åke Johansson, Axel Dörner, Andrea Neumann, and many others. He is also a member of several ensembles including Sawt Out, Activity Center, Polwechsel, The Sealed Knot, Zone Null, Perlonex, Trio Sowari, Vertigo Transport, the NoWave/Krautrock band Slurge, and the Berlin Splitter Orchestra.
Since the late 1980s, he has performed concerts and participated in international festivals for experimental and contemporary music across Europe, America, Asia, and Australia. He has released more than 70 CDs and LPs in collaboration with various artists.
Burkhard Beins has been an Artist-In-Residence at the Künstlerhäuser Worpswede (2009), EMS Stockholm (2014), Muong Studios, Hoa Binh/Vietnam (2015), the Robert Rauschenberg Foundation, Captiva/Florida (2017), as well as at DAR, Drsukininkai/Lithuania (2018), and the Agosto Foundation, Prague (2019).
This Summer has never looked so bleak. Along with news of the album, Kulk have also released their new video single 'An Endless Kife': "An Endless Knife is about growing up. When we're younger, sometimes it feels like we're invincible. Like everyone we know and love are constant parts of the universe. When that reality is shattered, it changes how we see the world. You come to realise we are all just a couple of bad days from the worst. At the same time, it feels devastating. It reminds us to look after each other" - Kulk The band have toured across the UK extensively the past few years, playing amongst bands such as Part Chimp, Hey Colossus, Crowbar, Melt Banana, Iress, Big Brave, Gnoomes, Conan and Portrayal of Guilt... to name a few! They have toured twice with PigsX7, including shows at Electric Ballroom (London) and Rock City (Nottingham) and have appeared at the renowned UK festivals Arctangent and Desertfest
Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.
Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.
The Seeds stand tall amongst the handful of mid-60s American garage bands whose influence is palpable in rock to this day. Led by charismatic frontman Sky Saxon, the original Hollywood-based quartet’s unique and exciting brand of minimalist rock’n’roll still sounds contemporary and is perfectly encapsulated on this first album. If second album “A Web Of Sound” was pop-art flash, and 1967’s “Future” a florid take on psychedelia, then the July 1966 debut remains The Seeds’ grand statement; an all-original programme of rock and R&B-inflected garage punk that buzzed with a peculiar-yet-riveting energy that was the ensemble’s very own.
Whilst ”The Seeds” contains a pair of familiar classics in ‘Can’t Seem To Make You Mine’ and ‘Pushin’ Too Hard’,’ it is instructive to remember that it was recorded and released some time before either tune became a hit. Unlike so many albums of that era, the Seeds’ debut was not a quickie thrown to together to take advantage of singles chart success. Instead, the record constitutes a sharp definition of their unique and aberrant style, featuring several key items within their canon, be they the rough-hewn rockers ‘Girl I Want You’ and ‘No Escape’, the pot-boiling blues ‘Nobody Spoil My Fun’,’ or the lengthy and downright sinister ‘Evil Hoodoo’.’
Formed in 1981 by two Rockford, Illinois, and two Brookfield, Wisconsin, natives in the midpoint of Milwaukee, Die Kreuzen (pronounced dee kroyt-zen) chose their name specifically to avoid stereotyping because “no one knows what it means. 'Die Kreuzen' roughly translates out of German meaning 'to intersect' or 'to hybridize,' which is exactly what they did on their five LP's for Touch and Go. Their self titled debut is considered one of the most seminal hardcore records of the early 80’s. As far as October File is concerned, remember that flannel shirt movement in the 90's? This is what those guys were listening to.
Callisto celebrates 20 years of Noir with a vinyl reissue out in September Finnish post-metal outift Callisto are celebrating the critically acclaimed 2006 album Noir with its 20th anniversary vinyl reissue released by Svart Records in September. Founded in Kokkola in 2001, but already established in Turku early on, Callisto has been laying low in recent years. However, the band's versatile and nuanced metal achieved international popularity in the early 2000s. Their second full-length album, Noir, released in 2006, is a significant cornerstone of Callisto's career. – Noir is the album we have probably received the most feedback about over the years, the band admits. – People make and send covers of Noir songs to us and the album is usually the first thing that comes up in conversation when you come across people who have some experience, memory or opinion about Callisto's active years. Noir's production and recording process was also difficult in its own way, so it's already a reason to celebrate that it ultimately became an album that strongly defined the band's early years, the band continues. Noir has the menace and progressive edge of doom metal; the album is lively, looks forward darkly, moves from whispers to screams and ends with massive, powerful energy.
celebrating the critically acclaimed 2006 album Noir with its 20th anniversary vinyl reissue released by Svart Records in September. Founded in Kokkola in 2001, but already established in Turku early on, Callisto has been laying low in recent years. However, the band's versatile and nuanced metal achieved international popularity in the early 2000s. Their second full-length album, Noir, released in 2006, is a significant cornerstone of Callisto's career. – Noir is the album we have probably received the most feedback about over the years, the band admits. – People make and send covers of Noir songs to us and the album is usually the first thing that comes up in conversation when you come across people who have some experience, memory or opinion about Callisto's active years. Noir's production and recording process was also difficult in its own way, so it's already a reason to celebrate that it ultimately became an album that strongly defined the band's early years, the band continues. Noir has the menace and progressive edge of doom metal; the album is lively, looks forward darkly, moves from whispers to screams and ends with massive, powerful energy.
Independent Belgian artist of Congolese descent MAHINA explores an eclectic voice where soul, Afrocentric melodies, R&B, reggae , and both acoustic and electronic sounds intertwine, carried by percussion. ZAZA is MAHINA's long-awaited debut EP.
Moving between deep introspection, spiritual messages, and enchanting harmonies, Mahina embodies a new voice - both innovative and singular. Her ambition is clear: to make listeners feel, heal, resonate, and find a space where music becomes a language of truth and elevation.
Alongside her music, Mahina has performed in the critically acclaimed theater production Dear Winnie (KVS & NNT) and appeared on screen in the short film Le retour des femmes colibris by visual artist Patricia Kaersenhout.
Zaza is much more then just an EP, it is an inner quest, a journey through love, faith, vulnarability and resilience. Through an eclectic sound palette : soul, Afro-rhythmic, R&B, reggae, acoustic and electronic. Mahina offers a unique identity, both intimate and universal.
This adventure is conceived as a breath, a space where emotions and spirituality meet. Balancing fragility and strength, softness and intensity, Mahina unfolds a sincere and captivating voice that seeks to make listeners feel, heal and resonate.
The film One from the Heart was made by Francis Ford Coppola (The Godfather, Apocalypse Now) in 1982. Coppola asked Tom Waits to compose music to accompany the film, which is set entirely in Las Vegas and the surrounding desert. Waits invited country singer Crystal Gayle to join the album for solo songs and duets with Waits himself.
The album was a huge success, being nominated for an Academy Award for Best Musical Score. Nowadays the album is still considered a cult classic by film and music fans alike.
The soundtrack of One from the Heart is available on black vinyl.
The small print:
• Due to rights restrictions, this item is only available for customers in Europe.
After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.
As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.
Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.
With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.
Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.
Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.
Released in 1993 and never reissued on vinyl since, this album was recorded at Music Works Recording Studio, which was renamed that same year Anchor Recording Studio, well known among reggae enthusiasts. It was produced by Doctor Dread and mixed at the prestigious Lion & Fox Recording Studio, the American base of the RAS Records label.
The line-up is impeccable, featuring of course Flabba Holt on bass, Tee Bird on keyboards, Dwight Pinkney on guitar, and Sky Juice on percussion—in short, the full Roots Radics line-up.
As usual, Skelly, Wiss, and Apple take turns singing lead while the other two enhance the vocals with high-pitched melodic harmonies.
In a Roots Rock Reggae vein, this album is a cornerstone of the group’s discography, presented to you remastered, with a sound it had never been given before. The 180g vinyl pressing, glossy finish, and 350g sleeve make it a choice piece for all lovers of quality Roots reggae.
This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.
Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.
“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.
The double single is accompanied by two visualizers directed by Nick Steinhardt.
This Mirror Weighs a Ton, Interpol’s first album in four years and debut for Partisan Records, finds the band turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light.
Produced with Grammy- and Oscar-winning Andrew Wyatt (ROSALÍA, Charli xcx) and mixed by Dave Fridmann, the album introduces vibrant new textures into Interpol’s world. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. At its center remains the creative relationship between Paul Banks, Daniel Kessler and Sam Fogarino, a partnership now approaching three decades and defined by intuitive alignment and momentum that continues to generate new possibilities. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.
“This Mirror Weighs A Ton” / “See Out Loud” is a study in duality, with Interpol moving fluidly between familiarity and departure. The title track unfolds from a skeletal progression into something vast and textural, built from warped bass, a wordless female voice and a sense of motion that feels tidal, bending the band’s familiar language into somewhere more expansive and unfamiliar. By contrast, “See Out Loud” carries the DNA of Interpol’s earliest work, sharp, propulsive and direct, while complicating it through layered vocals, shifting perspectives and a rare lead vocal turn from Kessler. Both tracks reflect the interplay between structure and spontaneity that defines This Mirror Weighs a Ton, expanding Interpol’s world through fresh textures while keeping the instinctive chemistry between Banks, Kessler and Fogarino at the center.
The double single is accompanied by two visualizers directed by Nick Steinhardt.
The 2019-released label debut on Minor by Bristol-based producer Gordon Apps a.k.a. Relapse is another excellent showcase of how the long-standing underground imprint from Leipzig expands its sonic spectrum into dark and dubbed out Halftime Drum'n'Bass without losing its Industrial edge, providing a massive secret peak time weapon with the fluttering low end and seductive vocal snippets of the B-side tune „Multilingual Talk Channel“.
Never officially distributed before this is the first time ever this barely recognized underground gem is available to a wider audience, albeit in highly limited quantities. Limited pressing of 150 single copies on transclucent colour vinyl.
Celebrating 45 years since its original release, ‘I Love Rock ’N Roll’, Joan Jett and the Blackhearts’ seminal, groundbreaking album, is a landmark of rock history, selling over 10 million copies worldwide. The title track dominated the Billboard Hot 100 for seven weeks, becoming a global anthem and earning spots on multiple “greatest songs” lists. The album also delivered the Top 10 hit “Crimson & Clover.” Featuring its instantly recognizable, iconic cover, ‘I Love Rock ’N Roll’ remains a bold, enduring statement of raw attitude and timeless rock power.
Formed in 1981 by two Rockford, Illinois, and two Brookfield, Wisconsin, natives in the midpoint of Milwaukee, Die Kreuzen (pronounced dee kroyt-zen) chose their name specifically to avoid stereotyping because “no one knows what it means. 'Die Kreuzen' roughly translates out of German meaning 'to intersect' or 'to hybridize,' which is exactly what they did on their five LP's for Touch and Go. Their self titled debut is considered one of the most seminal hardcore records of the early 80’s. As far as their second album October File is concerned, remember that flannel shirt movement in the 90's? This is what those guys were listening to.
Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.
Leap Life is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.
The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music. The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.
Formed in 1994, Belgian power trio Metal Molly quickly built a reputation for their infectious blend of indie rock, grunge energy, and sharp melodies.
Their debut Surgery For Zebra was released in 1995, the album was driven by their single "Orange", which received extensive airplay across Europe.
The album propelled the band onto major stages, including Pinkpop and Torhout Werchter (1996), alongside high profile support shows with Therapy?, Bush, and David Bowie. After a highly successful run, Metal Molly disbanded in 2000.
In 2025 the band reunited to celebrate the 30th anniversary of Surgery For Zebra. The original pressing on turquoise vinyl sold out instantly, so we're repressing it on a new colour!
Surgery for Zebra is now available as a limited edition on red vinyl and it includes an insert.
"There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.
Splatter Vinyl, exklusiv via 375 Media. "There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. The 2005 EP Like a Plague Upon the Land is a punchy release praised for its authenticity to the genre. Never before released on vinyl, this hard-hitting fan favorite is heavily rooted in 70s rock-influenced doom. Traditional, slow, and heavy in the vein of Reverend Bizarre and Saint Vitus. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. The 2005 EP Like a Plague Upon the Land is a punchy release praised for its authenticity to the genre. Never before released on vinyl, this hard-hitting fan favorite is heavily rooted in 70s rock-influenced doom. Traditional, slow, and heavy in the vein of Reverend Bizarre and Saint Vitus. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
For any other artist, an album like Asher White’s Love Aggregates might come out of a conscious push to treat no idea as off-limits, to make something bold and new. Jubilant art-funk about cocaine addiction—absolutely. Swooning orchestral pop about Jerry Garcia—why not? Rippling electronic noise, jazzy brushed drums, an elderly motorcyclist with dementia, a profoundly emotional bass solo—put them all in one song. There are threadbare folk tunes, glammed-up power-pop bangers, “Sir Duke” horn charts, Morton Feldman string arrangements, layers of guitar feedback like violins made of liquid chrome. Yes, for another artist, Love Aggregates might be the most adventurous album in their catalog. For Asher White, it’s what passes for settling down.
White is 25 years old and has been making records—writing, recording, producing, and playing almost everything herself—for over a decade. She’d released two dozen of them on Bandcamp before catching the indie-rock industry’s attention with 2024’s Home Constellation Study and last year’s 8 Tips for Full Catastrophe Living. The latter album’s dizzy eclecticism and formidable craft landed her on Rolling Stone’s Future 25 list with the likes of xaviersobased and Oklou, along with a slew of other accolades. That came as something of a surprise to White, who didn’t craft the chaotic 8 Tips with a breakthrough in mind. Love Aggregates feels like a chance, for one of the most thrilling musical talents of her generation, at a more deliberate introduction.
She wrote and recorded her new album while her previous one was gathering
momentum, tinkering in the DIY recording studio where she always works, acutely conscious now that people would be listening to whatever she came up with. At around the same time, her years-long romantic relationship ended in a flurry of betrayal and addiction, her first experience of devastating heartbreak. Even so, Love Aggregates is not a bitter album about wallowing or seething, but instead making use of those impulses as raw materials in work that transcends the specificity of its origins, fashioning them into something surprising and new.
In 2021, Golden Earring announced their parting after more than 60-years as a group. This meant that their last live show, held at the Rotterdam Ahoy on 16th November 2019, was also their final performance as a band. With this knowledge, the excellent audio recordings of this tremendous concert were unshelved in close cooperation with the band and John Sonneveld – the band’s long-time technical assistant and producer. The result: You Know We Love You!
It's the ultimate goodbye of this legendary Dutch rock band and available as a limited edition of 500 individually numbered copies on transparent vinyl. This 3LP is packlaged in a deluxe trifold sleeve featuring a collage of photos that fans of Golden Earring submitted, plus a 4-page booklet including a replica of the original concert poster.
Illusive Bristolian beatmaker Claude Cooper returns with a visceral blast of psychedelic-hip-hop, enlisting IDLES frontman Joe Talbot and BEAK> bassist Billy Fuller for ‘Perfect Execution’, a limited edition 7" single in aid of War Child UK.
Claude Cooper has found a kindred spirit in Joe Talbot. The IDLES frontman has long worn his hip-hop influences as openly as his post-punk ones, and on ‘Perfect Execution’ that affinity finds its fullest expression yet. Cooper's raw, dissonant production collides with Talbot's breathless, confrontational lyricism in a track that draws its lineage from Public Enemy as readily as it does from Bristol's own bruised musical history.
The lyrics pull no punches. Talbot inhabits a landscape of public spectacle and private suffering, circling images of crowds, chains, hanging and the hollow comfort of slogans. The repeated refrain of “No pain no gain” hits differently when set against the track's subject matter, its bludgeoning repetition somewhere between protest chant and bitter irony.
Joe says, “It’s an honour to work with some beautiful Bristol heads on this track for Warchild. All is love”.
Carpark are the kind of band that turn everyday frustration into something loud, sharp, and impossible to ignore. Their debut EP *Born to Be Average* leans into the chaos of modern life with biting lyrics, jagged guitars, and a raw, unfiltered energy that feels both familiar and defiantly unpolished. Across five tracks, they blur the line between self-deprecation and quiet rebellion, capturing the sound of a generation stuck somewhere between apathy and ambition. It’s messy in all the right ways: honest, hooky, and built to be played loud on repeat. Pressed on vinyl, this release isn’t just a record, it’s a statement that being “average” was never really the point.
Recorded in Waterloo, Iowa and produced by Michael Cutsforth , the album blends iconic blues storytelling with soulful, lived- in delivery, performed with clarity, conviction, and heart. Burt - long celebrated for his ability to captivate audiences with a raw, acoustic roots style and winner of the International Blues Challenge for solo artist - returns to the core of what makes his music resonate so deeply. After releasing three studio albums with full- band arraignments, This Trip marks a conscious shift toward intimacy and honesty. Burt brings the immediacy of his live performances into the studio, stripping back instrumentation to place the listener directly in the room with the storyteller. The result is a warm, immersive listening experience where every lyric lands with intention and every pause carries meaning - an album that invites you to slow down, lean in, and truly listen. Lyrically, This Trip reflects on life in all its chapters, exploring love, loss, hurt, fear, joy, and the moments that define who we become. These are songs shaped by experience and delivered with empathy, offering comfort as much as truth. Listening to Kevin Burt feels less like consuming music and more like sharing space- it's reflective, grounding, and quietly transformative. This Trip isn't just an album you hear; it's one you feel, and one you'll want to return to again and again.
Released for the first time ever on vinyl, the original Bare Bones release was recorded entirely in the Spring of 2010, this album is a collection of acoustically arranged songs culled from concerts recorded during the "Bare Bones Tour", featuring pianist Gary Breit. For this latest version, a newer recording of "Here I Am" has been added that was recorded in Melbourne, Australia in 2025. Featuring special live versions of many songs from Adams" extensive and well loved catalogue, including "Cloud Number 9" and "Heaven" as well as rarities like "The Right Place" and "The Way You Make Me Feel". Originally released in 2010, this newly packaged version features new cover art and design, created especially for Bad Records (Adams" own label). The album contains 19 songs across 2X LPs packaged in a gatefold sleeve with printed inner sleeves, obi and shrink wrap.
Released for the first time ever on vinyl, the original Bare Bones release was recorded entirely in the Spring of 2010, this album is a collection of acoustically arranged songs culled from concerts recorded during the "Bare Bones Tour", featuring pianist Gary Breit. For this latest version, a newer recording of "Here I Am" has been added that was recorded in Melbourne, Australia in 2025. Featuring special live versions of many songs from Adams" extensive and well loved catalogue, including "Cloud Number 9" and "Heaven" as well as rarities like "The Right Place" and "The Way You Make Me Feel". Originally released in 2010, this newly packaged version features new cover art and design, created especially for Bad Records (Adams" own label). The album contains 19 songs across 2X LPs packaged in a gatefold sleeve with printed inner sleeves, obi and shrink wrap.
Heights Of Fire” by Capleton is being released as an LP via Diggers Factory and presents a brand-new album produced by Evidence Music. The release once again puts Capleton’s distinctive voice front and centre, while also speaking to collectors who value a high-quality pressing.
Musically, “Heights Of Fire” blends classic reggae foundations with modern production elements; weighty bass foundations, precise drums, and organic arrangements carry the messages. Guest appearances by Damian Marley and Stephen Marley, along with collaborations with Derrick Sound, Little Lion Sound, Eesah, Mista Savona, Mixing Finga, and L’Entourloop, provide sonic variety and international influences. Lyrically, the tracks revolve around spirituality, resistance, and personal reflection, which Capleton delivers with emphatic rhetoric.
Key characteristics of the LP include its distinct production signature and the collaboration with established reggae heavyweights, which give the album both depth and a contemporary freshness. The arrangements move between dense roots passages and airy choruses, making the record resonate with both traditional listeners and a younger audience. The release on Diggers Factory also underscores the clear collector focus of the physical rollout.
Morgan Noise erschaffen mit ihrer Musik eigene Welten, in denen sie Jazz-Sensibilität und alternative Experimentierfreude mit Singer-Songwriter-Flair verbinden. Alle vier Mitglieder, darunter Musikerinnen der Bands Fat Dog und Flur, verfügen über einen Jazz-Hintergrund. Ihre Improvisationskunst ist entscheidend für die Entfaltung und Weiterentwicklung der Songs. Inspiriert von den Klanglandschaften von Saya Gray, Nilüfer Yanya und Astrid Sonne, schlagen Morgan Noise eine kunstvolle Brücke zwischen komplexen Emotionen und klanglicher Präzision, lyrischer Nuancierung sowie künstlerischer Klarheit. Zu ihren bisherigen Erfolgen zählen Auftritte beim Green Man Festival sowie eine Live-Session für Riley & Coe. Nach der UK Support-Tour für Porridge Radio steht nun die Veröffentlichung ihres Debütalbums an – ein Werk, das vom Lebensgefühl der frühen 2020er-Jahre und den Erfahrungen während der Tourneen in dieser Zeit inspiriert ist.
American experimental composer Stephen O’Malley releases Avaeken, two sides of immense, immersive, self-annihilating music via Dais Records.
The record preserves site-specific work: O’Malley installed Avaeken as part of Wish You Were Here, the exhibition by renowned American artist Banks Violette, underscoring the tension between presence and absence, life and loss.
O’Malley and Violette have developed a distinct language of sound, space, and sculpture over the past two decades, reverberating through the walls of world-class institutions from The Guggenheim and Centre Pompidou to prominent galleries such as Maureen Paley in London, Gladstone Gallery in NYC, and Antwerp’s TICK TACK, the brutalist space where Wish You Were Here unfolded in early 2026.
Emerging now as an LP, Avaeken presents power and phenomena: low-frequency vibrations, deep oscillations, and phase cancellations that translate as innately effective in any environment. Violette’s visual expression — the impossibility of locating yourself within the loss of a friend and the broader decay of culture — now fills the LP sleeve and feels inextricable from O’Malley’s sound, both still without resolution.
“Natural harmonic tone coloured by the valves of the amplification is the one desired characteristic,” reads the initial notes.
“At first I asked, why would I write for another guitar player?” he says. “I realized how amazing it is to be a listener on the other side of the music; together we were able to try all these precisions with intonation, harmonics, specific microtonal ideas.”
The quartet performed Avaeken several times before O’Malley joined them for a recording session at Muziekcentrum De Bijloke, a 13th-century former hospital with modern acoustics in Ghent.
Emerging in the early 2020’s - Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth Of Veins’ was released in 2022, & their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.
Returning now for Static Abyss’ third studio album, & with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare inducing trip through the sonic abyss. Continuously & relentlessly flitting between brutal passages & hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust & Doom elements.
‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing & mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.
This edition of ‘The Dying Hunt’ is presented on limited yellow marble vinyl, including printed inner sleeve with lyrics.
Few bands have defined the sound of American melodic rock quite like Night Ranger. From the thunderous riffs of “Don’t Tell Me You Love Me” to the soaring anthem of “Sister Christian,” this new Best Of collection captures the very essence of their decades-long career — now reimagined for 2026. Featuring the classic hits alongside fan favorites and standout tracks from their most recent albums, this compilation spans the full spectrum of Night Ranger’s signature sound: anthemic choruses, blazing guitar solos, and unforgettable melodies. Highlights include the power-pop perfection of “(You Can Still) Rock in America,” the heartfelt balladry of “When You Close Your Eyes,” and the cinematic sweep of “Four in the Morning.” But “Best of the last 20 years… and Some Hits” is not just a look back. It also celebrates the band’s creative output over the last 20 years, spotlighting tracks like “Time of Our Lives,” “High Road,” “No Time to Lose,” “Somehow Someway,” and “Truth,” proving that Night Ranger’s energy, songwriting, and musicianship have only grown stronger with time. These songs show that the band continues to innovate while staying true to the melodic rock roots that made them legendary.
The current lineup — Jack Blades (bass and vocals), Kelly Keagy (drums and vocals), Brad Gillis (guitars), Eric Levy (keyboards), and Keri Kelli (guitars) — delivers every track with the energy and precision that have kept Night Ranger at the forefront of rock for more than four decades. This edition also features two bonus tracks that make this compilation truly special: a fresh studio take on “Wasted Time” recorded at Sweetwater Studios, accompanied by an exclusive music video, and a festive live performance of “Feliz Navidad” that showcases the band’s playful side. Perfectly timed ahead of their summer 2026 tour, this Best Of serves as both a definitive introduction for new fans and a must-have collection for longtime followers. Whether revisiting the classics or discovering the new 2026 renditions and recent masterpieces, Night Ranger – Best of the last 20 years… and Some Hits is a celebration of enduring melodies, electrifying performances, and the unforgettable spirit of one of rock’s most iconic bands.
