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The Weather Channel is the new instrumental album from Bad Brains bassist Darryl Jenifer. It follows his 2010 solo debut, In Search of Black Judas. The record features a venerable lineup of heavy-hitters from the jazz world, including the likes of John Medeski, Ben Perowsky, Jack DeJohnette, and Lenny White, among others. The tracklist includes nine new compositions, as well as new interpretations of two Bad Brains classics.

Sunburst Orange w/ Turquoise Vinyl, limitiert auf 500 Exemplare. Emma Ruth Rundles "These Killing Times" ist mitreißend, emotional und voller anti-patriarchaler feministischer Wut. Das sechste Studioalbum der Multi-Instrumentalistin, Songwriterin und multidisziplinären Künstlerin ist eine reaktive Anthologie, voller Energie, Lebensfreude und Widerstand; es stellt uns Fragen nach unseren Absichten und den Rollen, die wir in den Gemeinschaften spielen, in denen wir leben, und danach, wie wir dem Würgegriff des Kapitalismus begegnen wollen. Schlaflose Nächte, Momente des Grauens und Zeiten der Qual könnten über eine Zeitleiste der jüngsten gesellschaftspolitischen Ereignisse gelegt werden, um die Entstehung von "These Killing Times" nachzuzeichnen: die zunehmende Macht des christlichen Nationalismus, der groteske Zirkus des politischen Diskurses und das damit verbundene ontologische Unbehagen. Aber es gibt auch Liebe - als Balsam und Stärkungsmittel, als Mittel zur Flucht. Das Verlangen nach Gemeinschaft und Verbundenheit, während man mit den gewalttätigsten Seiten der Menschheit konfrontiert ist, bleibt eine ungelöste Spannung. Während sie Anfang 2025 aus der Ferne die verheerenden Auswirkungen einer weiteren Klimakatastrophe beobachtete, reflektierte Emma über die Wurzeln der systemischen Probleme, die sich direkt in so viele katastrophale globale Ereignisse niederschlagen, und traf die bewusste Entscheidung, ein hoffnungsvolles Album zu schaffen. Wo äußere Kräfte sie dazu verleiten wollten, sich nach innen zu wenden, in Richtung Isolation und Hoffnungslosigkeit, streckte sie sich stattdessen nach außen, um ein Album zu schaffen, das den Schmerz anerkennt, aber als Antwort darauf sowohl Gemeinschaft als auch Widerstandskraft bietet.

Kaiso Power is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the 1970s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music. At the dawn of the 70s a shift was taking place all around the world. The streets of Port of Spain thronged with Black Power marches, trade union demonstrations and Carnival protest bands - one epicentre in a growing global exchange of ideologies and strategies among Pan Africanist circles in Jamaica, Guyana, London, New York, Montreal, Lagos, Accra and beyond. And when the meetings were over, the revolution moved to the cramped secret dance halls, the Carnival fetes, the steelband yards. The music always had a sharp edge. Searing commentary has always been part of the various types of music in Trinidad, and in the absence of lyrics, the defiant use of the drum maintains the resistance, as well as the re-framing of the playing of European instruments to the needs of the message. Lancelot Layne, Delano Abdul Malik De Coteau, Andre Tanker, Clive Zanda, Mansa Musa were more than artists, they were teachers, community workers and advocates for justice. These recordings are as raw as an all-night Carnival jam, the horns loud, the percussion ringing out, the bass dripping with joy and rebellion. Under the modern influences is a solid rhythm, an unbroken connection to Africa, the songs and keys and cadences brought across the middle passage. These songs are a peep into the untapped treasures of a revolutionary generation, looking at the world with fresh eyes and believing that music was a central part of the mission to build consciousness and regain confidence.

Fort Romeau debuts on Rekids with the ‘Lovin’ U’ EP.

The British producer's three-track release lands this September. London-based DJ and producer Fort Romeau arrives on Rekids with the ‘Lovin’ U’ EP, releasing 11th September 2026. Opening the release, the title track beams sunshine through 8-bit melodies and a repeating, hypnotic vocal shot through with tasteful echoes, all underpinned by a tight drum groove. ‘No Limit’ dives into more of that endless depth, its vocal sample floating over the groove as delectable piano keys bring the party. Closing things out, the Trip Mix of ‘Breathe’ eases the pace, snappy rhythms laying the foundation while dubby chords spring through a track built for daydreaming.

Fort Romeau, aka Michael Greene, has spent more than a decade shaping a sound that blends deep house, hypnotic techno and ambient influences. His productions have appeared on labels including Ghostly International, Running Back, Live at Robert Johnson, Cocoon and Permanent Vacation, alongside more than 100 remixes for a wide range of artists. As a DJ, he's contributed mixes to BBC Radio 1's Essential Mix, the Resident Advisor Podcast and Circoloco Radio, while his latest EP for Rawax became one of Juno's bestselling records of 2026.

BBC Paris Studio was the location for the recording of the tracks for the second and third Pop Go The Beatles radio show on June 1st 1963. All except for Twist And Shout, which was cut on June 17th at BBC’s Maida Vale Studios. It was at the Paris Studios session that magazine publisher Sean O’Mahony met Brian Epstein and suggested that the Beatles should have their own monthly magazine.

In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.

A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).

From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.

I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa

Sempra makes his debut on Up Ya Archives with tracks imbued with his signature blend of jungle and breakbeat, interpreted through his unmistakably soulful lens. Warm vocal melodies and ethereal instrumentation ride smoothly atop the rolling waves of breakbeats and warping basslines. It all culminates in a soulful take on ragga jungle sound, setting Sempra apart from his junglist peers. When asked on his process behind ‘Wicked N Ruff’,

Sempra said:
“I’m really proud of this release! I love the fusion of genres and feeling, these tracks really show my love for contrasts. You get the soft with the hard without losing any of the euphoria”.

Having released consistently across labels including Future Classic, Headroom and Hardcore Energy, Sempra continues to refine a unique sound that draws equally from soundsystem culture and contemporary soul.

Come Over Reshapes works because it never tries to smooth JdB's debut into something safe. It features seven artists from LA and the Midwest all taking his source material somewhere different as brooding, minimal jungle rubs up against dubbed-out weight and drifting psychedelic ambient. Despite the variety, the whole thing plays like a continuous narrative rather than a scattered remix comp. Some cuts are clearly built for the floor, others for the comedown room, and the sequencing respects both. Steffan Betke's mastering keeps everything sounding cohesive and like a thoughtful tribute record that expands on the original rather than just repackaging it.

When a British alt-soul and art-pop duo collaborates with Filipino musical royalty, the result is a blinding flash of artistic spirit that transcends geographical andgenerational barriers.

For Margate-based act Thandii, a chaotic whirlwind of a trip to Manila allowed Graham Godfrey and Jess Berry to explore a new cultural context of song- writing. After several prolific years of self-released albums together, they took the opportunity to channel Graham’s Filipino heritage through an ambitious project proposed by the label Sama Sama Records: for Thandii to make their next album with the most recorded drummer in the Philippines, Jun Regalado.

Now in his late 70s, Regalado has recently gained more recognition internationally after the reissue of his track ‘Pinoy Funk’ (from the Soundway compilation Ayo Ke Disco in 2024), along with the discovery of nearly 500 album appearances that are now finding themselves in the collections of younger generations. And on Coco Okayo - the first time he has collaborated outside of his contemporaries - Regalado effectively passes the torch.

In exploring a sound born of the diaspora with roots in British soul music, Coco Okayo makes full use of the polymath abilities of Thandii. While they provide vocals, percussion, flutes and production, they still manage to carve out space for regular Margate collaborators (including keyboardist Steve Pringle, Graham’s bandmate in Pigeon), as well as tapping Filipino connections in the United States such as Wyn Avillas and Ian Santillano.

“It’s a new genre coming from Filipino diaspora artists paying tribute to the Manila sound of the 70s,” say Thandii, “but combining it with modern day post-punk- disco, beat-driven-art-pop music coming from the small seaside town of Margate”. However the listener might interpret it, it’s clear that Coco Okayo is not stuck between worlds, but rather, has built a utopian world of its own.

Frazer Ray lands on Time Is Now with Masha EP. Four tracks of killer, stripped back FWD facing proto/future garage effortlessly pushing the sound into a new direction.

FACTS:

1. Frazer Ray knows how to make a dance. IYKYK…. Recently he’s been shelling Live UKG cooked right in front of you on a custom modular rig. Mad energy. 100% party business.

2. Frazer Ray knows a thing or two about making UK soundsystem music. The artist FKA Soundbwoy Killah is now a decade deep in his discography. And first as ‘Soundbwoy Killah’ and now as ‘Frazer Ray’ he is 2 for 2 with aliases that never miss.

3. New Frazer Ray is always something to get excited about. For 10+ years he’s kept it super tight. Quality over quantity. Always holding dubplates. When releases have landed they drop on only the best labels; including both Rinse and Rinse’s new INGRAM imprint, Ninja Tune’s Technicolour imprint, Sneaker Social Club, Interplanetary Criminal’s Locked On and IPC & Main Phase’s ATW Records. (side note - his Soundbowy Killah - ‘Halcyon Daze’ LP on Sneaker is IMO an all time classic - do not sleep on that one). Aaaannd… if the dubplates got too heavy he’s also occasionally dropped weight on his own U-Phorix label.

Also…..what has always struck me about Frazer’s music is that it’s simultaneously integral in the hardcode continuum while also pushing it forward. It’s always complete. Fully formed. You never bristle. There’s no failed experiments. Just a firm nod to the future for anyone looking.

OK… Run the tracks.

Masha’s vocal licks tell it straight, this one is “Fire”. Proper club business to test the stacks. The drums roll steady in front of a wall of sub bass. A killer mix of post dubstep era goodness, techno sound design and the shuffle & swing of proto dubstep.

Settle Down There’s something 90’s tek step about this one. Dark and moody with a wall of bass. It bristles with texture and atmosphere before – a moment of reprieve in this absolute weapon – Frazer opens up into a dubwise oasis before skittering back into the darkness.

Syren Song is exactly what it says on the tin, alluring Dancehall vocals chatter and roll. Who knew auto-tune and Garage paired so well… Frazer did that’s who.

No Reasons Left is an ethereal closer for the end of the night / start of the morning after. Gliding warm & introspective dubwise breaks with a Reese bassline that hangs in the space between garage and hardcore.

Frazer says…

“This EP feels like I've finally nailed integrating my modular setup (and VCV rack for all you nerds out there) into my productions. I wanted to create deeper production while still ensuring the tracks translate well in the club.”

If this is only the beginning then strap in.

Samosa Records brings the heat just in time for the summer months with Volume 3 of the electrifying ‘Earth, Wind & Funk’ series – landing a slick four tracker that will relieve you of your socks and undergarments…

Kicking Vol.3 off is Roberto Telll with ‘It’s Magic’ – an unstoppable, bass driven leviathan of a track with perfectly balanced vocals and groovy, punchy beats. ‘It’s Magic’ straddles that sweet spot of disco flavour expertly infused with a peppery funk spice. Mesmerising.

Track 2 sees the welcome return of label favourites and fellow Italian groove machine Dirtyelements with ‘Get On Down’ (De Gama Re-Groove). The mid-tempo calypso rhythm on this slice of leg-wobbling perfection is outrageously infectious. Dirtyelements has yet another solid, stomping disco builder bursting out of the lab with a mission to cause mayhem.

On Side B, Marco Corona swoops in with his 126bpm sonic torpedo ‘Eat Me!’ From the start, ‘Eat Me!’ drums its way into your subconscious with a powerful bass drum and tribal tinted percussion. Before you know it, you’re over the border into house territory – expertly picked vocal loops and builds make this one insanely irresistible.

Closing out the EP with ‘Hey Jee’ is Italian producer extraordinaire Frank Virgilio. Step into Mr Virgilio’s taxi whilst he whisks you through downtown Manhattan en route to the best night out in town. Soaring strings, slick bass work and nimble beats are the dress code – but, don’t worry, Frank always gets you in.

Raising the Samosa bar yet again, ‘Earth, Wind & Funk Vol. 3’ is a cool antidote for those hot summer nights under the stars – best served with your favourite cocktail.

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go’ and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

There is a pivotal scene in “August in the Water” (dir. Sōgo Ishii, 1995) where the surface of a pool turns into a stone wall. The water that gave the protagonist's life its meaning becomes a threat. As you fall through this stone wall, you appear in a set of underwater coral-reef corridors, and one of the most beautiful musical themes begins to play: Aquatic Ambience, composed by David Wise for Donkey Kong Country (1994). It's a theme that represents the weightless vibe of your new deep-sea life, where you go about your mundane errands, collecting bananas while driving on a swordfish, or, as HerzMayhem put it: "Poor monkey... always swimming, never going anywhere..."

Synthetic Water Music is the second of three compilations, following Synthetic Bird Music and timed to mappa's 10th anniversary. As with the birds, it gathers friends of the label, artists who have released with mappa or played our shows. Most of the music is new, made to measure for this compilation, much of it from Central and Eastern European hands. Birds and water mix well, so please feel invited to play them together, creating your own environments.

Where the birds were in one flock, water is dispersed across four chapters. You live your life as a droppity drop: vapour in the heavens, condensing in clouds, falling into a swamp, trickling into the deepest sea.

Tlālōcān (Cassette 1, Side A)
A place of eternal spring, of aquatic energy that nourishes everything and allows all things to bloom. Bubbly and splishy-sploshy, it is full of dripping sounds and moist caverns (“Emerald Pool” by Pauline Anna Strom), a landscape filled with living fountains (“Oh, to be a Fountain” by Eva Sajanová) and winding streams that flow through the area, forming part of its organic architecture. It is also a paradise reserved for those whose deaths were water-related, where the aquatic and terrestrial beings live in symbiosis and perspectives shift rapidly, from observing a single droplet (Shakali, Lau Nau) to dew (Feronia Wennborg & Lucy Duncombe) and on to flowing currents (Visible Cloaks) that gradually transform into river music (Ursula K. Le Guin & Todd Barton).

Nephelora (Cassette 1, Side B)
A celestial anti-gravity sound world made of evaporation, steam and the formation of clouds, as if looking at “The Sky At The Bottom of the Well” (by Natalia Beylis) or at “The Cloud That Never Rains” (by Henrique Vaz).

If a cloud never rains,
it is not a cloud at all, but a veil that parches the earth with its gaze.
It generates only its own shadow —
a looming mass of suspended longing,
a sky that hoards but never yields,
a reservoir that swallows every river and returns nothing but echoes.

The water in this world is often invisible but sometimes all the more present, as Bint Mbareh describes it: “Recently been obsessed with invisible waters because I come from a place where you have to imagine the water is there even though you cannot see a river, a sea, usually no rain, so water is in the air, the voice and the imaginal realm, drought is imagined to be negotiable.”

Žaboglach Zha-bo-glahch (Cassette 2, Side A)
A fusion of Scottish lochs and Slovak ponds: a misty, foul-smelling, swampy realm, the kind of place that swallowed Artax from The NeverEnding Story. Stagnant waters full of decay become a blooming habitat for sirens (“thereby losing the weightless delight of being swept along with it” by Adam Badí Donoval) and beings straddling the line between fauna and flora, inventing their own communication systems (“Water-lily phase” by Action Pyramid).

R'lyeh (Cassette 2, Side B)
A brooding sunken city at the bottom of the ocean. It’s a journey to get there. Let this chapter guide you, from the shore down to the depths, to the gates of an unexplored world that is inherently dark, unfathomable, and beyond the limits of human perception: starting with seasickness ("Seasick" by Nikolaienko), passing through a classic Poe-esque maelstrom ("Flurry at the Whirl-pull" by Atte Elias Kantonen), a gateway into the darkness and emptiness of the ocean floor, and finally traversing the city itself (“last waves of 2025” by Jules Reidy).
But what is pulling you to a place like this that only a few explore and even fewer leave? Maybe “the darkness that water can contain, the expanse of things we don't know and that can trigger fear instincts even as we try to rationalise them and think we are in control of the rest of nature” (“supercritical fluids” by Diane Barbé).

Dive in and surface wherever you like. Always swimming, never going anywhere. Just don’t forget to take water breaks.

P.S. Birds, then water, can you guess what comes next? Synthetic Soil Music, an elegy for insects and worms? Synthetic Glaciers, or maybe Pollinators? Which sounds would you miss the most if they disappeared? Or what if the third one never comes at all, and somebody, or something, makes Synthetic mappa Music instead. Don't you worry, with the right training data, it can all be replicated, better than the real thing.

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

30 Jahre HEINZ AUS WIEN. Das allein ist schon ein ziemlicher Wahnsinn.Und dass das Ganze am 10.9.2026 in der Open Air Arena mit vielen Freunden gefeiert wird, ist ebenfalls verrückt - denn dort begann ja alles, als am 14.6.1996 das erste Konzert von HEINZ als Vorgruppe von Selig stattfand.Tja, und schwups sind 30 Jahre vorbei. In all den Jahren haben wir viele liebe Menschen kennengelernt, die zu Freunden wurden. Einige davon stammen sogar aus der musizierenden Zunft. Und wie es der Zufall so will, sind in den letzten 30 Jahren - und auch schon davor - viele Lieder erschienen, die uns besonders gut gefallen.Was lag da näher, als ein Album mit deutschsprachigen Coverversionen aufzunehmen und Freunde einzuladen, dabei mitzumachen? Eben.Darum haben wir viel Zeit mit total lässigen Menschen im Studio verbracht. Und was dabei herausgekommen ist, kann sich hören und sehen lassen:* OLIVER WELTER singt mit uns **SOLDATEN DES HERZENS** (*Military of the Heart* - Naked Lunch)* NINO AUS WIEN singt mit uns **GEZEICHNET FÜRS LEBEN** (Wolfgang Ambros)* SPORTFREUNDE STILLER singen mit uns **DU WARST MIR IMMER EIN FREUND** (*Thank You for Being a Friend* - Andrew Gold)* MARCO POGO singt mit uns **BOHEMIAN WIE DU** (*Bohemian Like You* - The Dandy Warhols)* KLEE singen mit uns **SAG JA** (*Say Yes* - Elliott Smith)* MULAN singt mit uns **DU UND ICH SONG** (*You & Me Song* - The Wannadies)* MANUEL RUBEY singt mit uns **TRY** (*Try* - P!nk)* LELO BROSSMANN singt mit uns **ES IST SO SCHADE UM RAY** (*It's a Shame About Ray* - The Lemonheads)* LIL JULEZ singt mit uns **WIR WERDEN GRAU** (*Fade to Grey* - Visage)* HANNAH GARTNER singt mit uns **WIE IM HIMMEL** (*Just Like Heaven* - The Cure)* BIRGIT DENK singt mit uns **DAS KONZEPT** (*The Concept* - Teenage Fanclub)Und so ist es fertig: das neue Album **DU WARST MIR IMMER EIN FREUND** von HEINZ AUS WIEN!Es erscheint am 11.9.2026 auf Vinyl und digital - ein Tag nachdem in der Open Air Arena gefeiert wurde.

Tapper Zuki's debut album 'Man Ah Warrior' was originally released in 1973.It's classic Dee Jay style has been copied by many but bettered by few. An album that more than most shows that raw talent with little resources can still be a great, great thing.
Tapper Zukie (b.1956,David Sinclair , Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm.
Living pretty much on the streets from an early age the youth including the young Tapper had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town.
Fear of landing in even more trouble, a plan was devised by Tapper's Mother ,Brother ,Reggae producer 'Blackbeard' and family friend Bunny 'Striker' Lee .The plan was to send the wayward Tapper to England to cool his ways.
A UK tour with the number 1 Reggae Dee Jay U-Roy was already arranged on his arrival, Bunny Lee got the young Tapper to toast over a Slim Smith rhythm, the London crowd loved it
He also caught the eye of producer Larry Lawrence who took Tapper on and cut his first single 'Jump and Twist'
Nine further tracks were recorded for producer Clement Bushey that would result in this album 'man ah Warrior.
We hope this introduction to Tapper Zukie's music inspires you to look further into his catalogue of great music.
An artist ahead of his time, whose music has influenced many........
as Patti Smith stated 'Music of the Most High'............

Auf diesem Tonträger mit dem für "KrawallBrüder" eher ungewöhnlichen Namen „Stories of our life“ erwarten Euch 10 Songs, darunter einige der größten Hits der KB-Ära – komplett neu interpretiert in englischer Sprache.

Die Songtexte wurden von "Tim Steinfort" (Haymaker/Discharger) standesgemäß ins Englische übersetzt und von den Brüdern komplett neu eingesungen, wodurch die Songs eine ganz eigene, frische Atmosphäre bekommen, ohne ihre ursprüngliche Kraft zu verlieren.

Ein neues Kapitel in der Geschichte der vier Jungs aus dem Saarland? Wohl eher nicht! Dafür aber die logische Konsequenz auf die inzwischen auch international wachsende Fangemeinde.

Ein besonderes Sammlerstück für die geneigten Hörer – Streng limitiert und sicher schnell vergriffen!

Die LP streng limitiert auf 400 Einheiten auf weiss/blau/rot marmoriertem Vinyl im Inside-Out Gatefold Cover.

Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

Bei ihrer Ankunft in den USA anlässlich der ersten landesweiten Tournee von The Tubs sagte Frontmann Owen Williams gegenüber dem ,New Yorker": ,Wir sind hier, um das Land zu vereinen. Wir werden so etwa dreimal kommen. Bis dann, denke ich, wird dieser Ort anfangen zu heilen." Und genau das taten sie dann auch voller Freude: Sie quetschten sich in einen Transporter und durchquerten die Vereinigten Staaten kreuz und quer, um den Massen ihren literarischen, verschlafenen, lebensmüden, ,Nacht-deines-Lebens`- Hochseilakt zu präsentieren, als dieser am dringendsten gebraucht wurde. Den Tubs hat es nie an Ehrgeiz gefehlt - auf ,Hard Life" geht es ihnen darum, das ,Tub-ullar"-Erlebnis zu verkomplizieren. Nachdem sie ihre Chemie über zwei vorherige Alben, Hunderte von Auftritten und ein ständig wachsendes Universum von Bands aus dem Londoner Gob Nation Collective (The TSG, Sniffany & The Nits, Spike und Garden Centre) perfektioniert haben, dringt die in London ansässige keltische Jangle-Boyband - Williams (Gesang, Gitarre, Keyboards, Bass), Dan Lucas (Gitarre), Taylor Stewart (Schlagzeug) und Max Warren (Bass) - dringen noch tiefer in das schillernde Herz des virtuosen Indie-Rocks vor. Zu ihnen gesellen sich die regelmäßigen Mitstreiter Lan McArdle (Gesang), George Nicholls (Gitarre) und Rachel Kenedy (Keyboards), die alle schon seit den Tagen von Joanna Gruesome an verschiedenen Projekten im Umfeld von ,The Tubs" mitgewirkt haben; doch das Geheimnis der Üppigkeit von ,Hard Life" ist die Mitwirkung des Geigers Chris Haigh, eines Musiklehrers und Session-Musikers, der mit dem Steps-Hit ,5, 6, 7, 8" unauslöschliche Spuren im britischen Pop hinterlassen hat. In Anlehnung an Williams' Einsatz von Trillern in den Gesangsmelodien untermalt Haighs Geige den wehmütigen Gesang des Sängers wie ein blauer Fleck. Bei ,Stoop to Me", dem folkigsten und klimperndsten Popsong des Albums, ergänzen Haighs Licks Williams in seinen selbstironischsten Momenten - das schiefe Lächeln eines Mannes, der versucht, nicht zu zeigen, wie sehr ihn die unerwiderte Liebe verletzt. Beim Album-Opener und Titelsong ,Hard Life" ist es die Süße der aufsteigenden Geigenlinien im Mix, die die Härte von Williams' Texten mit den mitreißenden Hymnen von The Tubs verbindet. Die harte Linie, die Williams hier und an anderen Stellen auf ,Hard Life" einschlägt, stellt die Vorstellung vom typischen Tubs-Song weiter auf den Kopf. Die Figur, die den Hörern von ,Cotton Crown" und ,Dead Meat" vertraut ist - um Williams: ,die Nabelschau über romantische Erniedrigung, Londoner Elend und die Demütigungen von Trauer und Zwangsstörungen" - ist nach wie vor präsent, doch ebenso gibt es eine zweite Stimme, die härter und erfahrener ist. ,Die zweite Figur hat nicht viel Zeit für die erste", erklärt Williams, ,und hält ihm oft seine Selbstgefälligkeit und Unreife vor; manchmal zu Recht, manchmal zu Unrecht." Es ist dieser Nörgler, der auf der Lead-Single ,Who's Gonna Love You Now?" im Mittelpunkt steht. Seine Fragen - von der im Titel genannten bis hin zu konkreteren Sorgen wie ,Wer bezahlt die Miete?" - stehen in spöttischem Gegensatz zu Ideen wie dem Umzug in die Stadt und dem Beginn eines wirklich erfüllten Lebens. Obwohl Williams den Griesgram spielt, ist der Song ein echter Raver, bei dem Gitarren über einem von Orgelklängen erhellten Horizont erklingen. ,Es ist dein Leben", singt Williams, während das Leben unter ihm vor sich hin tuckert und dabei außerordentlich lebhaft klingt. Er hätte wohl wenig Mitgefühl für den liebeskranken Williams aus ,If You Don't Love Me" - verdammt, seine gesamte Existenz wirkt wie eine Warnung, dass die Art von romantischen Verstrickungen, unter denen man in jungen Jahren leidet, in Einsamkeit, Scheitern und einem Posteingang enden wird, der mit ungelesenen Substacks überfüllt ist. Auf ,Hard Life" streiten diese Stimmen, bedrängen sich gegenseitig, verschmelzen miteinander und lösen sich wieder voneinander, manchmal sogar im Laufe eines einzigen Songs. Sie sind zwei Seiten derselben Medaille, Menschen, die Trauer, Enttäuschung, Reue und Scham erlebt haben und als veränderte Menschen aus den Trümmern hervorgehen. ,Mich interessiert, wie Mitgefühl und Geduld für jemanden, der leidet, immer irgendwann zu Ende gehen", sagt Williams. ,Wie das sowohl etwas Gutes und Befreiendes als auch etwas Trauriges und Brutales sein kann. Aber im Grunde sind es einfach nur Popsongs." Exquisite, unwiderstehliche Popsongs. Man höre sie sich so lange an, bis die Heilung beginnt, und dann noch einmal.

Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included
the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out- of-print releases here on vinyl for the first time, fastidiously packaged and punctu- ated with Farina’s written reflections on their making.

Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included
the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out- of-print releases here on vinyl for the first time, fastidiously packaged and punctu- ated with Farina’s written reflections on their making.

Erin LeCount returns with the release of EP PAREIDOLIA, now on limited edition transparent glitter vinyl and with the addition of hotly-anticipated track THE CINEMA.

Available for pre-order on the 1st July at 5PM BST and set for release on 11th September 2026.

Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

Turn the page to a warmer chapter. The second instalment of our Seasons 2026 collection has arrived. This carefully curated compilation captures the golden warmth of the season, the laid-back rhythms of lazy afternoons and the soothing atmosphere of endless summer days. Packed with hours of gentle summer lo-fi, this album is your perfect companion for soaking up the sun, focusing on your work sessions, or unwinding after a long day.

David Thomas Broughton, accompanied by Neil Turpin (drums) and Matthew Bourne (piano), form a Leeds-rooted group bringing unpredictable performances that move fluidly between song and
abstractionat.

Neil & Matt perform improvising explorations around David’s snippets of words and guitar. In turn, David responds to Matt and Neil, building and dismantling loops that can be subtle, often harmonious, sometimes obtuse.

The record, due for release in summer 2026, a selection from an improvised recording session in February 2020, just before the first lockdown.

The newest sound suite by Night Foundation, the solo project of visual artist and Noir Age label owner Richard Vergez. Inspired by reality and light. Mental objects that traverse our minds in the form of sound. Things familiar, but new to your ears. Interest in the things left behind. Some were just accidents that fell on the tape. Manipulations of time.

A memory archive containing exposed wires, slightly broken machines, and those slow, morose moments in film or the happy accidents in dreams. Live, improvised sequences for liminal synths, one-string guitar, mutated trumpet, metal objects, drum box. That type of thing. Under the spell of Brussels, Leeds, and Berlin.

Night Foundation is a current collaborator with Little Annie and has releases on labels such as Psychic Liberation, Jungle Gym, and Amulet of Tears.

For fans of:

Bourbonese Qualk, Klaus Schulze, x.y.r., Tomaga

Limited edition cassette with Rispgraph cover and newsprint insert.

Set for release Sept. 11, 2026

180g 2LP im Gatefold mit 40 Seiten Booklet & 3 neuen Tracks

1976 und 1977 waren zwei sehr entscheidende Jahre im Leben von Manfred Mann's Earth Band. Die Band wechselte mehrere Bandmitglieder in der Mitte einer erfolgreichen Fünf-Alben-Abfolge, während sie mit ihrer einzigartigen Mischung aus Progressive Rock, Jazz und Bluesmusik eine unglaubliche Anhängerschaft in der ganzen Welt aufbaute. Obwohl Manfred selbst mit früheren Erfolgen in den Pop-Charts vertraut war, verschaffte The Roaring Silence Manfred Mann's Earth Band eine ganz neue Ebene des Ruhms, da dieses Album 1977 die Spitze der Charts erklomm.

Natürlich hatte Bruce Springsteens »Blinded By The Light« alle Voraussetzungen für einen Hit, aber es muss sowohl die Band als auch Springsteen überrascht haben, denn es war für beide die erste Nummer-Eins-Platte. Dieser Titel wurde von einer ganz neuen Legion von Mann-Fanatikern beklatscht, da die erfrischende Kombination aus dem Leadgesang des neu hinzugekommenen Chris Thompson und Manns vertrauten Keyboard-Phrasierungen diesen Titel zu einem modernen Classic-Rock-Standard machten. Auch heute noch ist dies einer der meistgespielten Songs der klassischen Rockgeschichte.

Limitiertes 180g Doppelvinyl im Gatefold mit Hängetaschen plus 40 Seiten Booklet mit ausführlichen Infos und Interviews!

Im Jahr 2026 jährt sich die Veröffentlichung des legendären Albums »The Roaring Silence« von Manfred Mann's Earth Band zum 50. Mal. Das Album, auf dem auch der US Nummer-1-Hit »Blinded By The Light« zu finden ist, stürmte weltweit die Charts. Diese Jubiläumsausgabe enthält das Originalalbum sowie ein exklusives Bonusalbum mit drei brandneuen Tracks der Band und Live-Versionen von Albumtiteln, sowohl aus der Zeit der Veröffentlichung als auch von aktuellen Konzerten. n

Donkey Inching', the Cellophane Suckers' ninth studio album, is set for release in September 2026. Unwavering and stubborn as a donkey, the Cellophane Suckers follow their very own path at their very own pace. The band, decried as "lead-swallowing" high-speed rock 'n' rollers, stoically let chords linger and celebrate feedback, reducing rather than harmonising, then picking up the speed when you least expect it and slowing down shortly afterwards to roll on in a Dadaist fashion the drums become a machine, the guitars increasingly embodying yin and yang. With "Execution Day", they pay tribute to Spencer P Jones, whom one might well cite as a musical influence, and Neil Young is also honoured, whose Wall of Sound goes down well with the Suckers. The fact that a text by Charles Bukowski is also "set to music" may be down to their love for red wine "Donkey Inching"... creeps stoically and stubbornly, like a donkey, into your ears. In July 2026, the Cellophane Suckers will once again be touring Brittany, and in September they'll be hosting a release party at the Sonic Ballroom in Cologne. Further concert weekends are planned for autumn/winter 2026...

Oliver Baroni, stand-up bassist and Hillbilly Moon Explosion co-vocalist has a new side-project with a flexible group of musicians, under the moniker The Baroni Blow-Up. In keeping with the Englishman"s worldwide rock"n"roll viewpoint from his base in Switzerland, it"s an international affair. The band-members are American, though two were found in London. Guitarist Andy Kandil, a session favourite and veteran of psychobilly legends Mad Sin amongst others, and drummer Tuck Nelson, who also co-engineered recordings in his London Echo Ray Studio. On vocals is Shy But Flyy, the celebrated blues and jazz singer from Long Beach, CA. The A-side song "I Wanna" is an obscure punk song original by Berlin band Hot Boogie Chillun; the flip "Free" is a Shy But Flyy original. The single"s artwork originated in Spain.

One year earlier, 50 years ago this December, THE HEARTBREAKERS arrived in London to join the Sex Pistols on the "Anarchy" tour. They spent most of 1977 there, recording "L.A.M.F." and cementing their status as elder statesmen of the punk movement. This last date of their 1977 European tour was to be their very last as a band - until the reunions. Drummer Jerry Nolan had already jumped ship; his substitute is The Clash"s Terry Chimes. The gig was filmed for a movie that was never to be - this is the soundtrack recording.

MEMPHIS, TN — Fat Possum Records and Hi Records are proud to announce the first vinyl pressing in half a century of Ann Peebles' 1975 album Tellin' It, fully remastered and recovered from the Hi Records vault, where it had sat untouched for decades. Available on vinyl in stores September 11, 2026 and can be pre-ordered now and also available streaming everywhere now. 
Peebles was at the height of her career when she recorded Tellin' It — coming off her biggest hit, "I Can't Stand the Rain," the year before. Produced by Willie Mitchell at Royal Studios in Memphis, with the grooves that defined the label's sound, backed by Howard Grimes' drumming and the Memphis Horns. 

"Peebles and Mitchell don't just recast "Rain" 10 different times—instead, they lean into the supple support laid down by the Hi Rhythm Section, who have plenty more uptempo grooves to offer." Andy Beta, Bandcamp
The original master tapes were sent to John Nicholson at Nashville Tape Transfer for their first listen in fifty years. From there, the project stayed close to home: remastered by Clay Jones in Taylor, MS, then back to Memphis for lacquers cuts by Jeff Powell (Take Out Vinyl), and was pressed & plated at Memphis Record Pressing.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Finnish Prog legend Wigwam's fourth album Being reissued on vinyl in September Finland´s Wigwam definitely belongs to the honorable circle of the pioneers of early progressive rock. Considered by many as their most ambitious work, Being was originally released in 1974. This reissue contains the album's partially remixed and remastered version from 2001, which the group’s mastermind behind the album concept Jukka Gustavson considers superior compared to the original mix. Being is a progressive rock masterpiece. Dark and satirical lyrics of social and political critique blended with complex jazz-rock, driven by the superb keyboard work by Gustavson who's joined by the band in its prime; Pekka Pohjola, Jim Pembroke, and Ronnie Österberg. Being is cited as one of the best albums from the 1970s Scandinavian Prog scene. Housed in a gatefold sleeve and containing a booklet, Being is out on vinyl and CD on September 11th, 2026.

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

Finnish prog-psych masterpiece Harvest Time by Elonkorjuu reissued in September The original pressing of Elonkorjuu's debut album Harvest Time is among the most valuable collector’s items in Finnish rock; its average price in 2026 is over 1200 euros, and even 1500 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Harvest Time is a best kept secret for many Scandinavian Prog aficionados. Inspired by groups like Cream and Free with a more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them unique and ahead of their time. Drawing influences initially from the schools of bands like Sabbath and Colosseum but expanding them with soulful church organ and cutting guitar from bandleader Jukka Syrenius, Harvest Time is entirely worth its reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over with great vocals sung in English, which is rare for a Finnish band of this era. After the sold out 2017 and 2021 reissues by Svart and due to a constant high demand, Harvest Time will be available on wax and CD again in September. If you have a place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably Harvest Time for you!

To mark their 10th anniversary, ground-breaking, JUNO Award-nominated and SOCAN Award-winning Toronto duo cleopatrick are releasing 4 cleopatrick EPs. The aptly-named collection features four iconic EPs spanning their history as a band - "14," "the boys," "DOOM," and "SCRAP" -- available on vinyl for the first time ever. The two-disc set is pressed on Petrol Blue vinyl and is available via their own Nowhere Special Recordings/Thirty Tigers.

Friends of Jesse Malin: I Would Do It For You – Vol. 1 brings together musicians from the worlds of rock, punk, Americana, and the underground to celebrate one of modern rock's most respected songwriters. "I've been a fan of Jesse Malin for decades now so I was thrilled when Valley Lodge was asked to be a part of the tribute album,”says Dave Hill. The song originally appeared on D Generation’s 1996 album, No Lunch. "'Too Loose' has always been one of my favorites—a great and timeless rock song that we had a blast re-interpreting." Produced by Lyle Hysen, Friends of Jesse Malin: I Would Do It For You Vol 1. is the first in a two-volume series of nearly 80 songs (!) recorded by Jesse’s friends and community. Proceeds from the album will benefit Malin’s healthcare as he recovers from a paralyzing spinal stroke. Vol. 2 will feature Thurston Moore, Willie Nile, and many more. "Friends, collaborators, and artists from every corner of Jesse's world wanted to be involved," says Hysen. "The songs just kept coming. What started as a single collection quickly grew into something much bigger, encompassing almost the entire Malinverse. We're excited that this is only the first chapter." The compilation features contributions from Amanda Cross, Bebe Buell, Trapper Schoepp, Valley Lodge, Danny Sage, James Maddock, Gogol Bordello, Ursa Minor, Sami Yaffa, Prima Donna, Das Damen, Rene & Grace Mata, Dead Milkmen, Cat Popper & Sasha Dobson, Robinlee Garber, The Seashore Sharks featuring Jesse and Alexei Sanoff, Derek Cruz, Jill Fiore, Matt Madly & Co., Davey La, American Dream, Joe McGinty, Randy Schrager, Stephen Chopek, Ben Foley, and Kelley Swindall. Friends of Jesse Malin: I Would Do It For You – Vol. 1 will be available digitally, on vinyl, and as a deluxe double-CD edition. The vinyl release features twelve tracks across two sides and includes a download code for the complete digital collection, while the CD edition presents all 26 songs across two discs.

Das 2017 veröffentlichte Album *Under Cöver* vereint Motörhead-Aufnahmen von Songs, die die Band
geprägt haben, darunter Versionen von Titeln von Künstlern wie David Bowie, The Rolling Stones, Sex
Pistols und Judas Priest. Die Sammlung umfasst Aufnahmen aus verschiedenen Phasen der Bandgeschichte
und bietet eine neue Perspektive auf die musikalischen Einflüsse von Motörhead, ohne dabei den unverwechselbaren Sound von Lemmy, Phil Campbell und Mikkey Dee zu verlieren.

Der charismatische und kreative junge Pianist Justus Eichhorn startet mit der Veröffentlichung seines
Debütalbums „The Source“ bei der Deutschen Grammophon eine exklusive Zusammenarbeit mit dem
gelbem Label. Die am 11. September 2026 erscheinende Aufnahme, welche die Liner Notes des 16-
jährigen Künstlers selbst enthält, ist eine Hommage an die reiche Musikgeschichte seiner Geburtsstadt
Weimar. Eichhorns sorgfältig zusammengestelltes Programm umfasst Werke von Komponisten, die eng
mit der deutschen Stadt verbunden sind, von J. S. Bach, Mendelssohn und Liszt bis hin zu R. Strauss und
Hindemith. „The Source“ stellt nicht nur sein Talent als Interpret, sondern auch als Komponist unter Beweis
und präsentiert zudem die Weltpremieren-Aufnahmen von drei Originalwerken Eichhorns sowie seine frischen
Interpretationen von Etüden von Czerny und sein Arrangement des Largos aus Vivaldis Blockflötenkonzert
RV 443.