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Wishys ,Nature's Pill" fängt eine Welt ein, in der sich das Leben unvorhersehbar und überwältigend anfühlt, aber dennoch voller Möglichkeiten ist. Auf ihrem pulsierenden zweiten Album gibt sich Wishy dem Wahnsinn hin - und fängt romantische Frustration, neurotisches Verlangen und das Melodram ein, das sich daraus ergibt, einfach nur Mensch zu sein, in einem ausgelassenen Remix der Vergangenheit. ,Nature's Pill" trägt alle Markenzeichen von Wishy: schräge Texte, die Melancholie in Freiheit verwandeln, Refrains, die sofort zu Klassikern werden, und eine unheilige Fusion aus zuckersüßem Grunge, Indie-Rock und Dream-Pop. Wishys Entstehungsgeschichte war ein produktiver Ausbruch, angetrieben von der musikalischen Synergie der Band: die EPs ,Mana" und ,Paradise" im Jahr 2023, das Debütalbum ,Triple Seven" im Jahr 2024 und die Folge-EP ,Planet Popstar" im Jahr 2025. Nachdem diese Veröffentlichungen Beifall fanden und das Ansehen der Band wuchs, war die Konzeption von ,Nature's Pill" grundlegend anders. Das Album entstand in engerer Zusammenarbeit als frühere Veröffentlichungen, und die Gruppe traf sich erneut mit dem ,Triple Seven"-Co-Produzenten Ben Lumsdaine in Los Angeles, wo sich das Quintett in ein winziges Studio quetschte und die Hälfte der Songs live im Raum aufnahm, wodurch das Album die unmittelbare Energie einer Band erhielt, die nach intensiven Tourneen perfekt aufeinander eingespielt ist. Das gab ihnen diesmal die Möglichkeit, eine noch größere Bandbreite an Einflüssen zu vereinen, wobei sich der 90er-Jahre-Dream-Pop und Alternative-Rock von ,Triple Seven" mit dem College-Rock der 80er und dem Indie der 00er vermischte.

Pain threaded with joy is the sound of survival. On The Hard Truth, Wynonna isn"t letting go of either one, carrying everything she"s endured and reinventing herself as an artist. This ten-track tribute to deep sorrow and dogged persistence strips away layer after layer of the lush production that defined Wynonna"s previous recordings, delivering in its place her most personal and powerful work yet. ANTI- is proud to continue its tradition of embracing American legends and giving them a platform to reach new heights. The Hard Truth has a major contributor in the form of producer Cactus Moser, Wynonna"s partner in music and life. Wynonna and Moser shared songwriting duties on The Hard Truth, and the resulting tracks were recorded to capture and compliment the raw power he"d witnessed decades ago. What they"ve created together is an unvarnished elegy to the dead and the missing, an album that pays tribute to choosing love in the face of suffering. Through instrumentation and arrangements unlike any record in Wynonna"s four-decade career, The Hard Truth rolls in like a night train hitting listeners on the blind side.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

Das aufstrebende Stockholmer Quartett Clutter ist zurück mit seinem mit Spannung erwarteten Debütalbum ,Sugar Rush", das am 2. Oktober über das schwedische Indie-Label PNKSLM Recordings (ShitKid, Vegas Water Taxi, 7ebra usw.) erscheinen soll. Als eine der spannendsten Bands, die seit langem aus den nordischen Ländern hervorgegangen sind , hat Clutter mit ihren rauen Live-Shows für Aufsehen gesorgt, und ,Sugar Rush" knüpft an die bahnbrechende Debüt-EP ,Loves You" aus dem Jahr 2025 an. Nachdem sie bereits mit Hinds durch Großbritannien getourt sind, auf Festivals wie Pitchfork London und ESNS gespielt haben und Beifall von Medien wie Stereogum, BBC 6Music, DIY, Dork und NME (die die Band als einzigen skandinavischen Act in ihre NME 100 für 2026 aufnahmen), wird 2026 ein großes Jahr für Clutter, mit Tourneen durch Großbritannien und die EU im Anschluss an die Veröffentlichung von ,Sugar Rush".

Das aufstrebende Stockholmer Quartett Clutter ist zurück mit seinem mit Spannung erwarteten Debütalbum ,Sugar Rush", das am 2. Oktober über das schwedische Indie-Label PNKSLM Recordings (ShitKid, Vegas Water Taxi, 7ebra usw.) erscheinen soll. Als eine der spannendsten Bands, die seit langem aus den nordischen Ländern hervorgegangen sind , hat Clutter mit ihren rauen Live-Shows für Aufsehen gesorgt, und ,Sugar Rush" knüpft an die bahnbrechende Debüt-EP ,Loves You" aus dem Jahr 2025 an. Nachdem sie bereits mit Hinds durch Großbritannien getourt sind, auf Festivals wie Pitchfork London und ESNS gespielt haben und Beifall von Medien wie Stereogum, BBC 6Music, DIY, Dork und NME (die die Band als einzigen skandinavischen Act in ihre NME 100 für 2026 aufnahmen), wird 2026 ein großes Jahr für Clutter, mit Tourneen durch Großbritannien und die EU im Anschluss an die Veröffentlichung von ,Sugar Rush".

Die Synthesizer-Künstlerin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist und gewann damit ein treues Publikum. Nach einer Reihe gefeierter EPs nahmen Florist fünf Studioalben auf, die sich durch ihre intime Weltgestaltung und durch Spragues gefühlvollen Gesang auszeichnen. Den Soloalben "Hill, Flower, Fog" aus dem Jahr 2020 und "Cloud Time" aus dem Jahr 2025 - einem Album mit modularen Synthesizern, das live in Japan aufgenommen wurde - nachfolgend, ist "Cyano" ist ihr erstes Soloalbum, das Spragues intuitive Synthesizer-Musik mit dem Songwriting verbindet, für das sie mit ihrer Band Florist bekannt ist, und führt Gesang in ihr bisher rein instrumentales Schaffen ein. Absichtlich minimalistisch gehalten, ist Spragues Gesang wie eine rauschbehaftete Übertragung, die einen technischen und symbolischen Wendepunkt markiert - mit experimenteller, formloser Musik, die die eher konventionellen Songstile von Florist dekonstruiert. Emotional verankert und von Vergänglichkeit getrieben, spiegelt das Album sowohl Spragues inneren Raum als auch den konzeptionellen Planeten "Cyano" wider und setzt sich mit dem Selbst, dem Anderen, der Ökologie und dem Leben in einer fernen Welt auseinander. Spragues musikalischer Ansatz ist geprägt von einer zutiefst persönlichen Atmosphäre, die darin wurzelt, Geschichten über sich selbst und andere - Formen der innerpersönlichen und zwischenmenschlichen Verbindung - sowie die Unbeständigkeit dieser Versuche zu ergründen. Durch intime phänomenologische Erkundungen bietet "Cyano" subtile und eindrucksvolle Klangtexturen, die Verletzlichkeit einbeziehen. Emily A. Sprague erschafft eine komplexe Welt und erweitert dabei ein Klangspektrum, das zugleich vertraut und zutiefst neu ist - ein Spiegelbild ihres inneren Spektrums, das in andere Welten blickt.

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

The scent of fresh greenery rising into the air. A youthful Hidefumi Toki weaves a vivid and beautiful story through a one-horn quartet.



Making his professional debut while still in high school, Hidefumi Toki went on to perform with groups led by New Herd, Isao Suzuki, Terumasa Hino, Ryo Kawasaki, and Fumio Itabashi. From the late 1970s onward, he also collaborated with Ryuichi Sakamoto and Tatsuro Yamashita, contributing broadly to Japan’s music scene across jazz, fusion, and pop.



This album, recorded in 1976, is his third release, following Toki and Lover Man, a dual-leader project with Yoshio Otomo. It features a lineup of dazzling performances and compositions, including “Sky View”, where his soaring saxophone shines over delicate arrangements, and “Let’s Get Together”, evoking the uplifting fragrance of fresh greenery.



With outstanding support from Mikio Masuda—who also contributes compositions—alongside Yoshio Ikeda and Steve Jackson, the ensemble achieves a remarkable balance.



Defined by a gentle perspective and refined, youthful playing, this is a masterpiece filled with the charm of Hidefumi Toki in his early years.

While composing the music for The Juniper Tree, Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on “Mother’s Path.” Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans’ place in the natural world, with all its mysteries and intricacies, and both the film and Hirano’s soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one’s environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond.

In the final sentences of her liner notes describing the film’s philosophical and feminist throughlines, Anna Bogutskaya says, “what we call Margit’s witchcraft is maybe just her willingness to listen.” This is the magic of music, and Hirano composes with an alchemist’s pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film’s emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one’s own kin can lead to tragic ends. At the film’s end we see Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, we understand what lies beyond sight, beyond convention, and with this new soundtrack we hear the story anew.

The second debut release by Fumio Karashima, who emerged in the jazz scene with his first leader album "Piranha" on WHYNOT. This popular piano trio work is known for its sophisticated, lyrical touch and outstanding jacket design. Series supervised by Koki Hanawa.

Experience the emotion of The Last of Us like never before with this stunning Blue & Grey Marble double LP.

Performed by London Music Works, Music From The Last of Us brings together the most iconic themes from the acclaimed video games and TV series, featuring the unforgettable music of Gustavo Santaolalla, along with a piece composed by Max Richter. A must-have release for fans of the franchise and soundtrack collectors alike, presented on a beautifully crafted vinyl edition that is as striking as it is immersive.




[d] a4 The Last of Us (Goodnight) [from "The Last of Us Part I"]
[e] a5 All Gone (No Escape) [from "The Last of Us Part I"]
[f] a6 The Path (A New Beginning) [from "The Last of Us Part I"]







[n] c3 It Can't Last (Sunset) [from "The Last of Us: Season 1"]

[p] c5 All Gone (Flashbacks) [from "The Last of Us: Season 1"]
[q] c6 The Last of Us (Vengeance) [from "The Last of Us: Season 1"]
[r] c7 All Gone (Ephemeral) [from "The Last of Us: Season 1"]

[t] d2 Left Behind (The Journey) [from "The Last of Us: Season 2"]

Twenty-five years after his debut album I’m Serious permanently altered the DNA of Southern hip-hop, Tip "T.I." Harris is officially closing this chapter with KILL THE KING, his twelfth and final studio album. For a man who has spent over two decades as the self proclaimed “King," the project’s title speaks volumes. This is not a surrender of the crown to a rival, but rather a symbolic death of the ego. T.I. is choosing to dismantle the moniker on his own terms, trading the battlefield for peace, legacy, and the freedom to step out of the booth and into the next phase of his life as an actor and family man.

Rather than leaning on pure nostalgia, KILL THE KING proves T.I. is walking away while his pen is still razor-sharp. The project is anchored by the certified gold lead single "LET 'EM KNOW," produced by long-time collaborator Pharrell Williams, which sets an immediate tone of veteran-level precision and polished bravado. Across the 18-track album, T.I. pulls together a masterclass of multi-generational talent that bridges the gap between his trap origins and modern dominance. The album boasts heavy-hitting Southern anthems like "DOPE BOYS ACADEMY” featuring 2 Chainz, Jeezy, and T-Pain, alongside soulful reflections from the Dr. Dre produced track "WHERE I’M FROM" with Anderson .Paak, Atlanta eloquence with Usher on "GORGEOUS," and moody, atmospheric cuts featuring Summer Walker and YoungBoy Never Broke Again.

Ultimately, KILL THE KING is designed to leave nothing unsaid, directly addressing the trials, tribulations, triumphs, and the undeniable imprint he’s left on global hip-hop culture. To mark the end of this historic era, T.I. isn't just letting the music speak for itself; he will be taking his final bow on the road with The King Succession Tour, bringing his sons Domani and King along to officially pass the musical torch. With this final statement, T.I. ensures that the trap music foundation he helped lay the framework for what will endure long after he sets down the mic. The King is dead; long live the legacy.

*** my garden in the sun and in the rain and in the day and in the night pain is a flower pain is flowers blooming all the time. ***












l B6 Healing Wounds [Scabbed mix]












[l] B6 Healing Wounds [Scabbed mix]

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. This 25th anniversary edition has been remastered from the original analog tapes and is housed in a glorious silver foil jacket with added emboss, deboss, spot varnish, and a replica 12x24” poster . Reinvented for you.

Swedish metalcore visionaries Imminence return with their highly anticipated new album Axis Mundi via Sumerian Records. Following the breakthrough success of The Black, the band's latest full-length expands on their signature fusion of cinematic orchestration and modern metal across 11 powerful tracks, delivering their most ambitious and emotionally resonant work to date. Featuring the singles "The Sword That Never Bends" and "Crestfallen," Axis Mundi stands as Imminence's boldest work to date.

Mit "Stadt der blauen Eier - Selected Recordings and Rarities 1980-1981" widmet sich Tapete Records einer der außergewöhnlichsten und heute weitgehend unterschätzten Gruppen des frühen deutschen Punk. Korpus Kristi gehörten gemeinsam mit Bands wie Die Radierer und The Wirtschaftswunder zur sogenannten "Limburger Pest", einer Bewegung, die Anfang der 1980er Jahre einige der eigenständigsten Veröffentlichungen des bundesdeutschen Undergrounds hervorbrachte. Diese Werkschau bündelt Singles, Raritäten und ausgewählte Albumaufnahmen aus den Jahren 1980 und 1981 und dokumentiert die kreative Radikalität einer Band, die Punk, Avantgarde und künstlerische Provokation auf einzigartige Weise verband. Die Zusammenstellung macht ein lange vergriffenes Kapitel deutscher Punkgeschichte wieder zugänglich und unterstreicht die anhaltende Bedeutung von Korpus Kristi innerhalb der experimentellen Underground-Szene jener Zeit.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Das Unwound-Album, das allen Unwound-Alben ein Ende setzte. Aufgenommen im Keller eines verfallenen Bauernhauses zu Beginn des neuen Jahrhunderts, ist ,Leaves Turn Inside You" die No-Wave-Antwort auf Spectors Aufruf zur ,Wall of Sound". Unendliche Schichten aus abgehackten Gitarrenstichen und Kratzgeräuschen, kehliger Bass-Dröhn, Secondhand-Synthesizer und monotones Singen überlagern erstickende Rhythmen und liefern so die weltweit einzige Chor-Grunge-LP. Diese Ausgabe zum 25-jährigen Jubiläum wurde anhand der originalen Analogbänder neu gemastert und präsentiert sich in einer prächtigen Hülle mit Silberfolie, Prägung, Vertiefungen, Spotlackierung sowie einer Nachbildung des 12x24-Zoll-Posters. Neu aufgelegt - nur für dich.

IVM Trio is made up of percussionist & composer Sébastien Forrester, producer & visual artist Mika Oki, and artist & producer Apulati Bien. All three sit within the French-Brussels axis, united by a shared love of free improvisation, sparse atmospherics and rapturous club mutations. Inner Voice Movement is a genuinely exploratory record — abstraction and contemplation sit side by side, as the trio dives into the micro-precision of computer music while mirroring organic, environmental schemes. These have long been persistent points of study for all three artists.

Arriving on Accidental Meetings, their debut album has been a long time coming, and it features three outstanding vocalists. South Korean artist bela brings the depth and range of their guttural vocals; Bristol-based Grove, a leading voice in punk-dancehall crossover, pulls things back with a spoken-word feature; and Naples sound artist Sara Persico rounds things off with a stunning excerpt of storytelling.

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Stone Age Is Now: Poems from Lithic is the new album by musician and poet Caleb Nichols - both a companion piece to his book Lithic: A Hyperballad (Harbor Editions 2026) and a follow-up to his album Stone Age Is Back (Royal Oakie 2025). Across twelve tracks Nichols interpolates poems from Lithic: A Hyperballad with tracks from Stone Age Is Back, bringing new depth to his indie-rock and alt-folk compositions. A meditation on grief, but not in the ways you’d expect, the album explores what it means to be living and dying right now, in this moment of extraordinary change.


Inspired by the raw immediacy of Neil Young, early REM, and Califone, Nichols adhered to a first-take best-take rule and tracked the album in just five days. Produced by Nichols, the album was engineered by Jay Pellicci (Deerhoof, Om, Sleater-Kinney) at Brother’s (Chinese) Recording in Oakland, CA, with Nichols later recording the spoken word overdubs after hours at an empty bar in San Luis Obispo, CA. Pellicci later mixed the tracks and David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain) mastered the album at The Garden Shed in Oakland, CA.


Featuring even more experimentation than Stone Age Is Back, the album is peppered with field recordings captured by Nichols from many locations, including Kew Gardens, London; Llan Tysilio, Yns Mon; Treborth, Gwynedd; a secret beach in Bangor; Kelvingrove Park, Glasgow; and Broad Street in San Luis Obispo, CA. In addition to contributions from band members John Metz and Aaron Kroeger, the album features saxophone by Lorenzo Coretese , and Rhys Trimble provides the Welsh translation and performance you hear on “Orme Dream At The Car Park”. Additionally, Nichols took some liberties adapting the poems from the book to the recordings. “You’ll notice that there are differences between the printed poems and the poems recorded here. That is because a poem is never finished and can exist in multiple instances at the same time, like in quantum mechanics. The cat in Schrodinger’s box is both alive and dead; at the bottom of the cliff, our eyes are both: closed and open” says Nichols.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

Garefowl is a project connected to the archipelago of St Kilda, Scotland. Ewan Macdonald and his father Murdo, relatives of one of the men who killed the last Great Auk (Garefowl), conceived the project to reflect on and mark this family history. Garefowl is an international collective of musicians combining strings and electronics: Nathan Bontrager (viola da gamba/harmonium/banjo), Stuart Graham (bouzouki/harmonica/harmonium), Chris Jones (concertina/mandolin), Ewan Macdonald (fiddle/smallpipe drone), Richard O’Flynn (island sounds/percussion/XRD drones), Jess Whelligan (cello).

Things That Vanish was recorded on Hirta, the main island of St Kilda, at night. The soundscapes of Hirta breathe across the record: a quiet rolling swell of winds, waves, birds, and the otherworldly thrum of the snipe. Taking influence from the traditional folk music of St Kilda, the tunes on the record are inspired by the threatened seabirds of the islands. The band were intrigued by the folk stories around these birds, and how they often are depicted to imbue a primal, dark and haunting nature. In such tales, the birds retain a quality akin to a sea monster: preying upon calves and sheep, and believed to be the pelagic souls of drowned sailors or the cursed spirits of cruel captains.

No synthesizers were used on the recording. Instead, the production draws entirely on sampled and processed field and hydrophone recordings collected on St Kilda. Additionally, drones were created through a process pioneered by Richard O’Flynn and Joe Gardner. Rock or bone samples are analysed using X-ray diffraction (XRD), which creates a spectrum with peaks corresponding to the sample’s chemical composition; this spectrum can then be mapped to sine waves, forming a drone.

The pinnacle of Japanese AOR, delivering the finest mellow sound. The only album left behind in 1982 by the male-female unit of Hiroshi Narumi and Etsuko
Yamakawa is being reissued on clear deep blue colour vinyl.

Often hailed as 'one of the defining glam rock albums', Mott the Hoople's All the Young Dudes was an influential record upon its release in 1972, and continues to impress listeners to this day.

Produced by David Bowie, the album contains a balanced selection of well-written songs by Ian Hunter and his bandmates. With Bowie on board to add his distinctive style to the songs, the band is on a roll, making this an essential record for '70s rock fans all over the globe.

All the Young Dudes is a limited edition of 1500 individually numbered copies on yellow vinyl.

Splatter Vinyl. Das finnische Grindcore-Duo GOATBURNER hat sich mit der brasilianischen Experimental-Grindcore-Band TEST zusammengeschlossen, um GOATEST ins Leben zu rufen - ein neues gemeinsames Projekt, das mit einem selbstbetitelten Debütalbum an den Start geht. Das Projekt vereint Musiker, die tief in der internationalen Extreme-Music-Underground-Szene verwurzelt sind. GOATEST besteht aus Keijo ,Kaos" Niinimaa, der auch als Sänger der finnischen Grindcore-Veteranen ROTTEN SOUND bekannt ist, sowie Jaakko ,Spider" Forsman von RATFACE. Ergänzt wird das Line-up durch Thiago ,Barata" und Joao Kombi von der brasilianischen Grindcore-Formation TEST. Die Zusammenarbeit verbindet unterschiedliche Hintergründe und Herangehensweisen an extreme Musik zu einer kompakten Explosion aus Grindcore- und Sludge-Intensität, roher Energie und kompromissloser Haltung. Dabei schlägt GOATEST eine Brücke zwischen der finnischen und der brasilianischen Underground-Szene - vereint durch den gemeinsamen Drang nach Unruhe, Aggression und klanglicher Extremität.

Pressed to Olive-Green vinyl colour for its 30th anniversary! Released 30 years ago in 1996, Propagandhi's Less Talk, More Rock is the defining masterpiece of political punk. By injecting radical activism into fast-paced skate punk, the album boldly confronted the era's apolitical scene. With unapologetic anthems on veganism, anti-fascism, and gay rights, it endures as a foundational text for activist punk. 30th anniversary of the iconic sophomore album from Canadian band, Propagandhi Produced by Ryan Greene of Motor Studios (NOFX, Bad Religion, Nerf Herder) pro-feminist/animal-friendly/anti-fascist/gay-positive Ranked as one of the best political punk albums in history (Phoenix New Times) Features hit singles "The Only Good Fascist Is A Very Dead Fascist" and "And We Thought Nation-States Were A Good Idea"

Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

Hot Pink Vinyl. Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

Es handelt sich um einen Vermerk, den der Dark-Ambient-/Industrial-Titan Lustmord beinahe in die Liner Notes seiner neuen Zusammenarbeit mit der Schlagzeuglegende Dave Lombardo aufgenommen hätte. Bei ihrer ersten Zusammenarbeit loten sie die Tiefen des ursprünglichen Industrial und Dark Ambient aus und schaffen dabei etwas, das über die reine Musik hinausgeht. Dave Lombardo bedarf keiner Vorstellung. Sein Ruf als innovativer Schlagzeuger und musikalischer Vorreiter ist unübertroffen. Ob es nun seine jahrzehntelange Tätigkeit bei den Thrash-Metal-Giganten Slayer, seine vier Alben umfassende Zusammenarbeit mit den einflussreichen Experimentalisten Fantômas oder seine Arbeit mit dem renommierten Komponisten und Saxophonisten John Zorn war - Lombardos Leidenschaft für den Klang und seine spirituelle Verbindung dazu überschreiten alle Grenzen Lustmord ist der walisische Musiker, der weithin als Begründer der Dark-Ambient-Musik gilt. Er war zunächst in den frühen 80er Jahren als Mitglied von SPK mit der Industrial-Szene verbunden, bevor er seinen charakteristischen Sound mit Veröffentlichungen wie ,Paradise Disowned" aus dem Jahr 1986 etablierte. Über sein Solowerk hinaus hat Lustmord eine umfangreiche Karriere als Kooperationspartner und Film- sowie Spielekomponist aufgebaut, wobei er mit Bands wie den Melvins, Tool, Nurse With Wound und Wes Borland zusammengearbeitet hat; zudem hat er zu über vierzig Kinofilmen beigetragen, darunter ,First Reformed", ,The Crow" und ,Underworld".

Hailing from Athens, Georgia, Now It’s Overhead is the acclaimed indie rock band fronted by Andy LeMaster. Emerging in the early 2000s alongside the era-defining Saddle Creek scene, LeMaster collaborated with artists including Conor Oberst (Bright Eyes), Michael Stipe (R.E.M.), Orenda Fink (Azure Ray), and Maria Taylor (Azure Ray).

During this period, Now It’s Overhead released three acclaimed full-length albums: Now It’s Overhead (2001), Fall Back Open (2004), and Dark Light Daybreak (2006). Available on vinyl for the first time, these long-awaited editions are essential for listeners and collectors exploring the indie rock landscape of the early 2000s. All three albums have been newly remastered by Andy LeMaster—musician, songwriter, engineer, producer, and visual artist.

The Associated Press described Now It’s Overhead as “a unique brand of organic and synthetic dark pop—made possible by LeMaster’s studio prowess—that remains distinctive even when Conor Oberst and Michael Stipe briefly stop by.”

Accompanying these reissues, Now It’s Overhead is also releasing new music for the first time in nearly twenty years. The five-song EP, in the beginning, arrives digitally on September 18, 2026.

Hailing from Athens, Georgia, Now It’s Overhead is the acclaimed indie rock band fronted by Andy LeMaster. Emerging in the early 2000s alongside the era-defining Saddle Creek scene, LeMaster collaborated with artists including Conor Oberst (Bright Eyes), Michael Stipe (R.E.M.), Orenda Fink (Azure Ray), and Maria Taylor (Azure Ray).

During this period, Now It’s Overhead released three acclaimed full-length albums: Now It’s Overhead (2001), Fall Back Open (2004), and Dark Light Daybreak (2006). Available on vinyl for the first time, these long-awaited editions are essential for listeners and collectors exploring the indie rock landscape of the early 2000s. All three albums have been newly remastered by Andy LeMaster—musician, songwriter, engineer, producer, and visual artist.

The Associated Press described Now It’s Overhead as “a unique brand of organic and synthetic dark pop—made possible by LeMaster’s studio prowess—that remains distinctive even when Conor Oberst and Michael Stipe briefly stop by.”

Accompanying these reissues, Now It’s Overhead is also releasing new music for the first time in nearly twenty years. The five-song EP, in the beginning, arrives digitally on September 18, 2026.

Whisper Doll's new music comes from a time in frontwoman Fiona Tagami's life when she was actively trying to cultivate whimsy, a sense of possibility. "It's about this switch of trying to be in the world as a hopeful person," she says. The songs' dream-pop sound, with their woozy guitars and ethereal vocal melodies, evokes that feeling. Some moments feel weightless and joyous, others dense with mystery. Whisper Doll began as a solo project when Fiona was in high school in Atlanta, writing in her bedroom while she fell in love with bands like The Sundays, Mazzy Star, and The Cranberries. During the process of making her debut album, 2024's Perfume Garden, she moved to New York and became quickly wrapped up in the city's indie scene. While playing in various other bands, she met her future Whisper Doll bandmates: drummer Shawn Majeed, guitarist sophomore album Lucky Clover is Whisper Doll's first full-band record, and the first one made in full in NYC, representing a newfound sense of clarity for Fiona as well as a newly collaborative process. With their meticulously crafted sound and deeply thoughtful songwriting, Whisper Doll place us in a world that's unmistakably their own.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Lone Ark and The 18th Parallel join forces again! Five years after the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with the second volume of this showcase series. Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the 70s and 80s Jamaican reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated horns, flute, synth and vocals arrangements. Roberto Sánchez, the voice behind Lone Ark, sings about themes more relevant than ever such as activism through music (Ammunition), the absurdity of ongoing wars in the world justified by religious beliefs (Man Kill Man), anti-capitalism (Money) and the appreciation of life’s blessings (Morning Blessing). The six songs of this ‘Showcase Vol. 2’ are followed by their dub counterparts expertly mixed by Roberto Sánchez himself. In the age of AI, this album takes the opposite direction. It is all about the human touch and the analogue warmth. No trick here, this is 100% real organic roots music!

»Baby Ghost« is the debut album by double bassist and vocalist Jordan Sand. Released through Hallow Ground, it blurs the lines between different genres and modes of expressions, improvisation and composition and showcases the unique playing style the composer has developed. Sand blends her voice with the bowed harmonics and subharmonics of her double bass. At once conceptually rigorous and musically open-ended, Sand’s wordless meditations on death and what comes after are both visceral and explorative.

Sand is a boundary-crossing instrumentalist, performer, and session musician who has worked in folk, free jazz, pop, classical and new as well as experimental music. In 2020, she took a hiatus. When she picked up the bass again, she began stripping down the relationship to her instrument to its core elements, searching for a way to melt the sounds of bow and voice together. This resulted in the appearance of ghost notes, tones emerging from the addition or subtraction of two frequencies, and harmonics that she adds with her falsetto.

On »Baby Ghost,« Sand utilises this acoustic sound and the spontaneous precision of her improvisational practice for pieces that deal with the subject of dying. They move from more polyphonic improvisations toward abstraction, touching upon harsh noise and minimalistic bow-chants before returning briefly to a melodic soliloquy, and finally landing on an extended subharmonic drone. This progression reflects the journey of the spirit after death; the experience of visions, memories, ecstasies and terrors before the dissolution of the self.

Sand performs this process physically, blending her voice with her instrument to explore how the senses might dissolve and merge when they enter a state between life and beyond-or-between-life. Born out of the moment and dedicated to a lost friend, »Baby Ghost« is quite literally an otherworldly achievement.

The third in a series of releases from the Digi Dub archives, Like it Here is a tribute to the poet laureate of Special Brew, the late Iffor Clarkson-Denbigh, who sadly departed us in 2021 to drink in the great park in the stars.

The infectious and futuristic late 90s vocal space dub of the A side finds Iffor waxing lyrically about both the nature of impermanence and the sentient ocean of Solaris over an irresistible bassline and low winding groove. The flip side features a suitably chugging version of the rail riding classic Loveborough Junction and a percussive early 90s acid dub of Heart like a Lion, the original of which dropped on the South East of the Thames collection. None of the tracks are traditional style dubs, but happily exist in the gaps between genres.


Iffor was a well-known multi-instrumentalist and vocalist on the South East London underground scene who lived life to the max without an off switch. He and label owner Lee Berwick truly had a laugh in the studio, producing Purple Boy (the classic ode to drinking in the park), the suitably named Clevor but Stupid album and many other uncategorisable musical wanderings.

“The hope is that Iffor, the dark son of Clenby, is cackling as he cracks another can while looking down on us from the great park in the stars.” Lee Digidub Berwick