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Regis and Surgeon return as British Murder Boys with their first 12” since 2014, unleashing two relentless club detonations that fuse industrial ferocity with punk immediacy. On »Now, This Is You«, boulder-heavy kicks, gnashing arps, and Karl O’Connor’s snarled vocals collide in a 150 BPM storm. The flip, »Get In Line«, hits straighter but no softer, driven by pounding bass and sour bleeps that conjure a delirious late-night energy. Brutal, swaggering, and unfiltered — BMB at their most uncompromising.

Zum 20-jährigen Jubiläum ihres ikonischen Debütalbums Silent Alarm veröffentlichen Bloc Party drei limitierte Jubiläumsformate: eine 2LP auf weißem Vinyl mit dem original Album, eine 2CD Edition mit dem original Album und Bonus Discs, welche Demos, B-Sides und eine BBC Peel Session beinhalten. Außerdem ist ein 12-seitiges Booklet inkl. Lines Notes und einem Vorwort von Produzent Paul Epworth. Die Deluxe-Box umfasst alle oben erwähnte als 4LP Set. 2LP für das original Album und 2LP für die Bonustracks und Raritäten sowie Demos und Sessions. Wobei es hier ein 24-seitiges Booklet mit noch nie veröffentlichten Fotos der Band und exklusive Liner-Notes gibt. Ein Muss für Fans und Sammler gleichermaßen.
White Vinyl

Eurovision is a new Icelandic electro supergroup that channels the coldness of their homeland into these icy and futuristic new cuts on Helena Hauff's Return to Disorder, all with hints of masters of the form like Dopplereffekt. 'Driving To Burgertown' begins with a whirring of machine madness, squelchy lines, trippy melodic cascades and snappy drum breaks. 'Animal Flow' then layers up sheet metal textures with dark and dehumanised vocals to make for a gritty post-punk vibe. 'Lunar Cycling' has a happier energy thanks to the crystalline arps up top and the snappier, surging kicks. Last of all is 'Neurolab,' a Kraftwerkian style banger laced up with layers of busy synth progressions.

Haunted Heart: The Legendary Riverside Studio Recordings brings together the complete studio recordings by the Bill Evans Trio featuring Scott LaFaro and Paul Motian. Included are the albums Portrait in Jazz and Explorations, plus 26 alternate takes - 17 previously unreleased. The collection includes rare photos, introduction by John Densmore (The Doors), and new liner notes by Eugene Holley Jr. and audio is newly remastered by Paul Blakemore, with lacquers cut by Kevin Gray at Cohearent Audio.

Anthology 4 - Triple LP. The new volume from The Beatles Anthology Collection.

Anthology 4, is newly curated by Giles Martin, including 13 previously unreleased demos, plus fascinating session and other rare recordings dating from 1963 to 1969. It also includes the band’s final single, ‘Now And Then’, released in 2023, and new mixes of The Beatles’ Anthology-associated hit singles: the GRAMMY-winning ‘Free As A Bird’ and ‘Real Love’, given new life by their original producer, Jeff Lynne, using de-mixed John Lennon vocals. Furthermore, Anthology 4 presents 26 tracks that have never previously been released on vinyl.

The track notes are written by Kevin Howlett with an introduction compiled from 1996 interviews recorded with The Beatles’ close friend and adviser Derek Taylor.

Pressed on 180g black vinyl, the triple LP is housed within poly-lined inner bags and a triple gatefold sleeve.

Seit Midnite City 2017 wie ein Tornado die Welt im Sturm eroberten, die müde Musikszene am Kragen packten, ihr wieder Leidenschaft, Spaß, Melodie und Farbe einflößten und sich an die Spitze kämpften, wurden sie zu den wahren Königen des Hair Metal! Die Formation veröffentlichte bisher vier von den Kritikern gefeierte Alben, wobei ihr zweites Werk „There Goes The Neighbourhood“ neben vielen anderen Auszeichnungen als eines der besten Alben in der Geschichte des japanischen Burrn Magazin gelistet wurde. Seitdem tourt Midnite City mit ihrer mitreißenden, energiegeladenen Show durch die ganze Welt, headlined unzählige Tourneen in Großbritannien, spielt Shows in ganz Europa, Amerika, Brasilien und Australien, und absolvierte zwei ausverkaufte Tourneen in Japan, wobei sie eine ständig wachsende Fangemeinde auf der ganzen Welt, bekannt als „The Midnite Army“, begeistert. Im November 2025 kehren die Briten mit ihrem bisher stärksten Album, „Bite The Bullet“, zurück, das alle Erwartungen erfüllt, die Fans an ein Midnite City-Album haben. Von superpoppigem, eingängigem und hooklastigem Partyrock über melodische Rockmonster bis hin zu arena-tauglichen Powerballaden und Glam-Metal-Hymnen mit Attitüde und einer Prise Glam – knüpft „Bite The Bullet“ dort an, wo Platin-Bands Ende der 80er Jahre aufgehört haben. Und keine andere Band der Szene schafft dies derzeit mit mehr Authentizität, Überzeugung, Stil oder Selbstbewusstsein, wodurch die Midnite City wie ein leuchtendes Licht in einem Meer an Nachahmern scheint. Gemischt vom Grammy-preisgekrönten Produzenten Chris Laney (Europe, Crash Diet, Crazy Lixx etc.) liefert „Bite The Bullet“ einen Sound, der wie geschaffen ist für die größten Stadien rund um den Globus und auf einen Schlag alles zurückbringt, was den Hair Metal der späten 80er Jahre so aufregend, energiegeladen und extravagant machte. Midnite City liefert erneut ein Album, das dafür gemacht ist, aufgedreht und laut gespielt zu werden! Die Party fängt gerade erst an ... und alle sind eingeladen. Seht euch die Band auf ihrer Tour 2025/2026 an. Line-up: Rob Wylde (vocals, guitar), Miles Meakin (lead guitar), Josh Williams (bass guitar), Ryan Biggs (drums), Shawn Charvette (keyboard)

"Raise your swords up high: BLOODBOUND march into a powerful future with Field Of Swords, out November 21st via Napalm Records. Twenty years after the release of their debut album, the Swedish warriors stand taller than ever on the front line of epic power metal, delivering their most modern work yet. Most recently drawn to the Viking era, the latest concept album Field Of Swords turns the page to another chapter in history, moving past the year 1066 and into the Middle Ages. As warfare evolves and the significance of forging iron with carbon leads to superior swordsmen, the bloodstained battlefields show new, grim faces, leaving room for more of BLOODBOUND’s vivid storytelling that continues to thrill audiences at countless live shows around the globe. BLOODBOUND’s first release with Napalm Records adds another 11 captivating battle hymns to their repertoire. A diverse record with aggressive songs and epic tracks alike, their eleventh album also contains some of the band’s fastest material ever written. The opening title track, “Field Of Swords”, immediately storms into BLOODBOUND’s signature sound, braiding stories of glory with a sweeping blend of melodic and heavy power metal. The dominant “As Empires Fall” follows the crusaders east and powerfully depicts said glory in epic battle in contrast with sacrifices made on the way. “Defenders Of Jerusalem” cleverly expands on the topic of loss, leaving listeners to wonder which side is holding their heads up high in the face of imminent defeat. Catchy flutes have the heroes take heart in “The Code Of Warriors” to guide them into the “Land Of The Brave” and Field Of Swords to new heights at the same time. “Light In The Sky” further illustrates BLOODBOUND’s battle scars turned electrifying sound, while the mature “Teutonic Knights” opens up the bleak reality of the tragedy that undoubtedly accompanies this battle-torn era of history. Yet, “Forged In Iron”, “Pain and Glory”, and “Born to be King” hold their ground as equally unforgettable tunes, all leading up to the brilliant finale: Brittney Slayes of powerhouse Canadian band UNLEASH THE ARCHERS joins “The Nine Crusades” as another valuable fighter to lead Field Of Swords to greatness. BLOODBOUND’s latest triumphant march impressively illustrates the importance of purpose and perseverance with heroic tales in shining heavy metal armor.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

Legendary Metal Band STRYPER Announces Long-Awaited Christmas Album 'The Greatest Gift Of All' out November 21 via Frontiers Music Srl Iconic and long-running Christian metal band STRYPER is set to release their long-anticipated Christmas album, The Greatest Gift Of All, on November 21st via Frontiers Music Srl. Fans have been requesting a holiday record for years—and now, the wait is finally over. The celebration begins this July with the release of the first single, "Still the Light". STRYPER's current lineup features original members Michael Sweet, Robert Sweet, and Oz Fox, alongside bassist Perry Richardson. Together, they continue to craft what they believe is some of the most powerful and inspiring music of their career. The band recently wrapped up a successful world tour in support of their latest studio album, When We Were Kings. The tour spanned the USA, Europe, and South America, and marked the band’s 40th anniversary—a milestone celebrated with a dynamic setlist featuring classic hits, fan favorites from the newer era, outfit changes, and an upgraded stage production. As STRYPER continues to evolve, they remain a cornerstone of Christian rock and metal, blending faith and heavy music for four decades. Looking ahead, the band is also working on a Kickstarter-funded documentary directed by Chris Atkins, offering a behind-the-scenes look at their remarkable journey. With over 10 million albums sold worldwide and several Billboard Top 40 hits, STRYPER shows no signs of slowing down as they continue to write, record, and perform for their global fanbase.

God Given Ass is a five piece punk rock band from Helsinki, Finland, formed in 2008. The band members’ former outfits include 90’s Finnish rock band Tehosekoitin (a.k.a. The Screamin’ Stukas), legendary drunk punks Maho Neitsyt and horror-garage-punksters The Patsy Walkers. As connoisseurs will have noticed, the band name derives from a line in a certain David Bowie song, and true to that, their influences range wide – from classic punk rock sneer to 60’s-influenced melodies to glitter stomp and back. Despite God Given Ass having been around for some time, this eponymous record is their debut album. Having released four 7-inchers early in their career (and two cassettes to boot), they went on a hiatus a couple of years back, only returning to the touring cycle in 2024. Despite the near glacial release pace, the album itself is not slow: it’s a 28 minute and 12 track ride through the at times fun & at others dreary landscapes of eastern downtown Helsinki by night.

Toyah’s 1991 solo album Ophelia's Shadow is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut vinyl outer sleeves containing previously unseen colour photography from the album shoot.

A personal favourite album of her catalogue, Toyah confirms: “Above all, this is the one album I have made that truly represents me. I’m fiercely proud of it. Ophelia’s Shadow is not just a record, it’s a reflection of who I was, who I am, and who I continue to become. It’s the sound of resilience, reinvention, and raw truth.”

The album features a band line-up including Trey Gunn on stick, Paul Beavis on drums and Tony Geballe on guitar. Two tracks, Brilliant Day and Lords Of The Never Known feature Robert Fripp on guitar and were originally played live by Sunday All Over The World, the band Toyah & Robert Fripp toured and recorded with in the late 1980s.

Relive the early years of Madness with 'Hit Parade Vol. 1 1979-1986'. This 23-track 2LP set remembers the early years of Madness; containing a selection of their biggest hits and best loved tunes. It includes 23 UK Top 40 hits such as 'One Step Beyond', 'Embarrassment', 'My Girl', and 'Night Boat To Cairo'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent red vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Experience the modern era of Madness with 'Hit Parade Vol. 2 1992-2024'. This 22-track 2LP set relives the more modern, contemporary years of Madness; containing a selection of hit singles, fan favourites and much-loved tunes. Including 'NW5', 'Shame and Scandal', 'Sorry', 'Drip Fed Fred', 'Mr Apples' and the Top 10 single 'Lovestruck'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent blue vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Enjoy a Madness career-spanning overview with Hit Parade; a 15-track highlights LP, featuring 13 UK Top 40 hits including Our House, It Must Be Love, Baggy Trousers, Lovestruck, and the No.1 single House of Fun.

Pressed on classic black vinyl, the fully illustrated inner sleeve contains new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.

Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,

in conversation with renowned author and journalist Paul Sexton.

Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

In these shaky times we find ourselves in, A Relaxed Blur invites us to take deep breath in and switch to positive vibes. Dive into a world of serene soundscapes, where deep space reverbs and expansive echoes float freely, creating a sense of calm disorientation. Drawing from a blend of dub, psychill, and psychedelic electronic textures, this album guides you through atmospheric journeys that range from smooth, laid-back grooves to vast, hypnotic sound waves. Each track drifts between the tranquil and the transcendental, blurring the line between relaxation and introspection.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

–

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

Apex Ten, a Belgian trio hovering in Space Rock, Desert/ stoner Rock and Psychedelic, mainly instrumental, offers a unique experience at each appearance. Fans of bands such as Electric Moon, Ecstatic Vision, Colour Haze, Kyuss or Hawkwind will be able to relate to them during the spacial, strange and contemplative atmospheres they develop. The sound is based on the energetic and powerful bass sound, paired with catchy and energetic drum lines. On top of it, the guitar melodies enable the crowd to travel and dissociate. In addition, the powerful vocal accompanies the listener and becomes the leader of this cathartic experience. On stage, Apex Ten brings their music to life with captivating performances that transport audiences into their expansive sonic world. Their ability to seamlessly transition between delicate, introspective moments and thunderous crescendos makes each show a mesmerizing experience. With a growing reputation for their innovative approach and dedication to their craft, Apex Ten is carving out a distinctive place in the modern rock landscape. For those seeking music that challenges convention and stirs the soul, Apex Ten is a band that stands at the forefront of creative exploration

Die Kölner Emo-Pop-Band STILL TALK kündigt ihr zweites Studioalbum "Year of the Cat" an, das im November 2025 über das Kölner Indie-Label hithome erscheint. Seit dem Debütalbum "St. Banger" ist viel passiert, u.a. teilte sich die Band um Sängerin Tanja Kührer u.a. die Bühne mit Rise Against oder The Warning, und fand sich im Line Up von Festivals wie bei Rock Am Ring/Rock Im Park, Rocco del Schlacko und vielen mehr.

Die Kölner Emo-Pop-Band STILL TALK kündigt ihr zweites Studioalbum "Year of the Cat" an, das im November 2025 über das Kölner Indie-Label hithome erscheint. Seit dem Debütalbum "St. Banger" ist viel passiert, u.a. teilte sich die Band um Sängerin Tanja Kührer u.a. die Bühne mit Rise Against oder The Warning, und fand sich im Line Up von Festivals wie bei Rock Am Ring/Rock Im Park, Rocco del Schlacko und vielen mehr.

The smash hit album "Glass Heart" is now available as a limited edition vinyl record!

The Netflix series "Glass Heart" has just begun streaming worldwide. The band "TENBLANK," featured in this passionate youthful musical love story, has
released their debut album, "Glass Heart," in conjunction with the drama's release.
TENBLANK is a rock band formed by four members: the solitary genius musician Fujitani Naoki (played by Sato Takeru), college student drummer Saijo Akane
(played by Miyazaki Yu), hardworking and charismatic guitarist Takaoka Hisashi (played by Machida Keita), and music-obsessed pianist Sakamoto Kazushi
(played by Shison Jun).
The album was released digitally alongside the drama's release on July 31st, and was released on CD the following day, August 1st.
Glass Heart, which attracted attention thanks to the contributions of a stellar lineup of composers including Noda Yojiro (RADWIMPS) and Yaffle, has dominated
charts not only in Japan but also in other Asian countries, creating a global buzz.
Now, this smash hit album "Glass Heart" will be released as a limited edition vinyl record. Experience TENBLANK's music in a new way with the warm texture
and depth of sound that only analog can provide.

On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the "70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony"s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony"s mad old lines. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA"s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dreamladen songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition.

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

The project is co-led by Copenhagen-born saxophonist Andreas Toftemark, a European Jazz Master and recipient of the Bent Jædig Prize, whose career has taken him from the Conservatorium van Amsterdam to The New School in New York. He is joined by Benny Benack III, the multi-award winning Emmy-nominated trumpeter and vocalist lauded for his charismatic performances with the likes of Christian McBride, Chad Lefkovitz-Brown, Peter Bernstein and more. Rasmus Sorensen adds a vital piano voice, fresh from winning a Danish Music Award in 2024 and releasing Balancing Act (2024) featuring modern drum icon Kendrick Scott. On bass, Finnish talent Kaisa Mäensivu - leader of her own project Kaisa"s Machine - brings international credentials shaped at the Sibelius Academy, Manhattan School of Music, and festivals including Pori Jazz. Completing the lineup is New York drummer Joe Peri, a Grammy-winning artist featured on Tony Bennett & Lady Gaga"s Love for Sale and a familiar face at Birdland, Mezzrow, and other NYC institutions. Together, they craft Roadmap - a set of originals born from tours around the Copenhagen Jazz Festival and honed on the road. Each member contributes compositions: from Toftemark"s modal-driven title track and brisk swinger What Gets You to Peri"s hard-hitting opener Icebreaker, Mäensivu"s funk-tinged The Lemur, and Sorensen"s harmonically dense New York Attitude. The quintet also delivers moments of intimacy, with Again - a co-write between Toftemark and Benack - adding lyrics penned on tour and sung with understated warmth. As Benack reflects: "When I play with Andreas, I"m thinking of Joe Henderson and Kenny Dorham, of Clifford Brown and Harold Land. But this isn"t just a revival of a classic hard bop record-the heart and soul of it is the Copenhagen-New York connection."

”Haunted Heart: The Legendary Riverside Studio Recordings” vereint die kompletten Studioaufnahmen
des Bill Evans Trios mit Scott LaFaro und Paul Motian. Enthalten sind die Alben ”Portrait in Jazz”
und ”Explorations” sowie 26 alternative Takes – davon 17 bisher unveröffentlichte. Die Sammlung enthält
seltene Fotos, eine Einleitung von John Densmore (The Doors) und neue Liner Notes von Eugene Holley Jr.
Der Ton wurde von Paul Blakemore neu gemastert und von Kevin Gray bei Cohearent Audio geschnitten.

NAIVE020 epitomizes what the Lisbon-based label, run by Violet, has become cherished for: imaginative yet timeless, soothing yet moody, melodic yet sonic music. Entitled 'Computer Hermetics', this new record is an EP by Berlin-based UrbnMowgli.

The opening track, 'Fast Love Life', is a 145 bpm electro-bred, breakbeat-driven emotive dancefloor banger. It features menacing stabs juxtaposed with beautiful pads and acid-drenched arpeggio motifs that lend it a oneiric quality. 'Oracle Algorithm' picks up the 303 spirit and delves into trippier territories, densening the dreamlike, expansive atmosphere while infusing the record with electro-driven grit. Closing side A is 'Warschauer Rush-Hour', a futuristik, high-tempo twisted electro banger that's both tough and playful.

'Immaterial Desires' inaugurates side B—an ode to adventurous drum programming and intricate sound design in the form of a percussion-punctuated curveball belter. 'Digital Dawn' brings it all back home to the heart and closes the record with its deepest, most immersive moment, giving us big bass lines that alchemically converse with angelic bleepy melodies as if soundtracking a soulful sci fi movie that doesn't exist yet.

Altsaxofonist Zbigniew Namysłowski (1939-2022) wird wird oft als der ”John Coltrane Polens” bezeichnet,
so wichtig war er für die Entwicklung des modernen Jazz in seiner Heimat. Sein 1964 veröffentlichtes
Debütalbum “Lola” war zugleich das erste Album einer polnischen Band, das nicht hinter dem “Eisernen
Vorhang”, sondern in den Decca Studios in London aufgenommen wurde. Mit seinem Modern Jazz Quartet stellte Namysłowski auf dem Album sieben teils von polnischer Folklore inspirierte Originale sowie eine
Interpretation des Standards “Ol’ Man River” vor.
Produziert wurden die Aufnahmen von Mike Vernon, der später unter anderem mit Fleetwood Mac, David
Bowie und John Mayall arbeitete. 60 Jahre nach Erstveröffentlichung erscheint dieses für die europäische
Jazzszene eminent wichtige Album in der Reihe “British Jazz Explosion” erstmals wieder auf Vinyl. Gemastert von den originalen analogen Stereobändern von David Turner bei 360 Mastering, geschnitten bei Curve
Pusher, Hastings, East Sussex. Eine Beilage enthält Fotos der originalen Masterbänder und neue Liner
Notes des bekannten Autors, Compilers und Dokumentarfilmers Tony Higgins, der auch als ausführender
Produzent für Deccas „British Jazz Explosion“-Reihe fungiert.

We’re glad to welcome Enrico Dragoni, part of a generation of artists in which the UK sound is evident and someone who has quietly but steadily built a presence over the years. Alongside his work with Stabs Mechanics, we had long intended to bring him onto the label making this first appearance feel both natural and long awaited.

Anchored to his early foundations this release looks back to origins rather than attempting to cover the full breadth of his work. The A side is club oriented, leaning towards a deep bumpy and tribal yet remaining in the soulful lineage. The B side softens into easy listening reminding us of the finesse of early House and Italian dream house.

Though often described as a chameleon Dragoni’s foundation remains clear and aligned with the sound of Cosmic Breeze Records.

The Heinz Beauvaix project dates back to the mid-1990’s when Niels Rønne and Flemming Kaspersen played in Danish ambient act Swimwear Catalogue. On an ever growing number of DAT tapes they recorded semi-improvised synth/sampler/sequencer jams that mixed influences from ambient, electro and industrial. Later they began working with more detailed studio productions.

The seven tracks on “Vision Man” combine complex synth pads, interweaving monophonic synth lines, discrete drum rhythms, and strange voice samples. The sound is experimental and melodic at the same time. Influences range from early industrial to IDM, techno and synth pop. Rønne and Kaspersen originally met through a shared obsession with Canadian industrial giants Skinny Puppy. And if there is one seminal album that has influenced the Heinz Beauvaix sound, it is the obscure Skinny Puppy side project Doubting Thomas and their solitary album “The Infidel”, released in 1990.

Others have mentioned influences from bands such as Coil, Severed Heads, Bill Leeb and Rhys Fulber’s Delerium and Future Sound Of London.

“Vision Man” is old school synthesizer music with tunes you can hum.

After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, DIVAD, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. DIVAD is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, 70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the 70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Françoise Hardy. Each track is a cinematic tableau, where the artist"s theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timotée Pédron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, we witnessa rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argentofilm, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, DIVAD is a flamboyant work that reflects Sarah Maison"s image: free, sunny, and daring.

The seventh release in the Punctuality canon lands hot with a peak-time four-tracker from Persian-Swedish DJ and producer Mohajer based in Berlin. All In is a bold statement of intent—the music glistens with sleek, modern production aesthetics, drawing from UK-tinged breaks, pumping ’90s house, and sultry, timeless trance moods, perfect for big rigs and intimate dancefloors alike. Like her DJ sets, the tracks are scintillating and high-throttle, twisting and turning through unexpected paths while maintaining a steady dancefloor focus throughout.
“Intake” sets the tone for the EP. The A1 is a high-octane collage of lustrous, contemporary house, where playful, bouncy low-end slips and skips around glitched-out atmospherics, sleazy tech synths, and earworm organs. The arrangement careens and veers without relenting, driven by pumping amens and provocative vox chops fluttering in and around the bass.

A2, “i c u” keeps things heated with rolling breaks and ultrabright melodies that ignite the track with dazzling intensity. A sultry take on UK soundsystem music, its undulating wubs and flirtatious vocals are anchored by a dub sensibility that keeps the groove low, slung, and sexy. Think smoke machines, red lights, and smoldering sexual tension.
Luscious, trancey, and dripping with percussive sensuality, “You Wannabe” carries the sensuous mood to the flip. The track unfolds like the arc of a DJ set, teasing moments of magic amid layers of atmospheric pads, FX, and a pulsing bassline that grounds the arrangement from start to finish. The vibe is sweltering, cosmic, and irresistibly sultry—drawing from many directions but always locked into the groove, built for DJs and dancers alike.
The EP closes with “Backseat,” a hypnotic journey through swirling synthetic flourishes, rumbling subs, and psyched-up lead lines. It expertly builds tension and release, flipping halfway into bright flashes of euphoria and light. The result: a mysterious, sensual number that captures the ephemeral magic of the dancefloor and showcases the expert production skills of Mohajer.

This is buy-on-sight material from start to finish—don’t sleep.

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

Four late-night burners from Francesco Carvetta, marking the second chapter of Lirica White Series. Deep, hypnotic, and spiked with a dark funky twist, this is music designed for dancefloors that thrive past the witching hour.

Torque and tension drive “Larch (Acid Mix)”, its 303 lines spitting early-2000s bite through a continuous escalation of energy and unexpected turns. “503” heads into progressive territory, sleek, propulsive, and subtly echoing a bygone era without ever lapsing into nostalgia.

On the flip, “Supaline” takes a more playful route: a wobbling bassline underpins restless synth chatter, shaping a groove in constant motion. Closing with depth, “That Wakes Me” unfolds like a cinematic trip, atmospheric and tinged with melancholy, yet never cold, leaving the record suspended in late-night resonance.

First Word Records are very proud to bring you 'Ghouls', the 6th studio album from Bastien Keb.

Through the reflective and introspective multi-mood journey of its 19-tracks, this album spans psychedelic-chamber-funk, warped anti-ballads, cinematic instrumentals, Ethio-jazz & ethereal ambience.

Part soundtrack, part beat-tape, part memoir, this is a dreamlike soundscape sewn together from half-forgotten memories & late night breakdowns.

Entirely sample-free, this album is full to the brim with musical experimentation, with Keb's compulsion to make all the individual pieces of music independently; combining strings, harps, saxophones, theremins, clarinets, flutes and trumpets.

He signals to the fuzzy, nostalgic nebulous of mid '90s skate videos, as well as harking back to the scores & moods of movies like The French Connection, Taxi Driver, The Warriors and La Haine. There are whispers of sounds in the air from jazz clubs, street preachers & Turkish restaurants.

Keb describes the sonic experience of this album simply as this… "You're half awake, and half asleep, but you're warm…"

For this 19-track opus, Keb is joined extensively by Malik Ameer Crumpler; a poet, composer, editor and professor based in Paris, who's been involved in numerous albums while writing for various forms of experimental media.

A multi-instrumentalist originally from the Midlands, Bastien Keb (aka Sebastian Jones) previously released his highly-acclaimed album '22.02.85' on First Word back in 2017; this new album being a very welcome return to the Worldwide Award-winning UK independent label.

His music has been widely supported across BBC Radio in the past by DJs including Gilles Peterson, Huey Morgan, Huw Stephens, Jamie Cullum, Lauren Laverne, Mary Anne Hobbs, Nemone and Tom Ravenscroft. This is in addition to glowing press reviews from the likes of Pitchfork, The Guardian and The Line Of Best Fit.

He's built up a steady fanbase through his extensive catalogue over the years, with material for labels like Def Pressé, Gearbox, One-Handed Music and most recently for Shabaka Hutchings' Native Rebel Recordings imprint, on a collaborative project with South London's Confucius MC (Speakers Corner Quartet).

Keb concludes "this record is for anyone feeling lost in a world that seems to have lost itself without knowing it. It's for the people who know that the world is missing the beauty of the lights in the distance, whilst being distracted by new shoes and flashy phones..."

'Ghouls' is due to be released on vinyl & digital worldwide, November 14th 2025.

Joe Henderson had fully hit his stride by the time he made Inner Urge, his 4th album for Blue Note, recorded in November 1964. After a series of quintet dates, this was the tenor saxophonist’s first quartet album, and it featured an extraordinary line-up with McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. The foursome deliver a diverse set consisting of three Henderson originals including the remarkable title track and the Monkish “Isotope,” as well as a gorgeous ballad performance of Duke Pearson’s “You Know I Care” and a nimble swing through Cole Porter’s “Night and Day.” This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.