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Veronica Everheart has just announced that her new project Lighter in the Morning (3/2) will be out on November 13th via Pack. Records. The news arrives alongside her link-up with Mumbai-raised electronic artist the sound chalk makes for their new collaborative single, “2222222222222222 + Climbing”. A colorful, club-ready take on “22 & Climbing” from Everheart’s Lighter in the Morning (2/2) EP, the track is also accompanied by an animated music video for the original song, which was made with Source Filmmaker software from the gaming developer Valve using models from their game series Half-Life.

Hailing from Phoenix, Arizona, Veronica Everheart writes and produces all of her own music alongside her creative partner, Justin "Juni" Neugeboren, and has built a cult following for a distinct sound that pulls from indie rock, electronic, and folk. Released in May, Lighter in the Morning (2/2) was led by singles "NO LOLITA SHIT", "Unknowable Distance", and "12/21” and serves as the sister tape to Everheart’s 2024 EP, Lighter in the Morning (1/2). Now, she’s gearing up to release Lighter in the Morning (3/2) (Deluxe Edition), curating a slate of leftfield producers that includes ideasforconversations, nikki nair, atlgrandma, E_DEATH, and Oskie (alongside the sound chalk makes) to craft remixes for the project.

Praised by Rolling Stone, NME and the New York Times on release — the1996 debut from the members who went on to form bright eyes & cursive. Back on vinyl for its 30th anniversary!

Blanket Warm is a genuine buried-treasure reissue: a record contemporary critics compared to the Rolling Stones, Guided by Voices, and Tindersticks, and one a new generation of listeners has rediscovered as a missing link to Neutral Milk Hotel and Sufjan Stevens’ chamber-folk.

Lullaby for the Working Class formed in Lincoln, Nebraska in the winter of 1994, when multi-instrumentalist Mike Mogis and singer-guitarist Ted Stevens began writing together. Working from two home-recorded demos — and without having played a single live show — the band signed to New Jersey’s Bar/None Records in 1995. Blanket Warm was recorded and mixed by the Mogis brothers between December 1994 and April 1996 at their own Whoopass Recording Studio in Lincoln. Bar/None issued the album on CD in September 1996, while the vinyl LP went out through Lumberjack/Saddle Creek imprint in a pressing of just 1,000 copies — long out of print, and the edition this reissue restores to the format.

The result splits the difference between rustic and ornate: acoustic guitar, banjo, mandolin, and upright bass sit alongside a chamber ensemble of violin, cello, clarinet, trumpet, and trombone. Critics at the time reached for an unusually wide range of comparisons — the Rolling Stones, Guided by Voices, Tindersticks, Van Morrison — united mainly by the sense that nothing else sounded quite like it. Ted Stevens’ plainspoken, image-driven lyrics and unhurried delivery anchor songs that unfold with more patience and more instrumental color than the alt-country and lo-fi indie rock the band got lumped in with on release.

,Evergreen" vereint die musikalischen Welten von Dave Harrington und Kalia Vandever zu einer offenen, improvisationsgetriebenen Klangsprache. Die Einflüsse reichen von Jazzgrößen wie Bill Evans, der melodischen Weite von Bill Frisell, atmosphärischem Ambient, moderner Elektronik und Minimal Music bis hin zu experimenteller Improvisation und zeitgenössischer Kammermusik. Harrington, bekannt durch Darkside, bringt Elemente aus Minimal Techno, Acid Jazz, kosmischer Musik und experimentellem Rock ein, während Vandevers Posaunenspiel zwischen modernem Jazz und avantgardistischen Klangfarben pendelt. Das Ergebnis ist ein vielseitiges Album, das lyrische Jazzharmonien mit elektronischen Texturen, freien Improvisationen und atmosphärischen Klanglandschaften verbindet.

Royal Blood, eine der wichtigsten britischen Rockbands ihrer Generation, melden sich heute mit der explosiven neuen Single „Ten Over Ten“ zurück und kündigen ihr lang ersehntes fünftes Studioalbum „Dead Company“ an, das am 6. November bei Warner Records erscheint. „Dead Company“ leitet ein kraftvolles neues Kapitel für das Duo ein, das zuletzt 2023 ein Album veröffentlichte. Nach einer Auszeit vom Rampenlicht gingen Mike Kerr und Ben Thatcher 2025 ins Studio – ohne Deadline, ohne Ablenkungen und mit einem einfachen Ziel: herauszufinden, was mit zwei Personen, 12 Tönen und unendlichen Möglichkeiten machbar ist. Von Royal Blood selbst produziert – oder vielmehr „anti-produziert“ – war es ihr Anliegen, ein Album zu schaffen, das so roh, menschlich und gewaltig wie möglich klingt. „Dead Company“ reduziert alles auf den Kern. Unmittelbar und kompromisslos zeigt es Royal Blood von ihrer kraftvollsten Seite. Die Band ergänzt: „Nachdem wir den Motor von Royal Blood für ein paar Jahre im Leerlauf hatten, haben wir die Drehzahl wieder hochgejagt und spielen mit diesem Album schneller und härter denn je. Geschrieben und aufgenommen mit Blick auf die Bühne, können wir es kaum erwarten, die Songs jahrelang live zu spielen.“ Der erste enthüllte Track, „Ten Over Ten“, ist ein bedrohliches Wüstenrock-Monster im Stil von Motörhead. Text und Vibe wurden dadurch inspiriert, dass der Frontmann für einen Marathon trainierte – es dreht sich somit alles um Ausdauer und das Überwinden der eigenen Grenzen.

Art-Rock-Meilenstein im ultimativen Sammler-Boxset.
Inklusive 60-seitigem gebundenem Buch.
Exklusive, geprägte Stülpdeckelschachtel.
Zwei unveröffentlichte Complete-Live-Shows.
Seltene Outtakes und Alternativ-Mixe.

- 2026 repress - After a first appearance on the label in 2023, Amsterdam-based Isaiah is back on Molekul with a solo EP featuring 6 tools tailored for the club.

Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels' first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, afrobeat, and 60's garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an 80's 1/4" reel to reel 8 track intended for home recordings, and began recording music in a 10x10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon it's release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labelled as "cinematic soul". However, in 2005 it found it's way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC's. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair's second record, "Enter the 37th Chamber" which introduced them to a much larger audience and has been their most successful release to date. Michels has since gone on to produce and co-produce numerous records for powerhouse soul artists like Lee Fields. He shares songwriting credits with Adele, Jay-Z, Ghostface Killah, Aloe Blacc, and has played on records by Ray LaMontagne, Lana Del Rey, The Black Keys and Dr. John.

Matthias Reim ist zweifellos ein großfühlender Mensch. Ein beneidenswert produktiver Zeitgenosse ist er sowieso. Vor bald 35 Jahren hinterließ der Vollblutmusiker und Songwriter einen Aphorismus von bleibendem Wert: "Verdammt, ich lieb' dich". Liedzeilen, die aus einer Laune heraus entstanden, formte der damals 32 Jahre junge Mann zu einem Mammut-Refrain, der zu einem Millionenseller gelangte. Er hat rund zwei Dutzend Studioeinspielungen veröffentlicht, etliche davon brachen in Gold- und Platin gegossen Verkaufsrekorde. Auf dem neuen Longplayer "Zeppelin" präsentiert Reim seine 16 neuen Songs so frühlingsfrisch und auf den Punkt gebracht wie ein tatendrängender Newcomer. Einer, der sich gleichzeitig eines enormen Musikmacher- und Lebenserfahrungsschatzes ermächtigen kann. Anders lässt sich die gesteigerte Wahrhaftigkeit in "Zeppelin" nicht erklären. Reims Rock klingt heute handgemacht-rockiger als je zuvor, die Refrains sind größer geworden und die Balladen balladesker. "Zeppelin" ist kurzum der beste Reim aller Zeiten.

Jamaica meets South Korea -- following his two BLESSYOU EPs, Turquoise and Journey Home, the Seoul-based artist returns with another stellar contribution, revisiting his early appreciation of reggae music: a 4-track EP by Korean producer and multi-instrumentalist Seungyoung Lee aka Mogwaa, immersing the listener in a rich blend of lovers rock, dub and reggae. The EP combines dreamy, dubbed-out atmospheres with warm basslines, lovers rock rhythms and subtle vocoder textures. Mogwaa approaches these Jamaican influences with a refined and distinctly personal aesthetic, creating a spacious and warm sound that feels both nostalgic and contemporary. Crucial for any contemporary music lover's record collection.

Naná Rizinni is a São Paulo-born drummer, producer, and composer whose work sits at the intersection of progressive electronics, jazz improvisation, and Brazilian rhythmic traditions. After relocating to London in 2020, Rizinni further expanded her distinctive sound, drawing on influences ranging from contemporary UK experimental jazz to forward-thinking electronic music. A respected collaborator and session musician in Brazil, she has performed with artists including Tiê, Johnny Hooker, Ana Cañas, and Thiago Pethit, and has appeared at major international festivals such as Lollapalooza, Rock in Rio, SXSW, and Primavera Sound.

Her new album,Epiblast, is a deeply personal and sonically adventurous statement. Written and co-produced with saxophonist and producer Mark Cake, the album explores themes of transformation, grief, new parenthood, and self-discovery through a rich blend of acoustic and electronic textures. Combining expansive sound design, intricate rhythmic interplay, modular synthesis, and Brazilian musical foundations, Epiblast draws comparisons to artists such as The Comet Is Coming, corto.alto, Mark Guiliana, and Richard Spaven while maintaining a unique voice of its own. Available on vinyl and digital formats, Epiblastshowcases Rizinni's most fully realized artistic vision to date and positions her as a compelling new voice within the global contemporary jazz and experimental music landscape.

DiG Records’ latest release is a reissue of one of the most remarkable Russian electronic albums of the 90s. Available on vinyl for the first time, 100 Photography Lessons is the 1993 debut album by the duo Block Four, with a rich sound spanning a wide range of genres, from downtempo and experimental electronics to trance and techno.

Block Four was formed by Oleg Salkhov and Konstantin Smirnov in the early 1990s at Moscow’s SNC Studio. Salkhov was the studio’s first recording engineer, working with bands including Moralny Kodeks and Megapolis, while Smirnov came from Nikolai Kopernik, where he had already been experimenting extensively with electronic instruments.

The album is built around sampling, experimentation, and a broad range of influences. Block Four drew sounds from jazz, classical music, rock, hip-hop, folk and electronic music, as well as films, VHS tapes, and radio broadcasts, gradually assembling their own extensive library of samples and loops. Combined with synthesizers, samplers, drum machines, unconventional rhythms, and harmonic ideas, the duo brought all these elements together to create their own distinctive sound.

100 Photography Lessons captures a brief but important period when Russian electronic music was still developing its own language. Freely blending sampling, electronic instruments, and influences from a wide range of musical traditions, Block Four created an album that still sounds compelling more than three decades later.

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.

First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.

The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.

Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.

The long-awaited reissue of "Woodstock Generation” set for release in the 11th installment of "Spin This Now!," a masterpiece of Japanese jazz-rock by Soul Media, led by Jiro Inagaki!


Led by Jiro Inagaki, one of the leading saxophonists in the Japanese jazz scene, Soul Media captured the explosive musical movements of the late 1960s and early 1970s on this classic album. Rooted in jazz while boldly incorporating elements of rock, funk, and psychedelia, the album is packed with the thrilling sound that could only have emerged from Japan's music scene of the era.

Eve 6 is the debut studio album by American alternative rock band Eve 6, originally released in 1998. The lead single and popular song "Inside Out" became a hit and reached #1 on the Modern Rock charts. Other singles include "Leech", "Superhero Girl", "Open Road Song" and "Tongue Tied", all contributing to the album's wide recognition.

The album was produced by Don Gilmore, known for his work with Linkin Park and Good Charlotte. Eve 6 became certified Platinum, selling over one million copies in the United States and achieved high positions on the Billboard charts, making it a hugely successful rock debut.

Eve 6 is available as a limited edition of 1500 numbered copies on yellow & white marble vinyl. The record comes in a deluxe sleeve finished with leather laminate and includes an insert with lyrics and liner notes.

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

Alan Vegas ,Live at Max's Kansas City" fängt einen der furchtlosesten Innovatoren und Visionäre der Musikszene in voller kreativer Kraft ein und verwandelt diesen Punk- Club, eines der kultigsten kulturellen Wahrzeichen New York Citys, in ein Theater aus roher Performance, klanglichen Experimenten und kompromisslosem künstlerischem Ausdruck. Aufgenommen am 18. Juli 1980, nur wenige Wochen vor der Veröffentlichung seines bahnbrechenden selbstbetitelten Solo-Debüts, zeigt der Auftritt Vega an einem entscheidenden Punkt in seiner Karriere, an dem er eine einzigartige künstlerische Sprache entwickelt, in der Rockabilly, Blues, elektronischer Noise und Performancekunst mit elektrisierender Intensität zusammenfließen. Auf sieben Titeln wird Vega von dem jungen texanischen Gitarristen Phil Hawk begleitet, dessen messerscharfe Gitarrenarbeit sich mit Vegas Tonbandmanipulationen und experimentellen Klängen verflechtet, um seine kompromisslose klangliche Vision zu verstärken. Eher vom Instinkt als von Konventionen getrieben, fängt das Album die Kollision von Rockabilly und Blues mit elektronischen Experimenten, unerbittlicher Energie und der radikalen künstlerischen Freiheit ein, die Vegas Karriere prägten. ,Live at Max's Kansas City" ist ein lebendiges Dokument davon, wie Alan Vega am Beginn seiner Solokarriere stand - mit dem unerschütterlichen Engagement seiner kreativen Kräfte. Jeder Schrei, jeder Pfiff und jeder Ausbruch des Publikums wird Teil der Performance selbst und bewahrt den explosiven Austausch zwischen Künstler und Publikum, der Vegas einzigartige Bühnenpräsenz ausmachte. Entdeckt von Liz Lamere und Jared Artaud im Alan-Vega-Archiv, dem ,Vega Vault", wurde ,Live at Max's Kansas City" von Josh Bonati aus den Original-Live-Aufnahmen remastert, wobei die Bänder von Ted Young übertragen wurden. Diese historische Performance, die ein weiteres bisher unbekanntes Kapitel aus dem ,Vega Vault" enthüllt, ist zum ersten Mal auf Streaming-Plattformen und auf Vinyl erhältlich .

Harmacy (30th Anniversary Expanded Edition) finally makes Sebadoh’s seminal 1996 indie-rock album available again, and adds 16 bonus tracks, including alternate versions, rare B-sides, BBC sessions, and live material from the Harmacy era.


Sebadoh was formed in 1986 in Northampton, Massachusetts, by Eric Gaffney and Lou Barlow (Dinosaur Jr., The Folk Implosion), with multi-instrumentalist Jason Loewenstein completing the line-up in 1989, and Bob Fay taking Gaffney’s spot in 1994. By 1994, the band had released five albums and more or less changed the pockmarked face of indie rock. Their albums were mostly home recordings, decried for their lack of sharp production, but embraced by fans of Barlow's intimate songwriting style, which owed as much to Joni Mitchell as Bob Mould. In 1996 Harmacy, their breakout sixth album, arrived, finding Sebadoh as conflicted as ever: torn between screaming punk and gentle crooning, replete with highly personal songs guaranteed to bring down even the most super-charged midnight ravers.


Released in the wake of The Folk Implosion’s Top 40 hit "Natural One," Harmacy became Sebadoh's first charting album in the U.S., and yielded the hit "Ocean." Interview said, “Harmacy is nothing short of a masterpiece.” The New Yorker called it a collection of “perfectly crafted, honest (read: ambiguous and emotionally twisted), impassioned songs about love and hate.” Harmacy was hailed as one of the best albums of 1996 by Rolling Stone, The Village Voice, and NME.

The Deviants (formerly The Social Deviants) were a British psychedelic rock band originally active from late 1966 to 1969. The bandname was later used as a vehicle for the musical work of writer Mick Farren until his death in 2013.

Musically, the Deviants were something like the British equivalent to the Fugs, with touches of the Mothers of Invention and the British R&B-based rock of the Yardbirds and the Pretty Things.
Their roots were not so much in the British Invasion as the psychedelic underground that began to take shape in London in 1966-1967. Mick Farren said that they were influenced by The Who, Charles Mingus, The Velvet Underground and Frank Zappa.

The Deviants is their 3rd album and is now available as a numbered limited edition of 1000 copies on yellow vinyl and it contains a replica of the original mini booklet.

Limited Edition 2026 Black Vinyl Repress.
The Milk of Human Kindness is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.
Rather than start from scratch, Snaith folded the two sides of himself together - the icy precision of Start Breaking My Heart and the sun-drenched sprawl of Up in Flames - into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, "Yeti" and "Barnowl," remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
Tracklist:

Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.


ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."


ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).

The robots on late-night television kept saying the future was already here. We believed it. We promised the stars that we will visit. It felt impossible. But Dimi parked a rocket in front of our house, we got in. The stars were twice as bright as we launched the opposite way, towards the underground. A1 - Dimi Angelis - Mastodon A2 - Dimi Angelis - Hollow Earth B1 - Dimi Angelis - Tertiary B2 - Dimi Angelis - Habitable Zone C1 - Dimi Angelis - Subterranean River C2 - Dimi Angelis - Megatherium D1 - Dimi Angelis - Cataclysm D2 - Dimi Angelis - Cenozoic E1 - Dimi Angelis - The Icy Web E2 - Dimi Angelis - Volcanic Tubes F1 - Dimi Angelis - Quaternary Limited numbered version of TAR-LP5 with an extra vinyl lathe disc, an extra of 3 tracks. 2x12inch + 1 lathe cut vinyl. All tracks will be available digitally. including: free digital download code with 3 extra tunes, stickered outersleeve, printed innersleeves, printed labels.

Atlantic Records and Rockstar Games announce Grand Theft Auto VI: The Album, the upcoming official soundtrack album from the biggest, most immersive evolution of the groundbreaking Grand Theft Auto series yet; Grand Theft Auto VI.

Launching alongside the hotly anticipated game, Grand Theft Auto VI: The Album features 34 original tracks that capture the electric energy of GTA 6’s world of Vice City and Leonida, with a genre-defying roster of the most exciting and preeminent artists in the world.

With 34 original tracks that capture the electric energy of Grand Theft Auto VI’s world of Vice City and Leonida, Grand Theft Auto VI: The Album features a genre-defying roster of the most exciting artists in the world.

** Vinyl-exklusive Tracks
Kosmische Psychédélique (Motorik, Astral and Avant-Garde Musik from Deutschland and Beyond 1970–2025)

Der neue Two-Piers-Sampler "Kosmische Psychédélique" entführt den Hörer auf eine Reise durch die hypnotische Welt der Kosmischen Musik – von den wegweisenden Motorik-Beats, elektronischen Experimenten, psychedelischen Klangwelten und avantgardistische Ambient-Sounds des Deutschlands der frühen 1970er Jahre (La Düsseldorf, NEU!, Harmonia, Cluster, Brainticket, Klaus Schulze, Popol Vuh, Faust, Guru Guru, Tangerine Dream) bis zu zeitgenössischen Künstlern, die deren astrale, ambiente und avantgardistische Möglichkeiten von Wiederholung, Textur und Raum auch heute noch ausloten.

So schlagen Acts wie Boards Of Canada, Turzi, Tortoise, Beak>, Pale Blue Eyes oder The Early Years Brücken zu Post-Rock, Shoegaze und Electronica, und veranschaulichen damit, wie das vor über fünf Jahrzehnten in Deutschland etablierte musikalische Vokabular bei einer neuen Generation psychedelischer und experimenteller Künstler Anklang fand und findet – und bis heute noch nachwirkt.

Wie alle Ausgaben der "Psychédélique"-Serie ist auch diese Ausgabe keine Crave-Digger-Sammlung obskurer, schwer zu findender Raritäten, sondern eine Hommage an die Kosmische Musik, die die Gelegenheit bietet, in ihre eigenwillig-wunderbaren Klänge einzutauchen und ihre Genialität zu genießen.

Fuglen flyr godt (“The bird flies well”) is the second solo album by Norwegian multidisciplinary artist Espen Friberg, following 2022’s Sun soon (Hubro). Recorded in the coastal town of Hvitsten, Norway, through the winter and spring of 2025–26, the album consists of eleven pieces made entirely on the Serge Modular synthesizer. Through improvisation and experimentation, Friberg treats the Serge as a shifting network of relationships, developing a vocabulary of idiosyncratic melodies and textures by turns warm, fluid, woody, and curiously animate.

This is music developed in close proximity to Friberg’s surroundings in Hvitsten—pine forests, smooth seaside rocks, and changing winter light. Rather than translating these things into anything explicitly programmatic, Fuglen flyr godt absorbs their scale and ephemerality. Friberg follows his instrument into unexpected places: patterns cohere and slip apart, rough textures give way to passages of peculiar delicacy, and the open-ended architecture of the Serge yields a broad range of gestures and environments.

Mixed and produced by Friberg’s longtime collaborator Jenny Berger Myhre (Flutter Ridder) and mastered by Eivind Opsvik, Fuglen flyr godt finds Friberg bringing his characteristic lightness of touch to the Serge ecosystem, coaxing organic, playful music from its unruly circuitry—music that feels of a piece with the landscape around him.

Das 1986 veröffentlichte Album *Orgasmatron* wurde von der Motörhead-Besetzung Lemmy, Phil Campbell, Würzel und Pete Gill eingespielt. Die Platte markierte eine musikalische Entwicklung hin zu einem
härteren Sound, bewahrte sich dabei jedoch die Schnelligkeit und Rohheit, die das frühere Schaffen der
Band auszeichneten.
Obwohl die Produktion des Albums im Laufe der Zeit sowohl bei der Band als auch bei den Fans für reichlich Diskussionen sorgte, enthält es einige der wichtigsten Motörhead-Klassiker – darunter „Orgasmatron“,
„Deaf Forever“ und „Built For Speed“ – und gilt heute als eine der angesehensten Veröffentlichungen im
Katalog der Band. Mit seiner Mischung aus Hard Rock, Heavy Metal und Punk-Einflüssen bleibt *Orgasmatron* ein bedeutendes Album in der Geschichte der Band und ist auch fast vier Jahrzehnte später noch
ein absoluter Fan-Favorit.

Das 1986 veröffentlichte Album *Orgasmatron* wurde von der Motörhead-Besetzung Lemmy, Phil Campbell, Würzel und Pete Gill eingespielt. Die Platte markierte eine musikalische Entwicklung hin zu einem
härteren Sound, bewahrte sich dabei jedoch die Schnelligkeit und Rohheit, die das frühere Schaffen der
Band auszeichneten.
Obwohl die Produktion des Albums im Laufe der Zeit sowohl bei der Band als auch bei den Fans für reichlich Diskussionen sorgte, enthält es einige der wichtigsten Motörhead-Klassiker – darunter „Orgasmatron“,
„Deaf Forever“ und „Built For Speed“ – und gilt heute als eine der angesehensten Veröffentlichungen im
Katalog der Band. Mit seiner Mischung aus Hard Rock, Heavy Metal und Punk-Einflüssen bleibt *Orgasmatron* ein bedeutendes Album in der Geschichte der Band und ist auch fast vier Jahrzehnte später noch
ein absoluter Fan-Favorit.

Arcane Allies sind ein in Berlin und Köln ansässiges Trio, das Psychedelic Rock, Krautrock, Ambient, Doom, Jazz und freie Improvisation zu einem hypnotischen, filmischen Klang verschmilzt. Angetrieben von motorischen Grooves, schimmernden Synthesizern, vom Surf inspirierten Gitarren und sich entwickelnden Klangtexturen bewegt sich ihre Musik zwischen meditativer Schönheit und dunkler, erdrückender Intensität. Inspiriert von Pionieren wie CAN, Neu! und Kraftwerk sowie den minimalistischen Komponisten Terry Riley und Steve Reich schafft die Band immersive Klanglandschaften, die eine Brücke zwischen analoger Rockenergie und zeitgenössischer elektronischer Produktion schlagen. Arcane Allies wurden 2016 von Christiana und Sidney Jaffe gegründet; 2018 stieß Joel Jaffe zur Band. Seitdem haben sie mehr als 300 Konzerte in 15 Ländern gespielt und fünf Independent-LPs veröffentlicht. Ihr bevorstehendes Album erweitert dieses Klanguniversum weiter, wobei Titel wie Aestesia hypnotische Wiederholungen und wechselnde musikalische Muster erkunden. Über die Musik hinaus sind Arcane Allies ein Familienprojekt, das kreatives Schaffen, Tourneen und das Familienleben mit ihren beiden Kindern miteinander verbindet.

Kates Musik lässt sich mit den besten und tiefsten Süßwasserseen vergleichen: In der Tiefe kühl und sich selbst erneuernd, an der Oberfläche jedoch warm und funkelnd. Mit ihrer neuesten EP ,Shop Girl" hat sie etwas Vielversprechendes und Einzigartiges geschaffen. Produziert und begleitet von Jonathan Rado sowie den Musikern Sam France, Tim Bernardes und Alex Heaney lässt sich Kate von Lynsey De Paul und Kate Bush inspirieren, ebenso wie von ,Ribbons of War", einer Rockoper von The Extraordinaires, die sie schon seit ihrer Kindheit liebt. Die EP enthält fünf Songs, die Kate als ,Songs aus einem imaginären Musical" bezeichnet. Es ist die Geschichte einer kleinen Boutique, ihrer Besitzerin und der drei jungen Frauen, die den Laden führen. Vor allem eine von ihnen, namens ,Bobby", singt den Song ,Dear Bobby" als verzweifelte Bitte an den Jungen, den sie liebt - der ebenfalls Bobby heißt. Unterdessen sind die Verkäuferinnen besessen von der Band Texaco und der sehr öffentlichen Trennung zwischen den romantisch verstrickten Bandmitgliedern Ian Machine und Sandra Beach. Im Titelsong ,Shop Girl" beschreibt eines der Mädchen die alltäglichen Aufgaben der Arbeit in einem Laden mit solcher Begeisterung, dass das Gewöhnliche auf surreale Weise verwandelt wird. ,Dreams Don't Come True" ist die ausgelassene Eröffnungsnummer, die den Ton für das Folgende angibt - mit einem Sound, der Fans von George Martin sowie Lennon und McCartney aufhorchen lässt und zum Lächeln bringt. Die Akkordarrangements haben etwas Authentisches an sich und erinnern an Songs aus den späten 60ern. Es ist kein bloßer Abklatsch davon, sondern vielmehr eine schöne Neuinterpretation von Liverpool und London über Charlottesville, Virginia, und Los Angeles, Kalifornien.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

Oráculo Records joins forces once again with Unknown Pleasures Records under the banner of “The Black Alliance” to celebrate one of electronic music’s most influential acts: SUICIDE. Widely regarded as pioneers whose radical approach helped lay the foundations of minimal synth and darkwave, Alan Vega and Martin Rev receive a tribute from artists who carried their influence into new territories. Absolute Body Control, Gabi Delgado of DAF, Patrick Codenys and Richard 23 of Front 242, and Dirk Da Davo of The Neon Judgement appear alongside some of the most compelling contemporary projects in the international dark music underground. Spread across two records, this collection of cover versions also features SUICIDE songs revisited by Alan Vega himself with Marc Hurtado, presented on vinyl for the first time. Their presence creates a direct connection between the original voice of SUICIDE and the generations shaped by the duo’s uncompromising vision. An instant classic in spirit and scope, “SUICIDE Pioneers’ Celebration” honours a legacy that continues to resonate across the underground. Produced in a one-off pressing of just 500 copies, this is a collector’s edition to discover, play and treasure for years to come.

Social Distortion's third eponymous album from 1990 turned out to be their best-known work and would come to spawn the most hits, with singles 'Ball And Chain', 'Story Of My Life' and the Johnny Cash cover 'Ring Of Fire'. It mixed Punk with Rockabilly, Blues & Country, and split the difference between Rockabilly and Ramones-style Punk. It is albums like this that prove why Social Distortion was able to survive the demise of the LA Hardcore scene with flair and come out on top!

Disco Collected celebrates the dance music which originally developed from R&B, soul, and funk from the late 60s and 70s and turned into a mighty subculture in discotheques, with Studio 54, Manhattan, New York as one of the most famous and extravagant discos all over the world. Disco used a steady four to the floor beat, string sections, horns which created a perfect setting for DJs who mixed their special 12 inches to an eager dance crowd.

Movies like Saturday Night Fever and Thank God It’s Friday contributed to disco’s mainstream popularity. Compiled on Disco Collected are some of the best, well-known and great disco hits by Rose Royce, Chic, Kool & The Gang, The Trammps, Thelma Houston, KC & The Sunshine Band and 16 more guaranteed floor fillers.

The 2LP Disco Collected is available as a limited edition on disco ball silver vinyl and includes an insert.

John Weldon "J.J." Cale was an American guitarist, singer, and songwriter. Though he avoided the limelight (being temperamentally averse to celebrity), his influence as a musical artist has been widely acknowledged by artists like Mark Knopfler, Neil Young, and Eric Clapton, who described him as one of the most important artists in the history of rock.

J.J. Cale is considered to be one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz. Cale unfortunately passed away in 2013, but his legacy lives on. Number 10 is Cale’s 10th album and contains another wonderful and laid back/mellow collection of typical J.J. Cale tunes. "Traces", "Artificial Paradise", "Low Rides" and "Jailer" are considered part of his best 1990s songs.

Number 10 is available as a limited edition of 1000 numbered copies on turquoise vinyl, and includes an insert.

Sister King Kong - das sechste Studioalbum von Udo Lindenberg und dem Panik-Orchester - wurde am 15. Oktober 1976 veröffentlicht und feiert in diesem Jahr sein 50. Jubiläum. Es erreichte Platz 8 der deutschen Album-Charts und hat Goldstatus mit über 250.000 verkauften Einheiten allein in Deutschland. Das Album gilt als ambitioniertes Konzeptwerk und verarbeitet auf ironische, melancholische und oft selbstironische Weise die Erlebnisse, Absurditäten und den emotionalen Blues eines alternden Rockstars und des Tourlebens.
Udo Lindenberg zeigt sich erneut als Chronist des damaligen Zeitgeists. Musikalisch balanciert Sister King Kong perfekt zwischen druckvollem Hardrock, orchestralem Pomp und zarten, tiefgründigen Balladen. Für die Aufnahmen wurden Udo Lindenberg und das Panik-Orchester (Gottfried Böttger: Piano, Jean-Jacques Kravetz: Keyboards / Synthesizer, Bertram Engel: Schlagzeug, Thomas Kretschmer & Paul Vincent: Gitarren & Steffi Stephan: Bass) u.a. von profilierten Gastmusikern der damaligen deutschen Krautrock-, Jazz- und Pop-Szene unterstützt: Curt Cress: Schlagzeug, Dave King: Bass, Olaf „Kicher“ Kübler: Saxophon, Ulla Meinecke & Jutta Weinhold: Gesang.
Das Album ist ein kühner Spagat zwischen Pomp und Panik, zwischen Tiefgang und purem Klamauk - ein Meilenstein des „Deutschrock". Schon der Opener Die Bühne ist angerichtet bricht mit allen Erwartungen. Was als schwermütige, fast intime Ballade beginnt, explodiert durch das monumentale Arrangement des Panik-Orchesters in ein furioses Pomp-Rock-Spektakel. Songs wie der Titelsong Sister King Kong (eine humorvolle Nummer über eine gigantische Catcherin) oder Satellit City Fighter experimentieren mit Funk-Elementen, während das jazzige Saxophon von Olaf Kübler immer wieder für schummrige Club-Atmosphäre sorgt. Weitere herausragende Titel sind die humorvolle Hymne Rätselhaftes Bielefeld (Udo erschafft ganz nebenbei einen zeitlosen Running-Gag) sowie die gesellschaftskritischen Stücke Emanuel Flippmann und die Randale-Söhne (Udo knöpft sich die bürgerliche Doppelmoral vor) und Rock ’n’ Roll Arena in Jena.
Der emotionale Höhepunkt der Platte ist zweifelsohne Meine erste Liebe. Das über sechs Minuten lange Duett mit einer damals noch am Anfang ihrer Karriere stehenden Ulla Meinecke fängt den bittersüßen Schmerz verflossener Jugendtage so authentisch ein wie kaum ein anderes deutschsprachiges Lied dieser Dekade.
Sister King Kong transportiert perfekt das Lebensgefühl der späten 1970er Jahre in Deutschland. Es ist kein glattgebügeltes Pop-Album, sondern eine raue, ehrliche und mutige Rock-Revue. Die Platte verbindet orchestrale Größe nahtlos mit rotzigem Garagen-Rock. Dank einer bis in die Fingerspitzen motivierten Studiobesetzung und Lindenbergs unfehlbarem Gespür für Melodie und Sprache bleibt das Album ein zeitloser Klassiker.

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.