quête:k si

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

Bleachers' new album “everyone for ten minutes” will be released on 22 May 2026. Described by The New York Times as “anthemic, life-affirming pop rock,” Bleachers are fronted by eleven-time Grammy Award-winning singer, songwriter, musician, and producer Jack Antonoff. Over the past decade, Bleachers have built a massive, devoted following, renowned for their impressive live show and infectious camaraderie. Bleachers’ self-titled fourth studio took the band to new heights including a sold-out Madison Square Garden & the cover of Rolling Stone magazine.

GER NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern. NOFX were pissed off (possibly still are) and they wanted to let us know! Originally released in 1999,The Decline, was a brave release and marked a huge turning point for NOFX. Widely regarded as their magnum opus, the song is an 18-minute punk rock spectacle that showcases the showmanship, lyrical wit, and musicality of the best punk rock band of all time. Satirizing the state of America and skewering the indifferent masses & politicians alike, the song is eerily relevant in 2026 and continues to critique the powers that be in a way few artists have the courage to do. The vinyl adds first version of "Clams Have Feelings Too" (later resurfacing on the Pump Up The Valuum album) on the flip, the 12" is an essential release for any NOFX fan. Back on black and colored vinyl (ltd), includes insert with lyrics and pics.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

The borderless, tropical band “of Tropique,” whose core sound blends funk and rock-infused exotica, releases a 12-track full-length album on vinyl LP!!
This work maximizes their core lineup as a guitar-less trio, featuring a diverse array of 14 guest musicians to construct a rich sonic landscape.
This landmark release in the history of domestic exotica and tropical music features Mutsumi Kobayashi of the Minyo Crusaders, Rockin' Enocky of Jackie
& The Cedrics, to global talents like Joshua Camp of CHICHA LIBRE and MIRAMAR, the standard-bearer of US new wave Latin bands, and more!
It's a masterpiece that delivers the full thrill, excitement, and pleasure of encountering unknown music.

Leinenbezogene, foliengeprägte Tip-on-Gatefold-Hülle mit 24-seitigem Comicbuch im LP-Format.

The 3rd collaborative album between Les Claypool (Primus) & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy. Told across 14 songs - which ooze with classic psychedelic / progressive rock stylings - and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.

Ten years ago, in a sharehouse on Chapel Street, four 20-year-olds with zero expectations wrote and recorded an EP in a single afternoon. Those six blistering minutes of music became Giddy Up. An hour later, Amyl and The Sniffers had a name, a Bandcamp upload, and the beginnings of a legacy.
Following a year of backyard gigs, playing for friends and partying across Melbourne's sticky carpet music scene, the band released their iconic second EP Big Attraction in 2017.
Now, to celebrate a decade of raw power and reckless spirit, Giddy Up/Big Attraction returns in a definitive 10th anniversary 12-inch vinyl edition — fully remastered for maximum punch.
Featuring early classics like “I’m Not A Loser” and “Stole My Pushbike,” plus enduring live favourites “Balaclava Lover Boogie” and “Westgate,” this is the sound of Amyl and The Sniffers before the world caught up — feral, funny, and unstoppable.
The LP is housed in a gatefold sleeve showcasing Chris Sutherland’s iconic 2017 band photo, alongside an exclusive new essay from Amy Taylor and a heap of never-before-seen behind-the-scenes shots from the band’s earliest days by Jamie Wdziekonski. As Amy recalls: “We recorded and wrote over the afternoon… we’d never played together before that day… it’s spontaneous, and fun and achievable in that time because to us it sounded more than good and we weren’t perfectionists and it didn’t matter.”
From DIY house shows in Melbourne to international stages, it all started here.

Rot/gelbes Splatter Vinyl, limitiert auf 600 Exemplare. Nach Jahren als Frontmann einiger der ikonischsten Rockbands kehrt Erik Grönwall mit einem Soloalbum mit dem Titel ,Bad Bones" zurück, das am 22. Mai erscheint.Weltweit bekannt für seine kraftvolle Stimme und seine beeindruckende Bühnenpräsenz, hat sich Erik als Frontmann von Skid Row, H.E.A.T. und zuletzt durch Tourneen in ganz Europa und Japan (sowie durch die Aufnahme eines UFO-Jubiläumsalbums) einen Namen gemacht, bei denen er die Lead-Vocals für Gitarrenlegende Michael Schenker übernahm.Mit ,Bad Bones" richtet er den Fokus nun ganz nach innen und liefert ein rohes und ehrliches Statement ab, das ein mutiges neues Kapitel in seiner Karriere einläutet. Die Single ,Bad Bones" gibt die Richtung für ein Album vor, das furchtlos, persönlich und kompromisslos ist. Das kommende Album BAD BONES besteht ausschließlich aus Originalmaterial und markiert eine Rückkehr zum Kern des Songwritings - ehrlich, kraftvoll und zutiefst persönlich.Neben seiner Arbeit auf der Bühne und im Studio hat Erik einen äußerst erfolgreichen YouTube-Kanal aufgebaut, der Millionen von Aufrufen verzeichnet und ein weltweites Publikum anzieht, das von seinen kraftvollen Interpretationen und seiner Authentizität begeistert ist. Mit ,Bad Bones" verleiht genau diese unmittelbare, unverfälschte Verbindung nun auch seiner eigenen, originären Stimme neue Energie.

Nach Jahren als Frontmann einiger der ikonischsten Rockbands kehrt Erik Grönwall mit einem Soloalbum mit dem Titel ,Bad Bones" zurück, das am 22. Mai erscheint.Weltweit bekannt für seine kraftvolle Stimme und seine beeindruckende Bühnenpräsenz, hat sich Erik als Frontmann von Skid Row, H.E.A.T. und zuletzt durch Tourneen in ganz Europa und Japan (sowie durch die Aufnahme eines UFO-Jubiläumsalbums) einen Namen gemacht, bei denen er die Lead-Vocals für Gitarrenlegende Michael Schenker übernahm.Mit ,Bad Bones" richtet er den Fokus nun ganz nach innen und liefert ein rohes und ehrliches Statement ab, das ein mutiges neues Kapitel in seiner Karriere einläutet. Die Single ,Bad Bones" gibt die Richtung für ein Album vor, das furchtlos, persönlich und kompromisslos ist. Das kommende Album BAD BONES besteht ausschließlich aus Originalmaterial und markiert eine Rückkehr zum Kern des Songwritings - ehrlich, kraftvoll und zutiefst persönlich.Neben seiner Arbeit auf der Bühne und im Studio hat Erik einen äußerst erfolgreichen YouTube-Kanal aufgebaut, der Millionen von Aufrufen verzeichnet und ein weltweites Publikum anzieht, das von seinen kraftvollen Interpretationen und seiner Authentizität begeistert ist. Mit ,Bad Bones" verleiht genau diese unmittelbare, unverfälschte Verbindung nun auch seiner eigenen, originären Stimme neue Energie.

Masao Yagi’s memorable first leader date, by a musician active since the dawn of Japanese jazz and also known as a devoted Monk scholar. This album features Monk’s compositions throughout, including classics such as "’Round Midnight", "Straight, No Chaser", and "Blue Monk".

Masao Yagi (p)
Sadao Watanabe (as)
Akira Nakano (tp)
Masanaga Harada (b)
Teiichi Tabata (dr)

“I Believe I’ll Dust My Broom” is one of Robert Johnson’s most iconic recordings, later made even more famous by Elmore James’ legendary interpretation,
which helped establish the signature “broom style” in blues music. The track brilliantly translates boogie-woogie piano bass patterns into a single-guitar
performance, showcasing Johnson’s extraordinary technique.

“Dead Shrimp Blues” is often interpreted as a metaphor for sexual impotence, with Johnson’s emotionally resonant vocal delivery adding a sense of haunting
emptiness to the track.

“Come On In My Kitchen” remains one of Johnson’s most covered and celebrated songs. Said to draw inspiration from the Mississippi Sheiks’ hit “Sitting On
Top Of The World,” the song’s repeating guitar phrases create an unmistakable sense of melancholy and depth.

“They’re Red Hot,” on the other hand, stands out as one of Johnson’s most unusual recordings, performed in a lively hokum style. Featuring brisk, jive-inflected
guitar and Johnson’s rapid-fire vocal delivery, the track has even been described as a possible precursor to early rap music.

Limited, 500 copies black gatefold 2LP...

Originally released in 2013, the long-awaited second album from Lulu Rouge finally returns to vinyl in its first-ever limited repress — revived after years of growing demand.

The Song Is In The Drum captures the duo at their most fearless and immersive. Known for their deep melancholia and anti-traditional pop structures, Lulu Rouge blur the lines between dark dub, cinematic electronica, and left-field songwriting. Intense, soul-cutting vocal pieces unfold alongside towering instrumentals — brooding, beautiful, and unapologetically atmospheric.

The album features standout appearances from Danish indie pop visionary Asbjørn and Icelandic-born vocalist Fanney Osk, adding further depth to an already richly textured sonic landscape.

Across 11 meticulously crafted tracks, producers Torsten “Buda” Jacobsen and Thomas “T.O.M” Bertelsen shape a world that feels both intimate and vast. Every beat is deliberate, every space intentional. This is music that doesn’t simply play — it envelops.

Fifty-three minutes that grip you by the heart and refuse to let go.

Welcome to the brightest dark place you’ve ever been.

Look out for a much anticipated new album coming later this year from Lulu Rouge - making this re-issue a timely reminder of the power of their work.

Wie jemand, der ein Signal aus Störgeräuschen herausfiltert, entdeckt Cosey Mueller immer wieder innovative Variationen von Punk und experimenteller Elektronik und entwickelt daraus in ihrer beeindruckenden Diskografie einen unverwechselbaren Stil - der mit „Embodiment of Denial" nun einen neuen Höhepunkt erreicht. Eine zunehmend treibende Tanzbarkeit bildet dabei die Kulisse für eine verstärkte Konzentration auf Muellers Stimme.

Die acht Tracks des Albums sind voller eingängiger Hooks, während sie, weit entfernt von den leeren Parolen, die in „Der Politiker" parodiert werden, die deklarative Aussage für die Kräfte des Guten zurückerobert.

"Singled Out" kommt als auf 1000 Stück limitierte Doppel-LP auf farbigem Vinyl (LP1 blau / LP2 kirschrot) im Klappcover oder als glänzende CD! Dreiunddreißig Tracks! Alle 7"-Singles der Band bis jetzt! Das sind alle ihre A- und B-Seiten! Mit dabei sind zwei bald erscheinende Singles, von denen eine als kostenlose 7" der nächsten Ausgabe des SAFETY PIN MAGAZINE beiliegt. Die andere gibt's als streng limitierte Lathe-Cut-7". Um Komplettisten zu begeistern oder zu ärgern, wird gleichzeitig eine dritte (Standard-)7"-Single veröffentlicht, deren A- und B-Seite hier nicht enthalten sind. Cyanide Pills veröffentlichten 2009 ihre erste 7"-Single ,Break It Up", gefolgt von weiteren 14 fantastischen 45er-Singles, zuletzt eine Split-Single mit den Schweizer Nasty Rumours Anfang letzten Jahres. Die meisten dieser Veröffentlichungen enthielten exklusive B-Seiten, die auf keinem Album zu finden sind und die Damaged Goods für ,Singled Out" zusammengestellt haben. Schön, sie alle an einem Ort zu haben, oder? Alle Tracks wurden im Billiard Room in Leeds mit dem Produzenten Carl ,Razorblade" Rosamond aufgenommen. ,Einflüsse? Hmm, nun, wir hören nicht nur Punkrock, das taten auch die frühen Bands nicht, weil es noch keinen gab", sagte Leadsänger Phil 2023 im Gespräch mit dem Magazin ,Vive le Rock". ,Wir mögen natürlich die üblichen Verdächtigen, unsere Favoriten sind die belgische Band The Kids, X-Ray Spex und Buzzcocks. Wir mögen Satan's Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, solche Sachen, jede Menge Sachen, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin' Wolf. Die Liste geht weiter und weiter und weiter."

Recorded between the iconic Abbey Road and Polish Radio studios, Hania Rani"s original music for Joachim Trier"s Cannes and Golden Globe winning, Oscar and Bafta nominated "Sentimental Value" is a deeply intuitive collaboration, composed before a single frame was edited. For Hania Rani composing for the most recent film by Joachim Trier was nothing less than a true joy and a real artistic adventure. As she explains: "It doesn"t happen often that I"m asked to work on a film by a director whose work I know so well and which resonates with me so naturally. What I understood while working with such an intriguing mind and intelligent artist as Joachim is that the role of a film composer is to wander along with the director, hand in hand, rather than follow one another. The collaboration should be a partnership - evenly balanced and able to invigorate people on both ends - otherwise it will always feel superficial, imposed, and timid".

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.

Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.

Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.

On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "

And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.