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Mildred have announced their debut album Fenceline (out 24 April via Memorials of Distinction / Dog Day Records), they have also shared the Nick Roberts directed video for lead single ‘Fish Sticks’. Speaking of ‘Fish Sticks’ and the album, Mildred say: “Fish Sticks is a song of scenes from two worlds. Conversations with your boss. Acute workplace mediocrity. Riding home and eating fish sticks with your friends. For UK audiences, a fish stick is a fish finger, ideally Alaskan-caught cod. The song comes packaged in Fenceline, an album about conversations with old friends, little cousins, ceaseless piles of dust in your crumbling duplex, loves and theologians and their books. Fencelines mark two places but belong to neither. Neither nor, either or.”
Ahead of Fenceline, at the end of last year Mildred released their debut twin EPs mild and red, an insatiable collection of songs birthed before Mildred even knew they were a band. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, Uncut (‘We’re New Here’), The New Cue, Clash, DIY and more. Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time.

The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. Summed up neatly by Clash “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc.
Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.

Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.

Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.

Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.

Udo Lindenberg - Alles unter einen Hut - Eure Favoriten
41 Tracks / 40 Songs aus 40 Studio-Alben plus „Komet“
Auf dieser Compilation befinden sich die Original-Versionen - remastert
Künstler, Udo Lindenberg / Udo Lindenberg und das Panikorchester, diverse fest. Artists



Das besondere Birthday Package.
Zu seinem runden Geburtstag veröffentlicht Udo Lindenberg eine ganz besondere Panik-Compilation. Kein klassisches Best Of-Album, sondern ein Geschenk der Fans an Udo Lindenberg - denn über die Songauswahl haben die Fans abgestimmt


Im Januar startete dafür eine beispiellose Mitmach-Aktion, die die Fans begeisterte und zu einem großartigen Voting-Ergebnis führte: Alle Songs aus 40 Studioalben standen zur Wahl. - vom ersten Album „Lindenberg“ (1971) bis zum letzten Studioalbum „Stärker als die Zeit“. Das Ergebnis ist diese brandneue, von den Fans kuratierte Compilation mit den 40 meistgewählten Tracks - gekrönt von „Komet“ als 41. Song, den Udo höchstpersönlich außer Konkurrenz gesetzt hat.


Die Mischung der Songs ist eine wilde Zeitreise durch mehr als fünf Jahrzehnte Musikgeschichte: von den frühen Panik-Hymnen bis zu den jüngsten Meisterwerken - auf Deutsch, Englisch und sogar Niederländisch. Begleitet von vielen Weggefährten und natürlich dem legendären Panikorchester, erzählt diese Platte am Ende nicht nur Udos Geschichte - sie erzählt die Geschichte der Fans


Dass diese Compilation ein echtes Unikat ist, zeigt sich auch an den hauchdünnen, internen Duellen auf den jeweiligen Alben. Oftmals stießen Fan-Lieblinge die großen Titel-Tracks vom Thron. Einige Songs befinden sich auch zum ersten Mal auf einer Compilation.


Mit jeweils einem Song aus 40 Studioalben und dem Riesenhit „Komet“ ist diese Werkschau (in den remasterten Originalversionen) somit das einmalige Dokument einer deutschen Jahrhundertkarriere.

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

2026 Repress

Ob Krypto-Mensch oder Krypto-Substanz, es wird auf jeden Fall eine verhängnisvolle Affäre. Molas Musik ist die ungeschönte Antithese zu einer rosaroten Welt.
Sie feiert sich kaputt, zieht dich mit in ihr inneres Chaos und verzichtet auf übliche romantisierende Verklärungen der unbarmherzigen Orientierungslosigkeit, die einen nach der letzten Kippe auf dem Nachhauseweg einholt.?Das Album erzählt düster und doch fragil von kompromisslosen Autopilot Nächten die uns vereinen und trennen. Temporär reduziert intim, um dann in ikonischem 80er "Purpel Rain" Pathos zu eskalieren, illustriert MOLA das Gefühlschaos, das der innere Dialog von linker und rechter Gehirnhälfte in ihr auslöst.
Bei MOLA werden alle Erfahrungen misstrauisch auf links gedreht, um zu sehen was sich hinter der alltagstauglichen Fassade verbirgt. Sie kehrt ihr Inneres nach außen und spricht an was sie verletzt - unverzerrt, nicht übertrieben, nahbar.?MOLA beschreibt die eigenen Tiefschläge mit trotzigem Selbstbewusstsein, ohne sentimentaler Glasur.
"Schnee im Sommer" könnte ein Album einer 80er Jahre Punkrockband mit Liebeskummer sein, aber auch einer Alternative Band aus den 90ern kurz vor ihrem Urlaub in einer Betty Ford Klinik.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, Strange Heaven, was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, Bermuda, sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage. Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, Spiritual Hangover. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, Spiritual Hangover finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding. The humor remains. The hooks are sharper than ever. But the perspective has shifted.

These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying. The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar). Spiritual Hangover channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive. “Super fun, well crafted, with great melodies. It gives me that late ’70s power pop energy I loved so much as a kid. Every track has something joyous to grab onto. In a world full of bleak news, Spiritual Hangover is a warming blast of California sunshine.” — Walter Schreifels (Gorilla Biscuits/Quicksand)

Sultans Ghost Ship LP was originally released on Sympathy For The Record Industry in 2000. While RFTC looked for a new drummer, Speedo (armed with an 8 track tape machine and 3 microphones) devised yet another alias as “Slasher” and concocted this primordial ooze of moped scuzz, punk rock and roll. Ghost Ship was met with enthusiasm by those seeking blistering relief from the weak, whiny, wretched and wimpy wannabes du jour.

The sound is full on, straight ahead with only starting gates and finish lines between songs. The band played some shows around California and would slightly evolve on their second LP Shipwrecked. Ghost Ship is Sultans at their most thuggish and hairiest. Taking inspiration from Australia’s Chosen Few, Ramones bootlegs, Misfits bootlegs and then challenging themselves to be as thrifty and impatient as possible, the songs are intentionally brief, similar and burly. After this was recorded these tapes lay dormant in a shed for over 20 years. When the tapes were recently unearthed it revealed unreleased songs recorded after Ghost Ship yet before the band’s follow up LP Shipwrecked. Some of these songs would later be absorbed by RFTC and re-recorded. These songs are included here as bonus tracks and offer no relief to the record’s unrelenting pace.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

The Voodoo Universe is now complete! The masterpiece combining the Trilogy 1-3 will be released on November 27th and is a magnificent work show of the multifaceted genius.

Concerts by successful musicians often have an air of church-mass: Fans pay homage to their idols, hailing them, giving the impression of following them blindly. Parov Stelar, a globally successful musician from Austria, is one such artist. Is this art of seduction a kind of Voodoo, Black Magic even? Who can tell? It makes no difference whatsoever, as to his fans Parov Stelar easily passes as a High-Priest of grooves that perfectly understands how to put them in ecstasy.

In Voodoo, Bondieu, a higher being communicates to the masses through priests called Loas. Parov Stelar manages to do so with his music. Voodoo Sonic was born and delivered with the idea to replace the conventional album with several EPs, allowing greater musical freedom and the possibility to explore the many sonic landscapes of Voodoo Sonic.

Now the Voodoo Sonic Universe is complete and celebrated with all three parts combined into one ultimate and highly demanded package. It's a Parov Stelar work show which makes it possible to enjoy his diverse sound world in all of its facets.

The Artwork for Voodoo Sonic was designed and painted by Parov Stelar himself. From the art studio to the recording studio, on to the dance floor in the form of art and beats. Parov Stelar is an all in one king of art.

The icing on the cake is the Voodoo Sonic documentary, which can be seen on all Parov Stelar channels available. (coming September 2020).

If you want to see Parov Stelar live, you will get the chance in summer 2021 at festivals in many countries following by a headliner tour across Europe towards the end of the year.

[a] 01. Excerpt 1 [16:44]
[b] 02. Excerpt 2 [11:00]
[c] 03. Excerpt 3 [19:14]
[d] 04. Excerpt 4 [10:38]

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

After releasing two albums with the UK label Rocket Recordings, the Italian psych band Julie"s Haircut now release the new album on its own Label Superlove. With a title taking inspiration from the I Ching book of divination, and a six piece lineup introducing new singer and songwriter Anna Bassy joining the consolidated team formed by Nicola Caleffi, Luca Giovanardi, Andrea Rovacchi, Andrea Scarfone and Ulisse Tramalloni, Radiance Opposition collates an eight tracks cycle that generates a consistent yet multifaceted musical journey, combining psychedelia, electronica and polyrhythms - all blended together thanks to a syncretic vision juxtaposing apparently irreconcilable factors. None of this is more evident, perhaps, than in the opener "I Can See The Light", with its sudden yet flowing shift from a dark pulsating preamble to an invigorating, hypnotic coda; or in the transition from the stoner-drenched heavy chthonic blues of "Extinction Of The Sun" to the liquid nocturnal moods of closing piece "6AM Carpet Candlelight". But it is the whole record that finds a rare balance, with tracks melting deep atmospheres and summoning vocals, synth-driven shapes and dynamic cadences, noise textures and evoking chants - all of them making the album a cohesively transformative experience. Nestled in a visual frame by contemporary artist Zoë Croggon suggesting an aura of ritualistic tension and mystique, Radiance Opposition sets Julie"s Haircut in a renovated form, at once rooted in their history and rushed to a creative renascence.

LP aus der ”Luminessence” Serie.
Ein wesentlicher Meilenstein des europäischen Jazz der 1970er Jahre und zugleich eine Aufnahme, die
auch heute noch großartig klingt: Balladyna übte einen nachhaltigen Einfluss auf nachfolgende Generationen improvisierender Musiker aus – vor allem in Polen und Finnland, aber auch darüber hinaus. Wie
Tomasz Stańko selbst einmal sagte: „Mein internationaler Name wurde durch Balladyna geprägt.“ Auf der
Aufnahme wird der polnische Trompeter von seinem engen Weggefährten Edward Vesala am Schlagzeug
begleitet („Wir waren wie Brüder“, sagte Stanko später), sowie von Saxophonist Tomasz Szukalski und
Basslegende Dave Holland, den Produzent Manfred Eicher zu der Session eingeladen hatte. Obwohl es das
Debüt des Trompeters für das Label war, präsentiert die Aufnahme Stankos unverwechselbare melodische
Stimme bereits in einem ausgereiften Rahmen, während seine früheren, freieren Einflüsse noch im explosiven
Unterstrom der Band mitschwingen. Das Quartett erkundet die sieben Eigenkompositionen des Albums
mit großer rhythmischer Dynamik und melodischer Neugier. Balladyna wurde 1975 im Tonstudio Bauer
aufgenommen und von Manfred Eicher produziert.
Neu aufgelegt im Rahmen von ECM’s Luminessence-Reihe, erscheint Balladyna in einer Tip-on-GatefoldHülle mit neuen Linernotes und Fotos aus dem Archiv

Zum 60. Jubiläum des legendären Meisterwerks der Beach Boys enthält The Pet Sounds Sessions Highlights
2CD Auszüge aus dem 1997 für den Grammy nominierten 4CD-Boxset The Pet Sounds Sessions. Sie enthält
25 A-cappella-Aufnahmen von „Pet Sounds“, alternative Versionen und Aufnahmesessions sowie neue Liner
Notes. Pet Sounds wurde am 16. Mai 1966 veröffentlicht und hauptsächlich von Brian Wilson produziert
und komponiert und gilt als Meisterwerk der Popmusik sowie als eines der einflussreichsten Alben der
Geschichte. Es enthält die klassischen Singles ”God Only Knows”, ”Sloop John B” und ”Wouldn’t It Be
Nice”.
Auch erhältlich erstmals auf Vinyl als 2LP (180g) erhältlich.

The Ritual is a 2000 EP by Greek stoner rock Legends Nightstalker, featuring a 27-minute blend of heavy psych, stoner, and punk recorded between 1998-1999. It includes four original tracks and a Motörhead cover, "Iron Horse," often praised for its dirty, riff-heavy, and trippy sound.

Magenta coloured vinyl, limited to 350 copies. The Ritual is a 2000 EP by Greek stoner rock Legends Nightstalker, featuring a 27-minute blend of heavy psych, stoner, and punk recorded between 1998-1999. It includes four original tracks and a Motörhead cover, "Iron Horse," often praised for its dirty, riff-heavy, and trippy sound.

Hässliche Musik für hässliche Zeiten - Pornscars aus Berlin machen keine schöne Musik - sie machen ehrliche. Zwischen Punk, Hardcore und Garage entsteht ein Sound, der eher wie ein Kontrollverlust klingt als ein Konzept. Murder Garage Punk Rock nennen sie das selbst. Roh, laut und ohne Interesse daran, irgendwem zu gefallen. Inhaltlich geht es um das, was unter der Oberfläche brodelt: Paranoia, Gewalt, verzerrte Wahrnehmung und die erstaunlich kurze Strecke vom zivilisierten Menschen zum aggressiven Mob. Victimless Crimes ist weniger eine Frage als eine Ansage. Die Platte zerlegt die bequeme Lüge, dass es Taten ohne Opfer gibt - und zeigt, wie leicht Menschen ihre eigene Realität zurechtbiegen, bis alles ,okay" wirkt. Pornscars liefern keine Lösungen. Sie halten dir den Kopf unter Wasser und schauen, wie lange du ruhig bleibst. 180g green marbled vinyl, 300 Stück ww, handnummeriert mit Einleger

2026 Repress

Digwah are back at it again with another hand stamped, one sided roller expertly marrying a classic late ‘80s vocal with a tight tech house rhythm and those luscious synth lines.

Limitierte Neuauflage des Debütalbums von Smoove & Turrell: "Antique Soul" aus 2009. Roh und retro, eine zeitlose Kombination aus Live-Instrumentierung und modernster Technologie. Fetter Funk, erstklassige Beats & Breaks, Northern Soul und mitreißende 1960er-Jams – mit Einflüssen von Mark Ronson, dem soulliebenden Modfather Paul Weller und dem frühen, erzählerischen Bowie aus der Zeit von "London Boys", vermischt mit den Breakbeats der letzten Jahrzehnte. Liner Notes von Funk-Kenner Craig Charles (BBC Radio 6).

The Portcullis draws on dungeon-synth textures, medieval ambience, and the imaginative pull of folklore. Taking the listener on a focused journey through shifting eras, symbols, and atmospheres. It plays like a lost fantasy soundtrack, inviting the listener into an adventure that feels both ancient and newly invented.
Released on Fire Records, ‘The Portcullis’ sees composer Graham Reynolds on an ancestral journey back to Launceston Castle.
"For The Portcullis, I took a deep dive into the history of my family’s patrilineal side. Starting with my grandfather, an ironworker who built the Hartford Cathedral, to my great great great Grandmother, who was a galley cook on a Welsh sailing ship, to the enlightenment era celebrity portrait painter, Joshua Reynolds, and finally to twelfth century know Richard Reynell (before the Reynolds spelling was standardized). Reynell was the Sheriff of Devon and the custodian of Lauceston Castle. While King Richard I was away on the crusades, Reynell made his name defending the castle from the usurper Prince John. I started making sketches of the scenes and stories I imagined. The Portcullis follows Reynell from castle to castle, sequentially as they were built after the Norman invasion. On Reynell’s chest and shield is the symbol and crest of the Reynolds family: The Portcullis."
Graham Reynolds creates an “ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” New York Times.
Known for his wide-ranging versatility, from film and television scores to classical ballet, Graham has scored over seventy films and TV episodes to date. His ongoing collaboration with Richard Linklater the most notable.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Transformation, growth, and rebirth drive Ascent Effort, the latest release from Portland, Oregon trio Rhododendron. The title points upward, but not toward arrival. The record documents a period of change defined as much by instability as progress, where confusion and renewal unfold at the same pace.
Formed in 2019 while the band’s members were still in high school, Rhododendron’s Ezra Chong (guitar, vocals), Gage Walker (bass), and Noah Mortola (drums) set out to push their musical limits without regard for genre boundaries or audience expectation. For Ascent Effort, the band joined the roster of The Flenser, aligning with a label that has long championed artists who work in tension rather than comfort.

In the past seven years the trio has developed a sound rooted in technical precision and repetition. Drawing from the angular experimentation of underground rock in the 1980s and 1990s alongside elements of jazz, ambient, and progressive music, their compositions are deliberate with intensity. Riffs fracture and reform, rhythms lock into patterns only to break apart, and extended passages build pressure before shifting direction.
Performing regularly in Portland, the band has cultivated an intense and loyal local following. The live setting hardened the material. Songs grew heavier, sharper, more physical through repetition and high volume.

The material that became Ascent Effort was tested on tour before entering the studio. Written largely in sequence, the album traces a period of personal change and internal friction. Growth is not always clean; sometimes it grinds forward. Nothing resolves without cost. Confusion and strain do not sit outside the songs, they shape their architecture. That is what the band has accomplished with Ascent Effort, a work that is not always clean but well-shaped by struggle and growth. The Pacific Northwest lingers in the background of the record, its long winters and brief summers echoing the album’s shifts between abrasion and restraint. Ascent Effort does not offer catharsis in the traditional sense. It allows tension to remain. In that unresolved space, transformation takes form and a band in motion is revealed.

Me Saco Un Ojo proudly presents the second full length album from Germany’s Teratoma.

Otherworldly atmospherics soon turn to visceral death metal as we begin our all-consuming descent into the bowels of the beast. Murky guitars churn around punchy bass lines and snappy drums. The old school death metal method, tried and tested, is delivered with crushing precision and monstrously snarled vocals to complete the mix. Building a strong rhythmic current to unleash a tidal wave of grooving, mid-tempo death metal offal; this is going to grip you with the rusted chains of pure viciousness. The crawling pace of the riffs ensures they are memorable, catchy even, for your ears to be wormed by chaotic bewilderment and perpetual anguish. The band warns you of the displeasures they inflict, so if you’re still here: that’s entirely your own doing. Still with us? Good, because this juggernaut of decay lumbers forward into more devastating territories, building wonderfully on the already strong debut album.

Slithering for over 45 minutes, this is a behemoth of death metal that will either destroy you or have you fully enveloped in its meaty mass for the duration. Plentiful clever grooves switch things up between the charnel atmospherics, so even the dullest mind will have its attention held. As each asphyxiating song creeps forth to swallow you, the void-like atmosphere continues swirling into itself and spitting out only the rotten remains of that which has crossed its path. From the whiplashing assaults to the slower moments of eerie decay, each moment has its own gruelling intensity to offer. There is no denying the sheer brute force in terms of the heaviness delivered here. Equally impressive is the totally harrowing ambience they conjure with these songs. Do not miss out on this ruthless slab of death, enter the festering realm of spewing atrocities…

David Gray with The Best Of, a 16-track greatest hits collection featuring highlights from Draw The Line, 2011’s Foundling, and 2014’s Mutineers, alongside classic songs from David’s three #1 albums, including the Grammy-nominated White Ladder.

Originally released in 1975 on Montilla Records, Fire & Sugar is a rare Afro-Latin jazz-funk gem by Cuban multi-instrumentalist Jesús "La Grulla" Caunedo. A respected yet often uncredited figure who worked alongside artists such as Tito Puente, Machito, Celia Cruz and Chico O'Farrill, Caunedo delivered here his most forward-thinking statement.

Recorded in Puerto Rico, the album blends Afro-Cuban rhythms, heavy Latin percussion, tight brass arrangements, fuzz guitar and jazz-fusion elements moving from explosive dancefloor cuts to deeper, atmospheric moments.

Long prized by DJs and collectors across Latin, funk and rare groove circles, this official reissue restores the full warmth and punch of the original recordings.

An essential 1975 Latin jazz-funk title, back in print.

Transferred from the original reel-to-reel master tapes

Includes previously unreleased track

Audiophile 180g vinyl pressing + Gatefold cover

Liner notes by DJ Bongohead

Long sought-after Afro-Latin jazz-funk

Immolation was founded after the demise of Rigor Mortis (NY), a band formed in May 1986 by Andrew Sakowicz (bass guitar, vocals) Dave Wilkinson (drums), and Robert Vigna (guitar) After recording the Decomposed and Warriors of Doom demos, Sakowicz left the band in early 1988 and was replaced by Ross Dolan, and the band's name was changed to "Immolation". The new lineup put out two studio demos, in 1988 and 1989, and gained a worldwide following in the underground death metal scene. Immolation signed a record deal with Roadrunner Records and released their debut album 'Dawn of Possession' in 1991. After leaving Roadrunner, the band released "Stepping on Angels," a compilation of demo releases and live tracks. In 1995 the band was signed by Metal Blade Records and released three albums: 'Here in After' ,'Failures for Gods', and 'Close to a World Below'. After their second album, drummer Craig Smilowski left the band and was replaced by Alex Hernandez. Their next three albums, 'Unholy Cult', 'Harnessing Ruin', and 'Shadows in the Light' were released by Listenable Records.

After recording the Decomposed and Warriors of Doom demos, Sakowicz left the band in early 1988 and was replaced by Ross Dolan, and the band's name was changed to "Immolation >>. The new lineup put out two studio demos, in 1988 and 1989, and gained a worldwide following in the underground death metal scene. Immolation signed a record deal with Roadrunner Records and released their debut album 'Dawn of Possession' in 1991. After leaving Roadrunner, the band released "Stepping on Angels," a compilation of demo releases and live tracks.

Recorded in London during 1995–1996 and produced by Chris Sheldon, the album marked a significant step forward for the York-based group following their 1994 debut Change Giver. Written by band members Rick Witter, Paul Banks, Tom Gladwin and Alan Leach, the record captures the energetic guitar-driven sound that helped define the Britpop era.

A Maximum High reached number 8 on the UK Albums Chart and produced five UK Top 40 singles: "Where Have You Been Tonight?", "Getting Better", "Going for Gold", "On Standby" and "Bully Boy". Among these, "Going for Gold" became the band's biggest hit, peaking at number 8 on the UK Singles Chart.

The eagerly awaited return of WORM SHEPHERD, back after a two year hiatus and member shift. With new singer Ian and the addition of members of Ingested (Thomas O'Malley), Immortal Disfigurement (Harry Tadayon) and Psycho Frame (Leo McLain), DAWN OF THE ICONOCLAST is a masterclass in Blackened Deathcore. The band comment: "I’m very excited about the new lineup. I feel like we have the most talented members that we’ve had to date. Harry (Ex Immortal Disfigurement) brings so much to the table for writing and meshes with my style so well. Tom (Ingested) is an absolute workforce on the bass and really adds some flare to the rhythm guitars with his aggressive style and tones. I’m also very excited that Leo (McClain - Original drummer) is back in the band and having him back behind the kit for the Worm Shepherd sound gives some of that original tone from our first albums together. Us having this new sort of style that we’re doing, Ian (Archaic Epidemic) fits in perfectly with his aggressiveness and tonality of our new music and I can’t wait to see what people think. This is the beginning of a new era for Worm Shepherd." - Tre Perdue (Guitars)

Swan is a warm, melodic, and emotionally direct album, blending guitars, pedal steel, and synths, with wry, heartfelt songwriting reminiscent of MJ Lenderman and David Berman- but with a distinctly antipodean voice. Fazed on a Pony is the alt country/indie rock recording project of New Zealand songwriter Peter McCall. Swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall's mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound. Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesizers. While there is a diversity of style, the album is rooted in the hallmarks of McCall's music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

The creative bond between Atjazz and Fred Everything is a story decades in the making. It began in 1998 at The Bomb in Nottingham during a DiY label night—a label through which they both released music. That first encounter sparked a lasting friendship and a steady exchange of ideas that would continue for many years. While they collaborated regularly and remixed each other’s work, it wasn’t until the summer of 2022 that they committed to making a full-length album.

The project took shape during an 8-day stay at Martin’s (Atjazz) home in the Midlands of England, where they set themselves the challenge of writing one track per day. Their shared musical language allowed ideas to move quickly, with some tracks forming in under an hour. Over the next three years, the material was carefully developed alongside their respective album projects: Atjazz’s Starbase 17, Fred Everything’s JUNO Nominated Love, Care, Kindness & Hope, and All Is Well’s A Break In Time.

A final session in Montreal in 2024, coinciding with Fred’s 50th birthday, brought the album into focus. From there, the duo invited a select group of world-class collaborators, including Jorge Bezerra (The Joe Zawinul Syndicate / St Germain), Octavio N. Santos (SiR, Lupe Fiasco), Clyde Beats, Ernesto & The Basement Gospel, and Dominique Fils-Aimé.

The result is a personal, well-constructed record that draws on the spirit of 90s deep house while applying three decades of experience to a deeply rooted, forward-thinking sound. It is a sonic testament that honours their mutual love of synthesizers, beat making, and sound design.

It is a project that took 8 days to start, 3 years to finish, and 30 years to perfect.

"Psychedelic Cumbia Party" brings together for the first time the best recordings of Los Zheros, a pioneering band of Amazonian cumbia from Peru. Their sound blends fast, percussive cumbia rhythms with surf-style electric guitars. The album features their psychedelic rock hit 'Cuarto oscuro,' a highly sought-after track not only among cumbia collectors but also garage and psych DJs. This compilation is a joint release with Peruvian label Rey Record and includes an insert with never-before seen photos of the band, as well as liner notes by expert Víctor Zela (creator of the acclaimed project "La Cumbia de mis Viejos"). DESCRIPTION This compilation brings together for the first time the best songs by Los Zheros, one of the most renowned cumbia bands to emerge in the early 1970s in Iquitos-alongside groups like Los Rogers and Los Wemblers-in the heart of Peru's Amazon capital. The unique Amazonian sound blended fast, percussive cumbia rhythms with electric guitars in a surf style-a distinctive fusion that came to define Peruvian-recorded cumbia, markedly different from the traditional cumbia styles that developed in other cumbia-producing countries like Colombia. The album includes their psychedelic rock hit 'Cuarto Oscuro,' a highly sought-after track not only by cumbia collectors but also by garage and psychedelic DJs. This song also marked the beginning of their recording career in 1973. This compilation is a joint release with the Peruvian label Rey Record and comes with an insert featuring never- before-seen photos of the band, as well as liner notes by genre expert Víctor Zela (the mind behind the prestigious project "La Cumbia de mis Viejos").

Carlos Dafé (born October 25, 1947) is a singer and songwriter from Rio de Janeiro, recognised as one of the iconic voices of the Brazilian samba-soul era. Born into a family of musicians and trained at the conservatory, he rose to prominence in the 1970s alongside Tim Maia, Cassiano, and Hyldon, shaping the sound of Rio Noir with his warm baritone voice and soulful phrasing. His 1977 album, Pra Que Vou Recordar, became a cult classic among collectors and DJs worldwide, earning him the title of "Prince of Brazilian Soul." Still active today, Carlos Dafé remains an essential reference for artists exploring the boundaries between samba, soul, and MPB (Brazilian Popular Music). Released in 1977, Pra Que Vou Recordar reveals Carlos Dafé at the peak of his art, blending samba-soul, MPB, and the warm groove of the 1970s Rio de Janeiro scene. Surrounded by some of the city's finest musicians, Dafé showcases his baritone voice in deeply melodic arrangements and a series of songs that have become fan favourites. An album imbued with soul and elegance. The sound of BrazilianBlack music at its most sincere and timeless.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.

Irgendwo in den Hügeln von Cincinnati gibt's einen Sender, der Radiowellen in alle Richtungen schickt. Der Strom fließt durch die Luft und trifft auf deinen Empfänger mit einer Ladung, die, wenn sie verstärkt wird, einen organischen Sound erzeugt, der nur von Doctor Bionic kommen kann. Sie sind zurück mit einem brandneuen Album - dem vierten Teil der Terrestrial Radio-Reihe mit dem Titel Electric Pollen. Wie seine Vorgänger wurde das Album von dem in Cincinnati ansässigen Produzenten Grimez aufgenommen, produziert und gemischt. Er holt sich eine wechselnde Besetzung talentierter Musiker, um Instrumentals aufzunehmen, die man am besten als Organic Groove beschreiben kann. ,Wir kommen zusammen, um gemeinsam zu jammen und die Musik zu machen, die uns am meisten inspiriert", sagt Grimez. ,Wir haben uns auf die Musik konzentriert, die wir lieben, und das Ergebnis ist ein Album, das wir mit ganzem Herzen lieben. Ich würde sagen, 90 % unserer Musik ist improvisiert." Fans des Projekts werden in den Liner Notes viele bekannte Namen entdecken. Obwohl die Aufnahmen locker und spontan sind, folgt jedes fertige D.B.-Album immer einem konzeptionellen Thema. Das Thema wird oft durch ein Kunstwerk bestimmt, das Grimez inspiriert. ,Ich kaufe oder lizenziere ein Kunstwerk, das mir ins Auge fällt, und setze dann Musik dazu", erklärt er. ,Ich habe viele Werke, die sich als Albumcover eignen würden, aber ich habe noch nicht die richtige Musik dafür gefunden." Dieser Prozess ist Teil dessen, was die Musik von Doctor Bionic von anderen Instrumentalproduzenten unterscheidet.