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…Wenn der Sturm die Stille zerreißt…
Drei Jahre sind vergangen seit dem Doppel-Release Kapitel 10: Wilde Augen und Kapitel 11: Barrikaden. Drei Jahre, in denen die Welt nicht stillstand und die Band die Zeit nutzte, um einen Wirbelwind zu brauen, der nun mit voller Wucht losbricht: »Sturm zieh auf«.

Ein atmosphärischer Energieaustausch
Ein Sturm ist mehr als nur Wind. Er ist eine rohe, unkontrollierbare Kraft. Er bringt Zerstörung, ja – aber er schafft den zwingend notwendigen Platz für Neues. Er ist der atmosphärische Energieaustausch, der Altes wegfegt, um Raum für Veränderung zu geben. Kärbholz vertonen auf ihrem neuen Album genau diesen Moment der Transformation.

Mit 13 Titeln voller Leidenschaft und Emotion fängt die Band die gesamte Bandbreite eines Sturms ein: von der bedrückenden »Ruhe davor« über die Angst und Unruhe bis hin zur grenzenlosen Freiheit, die entsteht, wenn der Druck nachlässt.

Authentisch, kantig, kompromisslos
»Sturm zieh auf« schert sich nicht um Konventionen oder Kompatibilität. Das Album nährt sich aus den härteren Spielarten der Bandgeschichte und erschafft einen in sich geschlossenen Kosmos, der nicht um jeden Preis gefallen will – und vielleicht gerade deshalb so tief berührt. Es ist ein Werk für jene, die bereit sind, ihre Hörgewohnheiten infrage zu stellen.
• Kein Jammern, kein Fingerzeig: Kärbholz prangern nicht die äußeren Umstände an.
• Das eigene Ich im Fokus: Es geht um die Macht des Individuums, sich über das Gegebene hinwegzusetzen.
• Unbändige Positivität: Inmitten des Chaos findet die Band das Glück in den kleinen, wesentlichen Dingen des Lebens.

Das »Wozu« bestimmt das »Wie«
Frei nach Nietzsche transportiert das Album eine klare Botschaft: »Wenn ich ein Wozu kenne, dann kann ich fast jedes Wie ertragen.« »Sturm zieh auf« ist der Soundtrack für diesen Weg. Es ist die musikalische Manifestation der Resilienz – eine Einladung, sich dem Sturm entgegenzustellen, ihn zu genießen und gestärkt aus ihm hervorzugehen.

Kärbholz sind zurück. Lauter, härter und reflektierter als je zuvor.

…Wenn der Sturm die Stille zerreißt…
Drei Jahre sind vergangen seit dem Doppel-Release Kapitel 10: Wilde Augen und Kapitel 11: Barrikaden. Drei Jahre, in denen die Welt nicht stillstand und die Band die Zeit nutzte, um einen Wirbelwind zu brauen, der nun mit voller Wucht losbricht: »Sturm zieh auf«.

Ein atmosphärischer Energieaustausch
Ein Sturm ist mehr als nur Wind. Er ist eine rohe, unkontrollierbare Kraft. Er bringt Zerstörung, ja – aber er schafft den zwingend notwendigen Platz für Neues. Er ist der atmosphärische Energieaustausch, der Altes wegfegt, um Raum für Veränderung zu geben. Kärbholz vertonen auf ihrem neuen Album genau diesen Moment der Transformation.

Mit 13 Titeln voller Leidenschaft und Emotion fängt die Band die gesamte Bandbreite eines Sturms ein: von der bedrückenden »Ruhe davor« über die Angst und Unruhe bis hin zur grenzenlosen Freiheit, die entsteht, wenn der Druck nachlässt.

Authentisch, kantig, kompromisslos
»Sturm zieh auf« schert sich nicht um Konventionen oder Kompatibilität. Das Album nährt sich aus den härteren Spielarten der Bandgeschichte und erschafft einen in sich geschlossenen Kosmos, der nicht um jeden Preis gefallen will – und vielleicht gerade deshalb so tief berührt. Es ist ein Werk für jene, die bereit sind, ihre Hörgewohnheiten infrage zu stellen.
• Kein Jammern, kein Fingerzeig: Kärbholz prangern nicht die äußeren Umstände an.
• Das eigene Ich im Fokus: Es geht um die Macht des Individuums, sich über das Gegebene hinwegzusetzen.
• Unbändige Positivität: Inmitten des Chaos findet die Band das Glück in den kleinen, wesentlichen Dingen des Lebens.

Das »Wozu« bestimmt das »Wie«
Frei nach Nietzsche transportiert das Album eine klare Botschaft: »Wenn ich ein Wozu kenne, dann kann ich fast jedes Wie ertragen.« »Sturm zieh auf« ist der Soundtrack für diesen Weg. Es ist die musikalische Manifestation der Resilienz – eine Einladung, sich dem Sturm entgegenzustellen, ihn zu genießen und gestärkt aus ihm hervorzugehen.

Kärbholz sind zurück. Lauter, härter und reflektierter als je zuvor.

Nicole McCabe und Savannah Harris tun sich für ihre allererste Zusammenarbeit bei "All Together Now" zusammen. Ihr Album im Vollformat ist eine raffinierte, kraftvolle Interpretation des modernen Jazz im Jahr 2026. Das Album wurde über einen Zeitraum von zwei Monaten im Sommer 2025 aufgenommen und entstand sowohl in Los Angeles als auch in Brooklyn beide Orte haben die allgemeine Stimmung und den Sound der Musik geprägt. McCabe und Harris haben sich stetig einen Ruf als zwei der besten Musikerinnen auf ihren jeweiligen Instrumenten erarbeitet. McCabe am Altsaxophon und Harris am Schlagzeug werden in der Jazzwelt gleichermaßen als virtuose Instrumentalistinnen und Komponistinnen gefeiert. All Together Now" bringt diese Elemente besonders gut zur Geltung. Jeder ihrer musikalischen Stimmen ist unverwechselbar individuell und ergänzt dennoch die musikalische Gesamtrichtung des Albums. Beide finden ihre Momente, in denen sie die Führung übernehmen, während sie sich zu anderen Zeiten gegenseitig unterstützen, um einen wirklich bemerkenswerten Einblick in das Schaffen dieser beiden Künstler zu schaffen. Der Eröffnungstrack des Albums, Monstera", entführt den Hörer in eine Welt aus wirbelnden Saxophonmelodien und hellen, akzentuierenden Schlagzeugklängen. McCabe und Harris legen sofort den Grundstein für das, was auf dem Album noch kommen wird. Im Verlauf des ersten Songs offenbart sich immer mehr von jedem der Künstler als würde man in einer Kunstgalerie von Raum zu Raum schlendern. Textur, Farbe und die gesamte Ästhetik der Welt dieses Albums nehmen Gestalt an. Wenn der zweite Song All Together Now" einsetzt, steigt die Energie und der Dialog zwischen den beiden Musikern erreicht seinen Höhepunkt. Lonely People" zeigt McCabes unglaubliches Gespür für Melodien, während Harris den dynamischen Bogen des Stücks prägt und vorantreibt. Jeder Song auf All Together Now" hat seine ganz eigene Persönlichkeit, was insgesamt zu einem wunderschön intimen und ungemein kraftvollen Album führt.

Coloured Vinyl. Harsh Reality - the fourth studio album by Seattle's The Drowns - is an unapologetically political punk record, coming this September from Pirates Press Records. Recorded at The Blasting Room in Fort Collins, CO by punk rock legend Bill Stevenson (Descendents, Black Flag) and mixed by Jason Livermore (Teenage Bottlerocket), this collection of 13 new songs fuses everything fans have loved about the band's previous sonic experimentation and focuses it into laser-tight melodic songwriting firmly rooted in punk rock, but with the potential to reach listeners from all walks of life. Singer-guitarist Rev Peters, singer-bassist Andy Wylie, and drummer Jake Margolis largely bashed out the tracks themselves, with the exception of additional guitar work on "Vengeance" by Zach Blair (Rise Against, Only Crime, GWAR), and a touch of accordion on "3rd & Pike" courtesy of Matt Hensley (A-100s, Flogging Molly). While the title of lead single "Relentless" could easily refer to The Drowns' infamously non-stop touring regimen, it refers instead to something far more humanitarian: the crushing weight of capitalism on the working poor. The song acknowledges the toll it takes on one's mental health, struggling day in & day out with no breaks only to be left farther & farther behind. "I wish life would just give it a rest", laments Rev. The album contains its fair share of venom, however, like all great political punk in the tradition of The Clash or Stiff Little Fingers, the lyrics prioritize people over polemic, reaching out with compassion in an age where it is in distressingly short supply. "I'm sure that we could change it all if we only had a heart", implores Andy on "Have a Heart". This is life-affirming music for hard times, made for everyone that could sorely use it right now, and a record poised to give the band's hard-earned position as a fan-favorite in the global punk scene an even greater trajectory. For a band that has won over fans around the globe, record by record and show by show, it is a big statement, but simply put: Harsh Reality is The Drowns at the top of their game.

Musique Domestique marks the debut full-length from French duo Adiciatz, a project that emerges from the shared musical curiosity of Manon Nogier and Guillaume Lespinasse. Living near Lyon and making music together since before the pandemic, the pair developed their sound during lockdown improvisations at home — a creative process that quickly revealed a unique musical chemistry rooted as much in folk tradition as in experimental exploration.

Drawing on a wide palette of influences — from Occitan poetry, delicate folk to drone and spontaneous sound exploration — Adiciatz makes music that feels both intimate and expansive. Nogier’s voice and amplified taisho koto weave through Lespinasse’s keyboards, machines and percussive touches, forming a sonic world where ritualistic soft folk melodies coexist with subtle electronic textures.

Their live performances, including an appearance at the Meakusma Festival, where their set blurred the line between concert and séance, have already shown how this blend comes to life in front of audiences, with hypnotic vocals, spiralling chords and slow, trance-like rhythms inviting listeners into a space that is both meditative and evocative.

On Musique Domestique, those live-rooted sensibilities are distilled into recorded form. The album moves fluidly between rich pastoral folk and instrumental meanderings. Musique Domestique announces Adiciatz as a compelling new voice at the intersection of folk, experimental and electronic music crafted with care and intuition.

Stone Music returns with Into the Cosmic Forest, a deep and patient journey into open-air improvisation. The group was founded in 2022 by Tokio Hasegawa, a core member of the legendary Taj Mahal Travellers, and brings together a wide circle of musicians from Japan’s ambient and experimental scenes.

While the name is new, the spirit continues. Stone Music extends the free-form, site-responsive approach that defined Taj Mahal Travellers — music shaped by environment, duration, and collective awareness rather than fixed structure.

Into the Cosmic Forest consists of two long-form pieces, each exceeding 20 minutes, both recorded live outdoors. Side A was captured at Japan’s Off-Tone Festival. It unfolds slowly and organically — layers of voice, strings, electronics, wind instruments, and percussive textures gradually forming a shifting sonic landscape.

Side B was recorded on the grounds of Mithila Museum in the mountains of Niigata, an art space managed by Hasegawa himself. More intimate in atmosphere yet equally immersive, the piece centers on voice and subtle interplay, allowing space and silence to become part of the composition.

What you hear is direct and unpolished: air moving, sound resonating, musicians responding to each other and to their surroundings in real time.

Following tours in India during 2023–24, with performances in national museums and universities, Stone Music continues to explore music as shared space rather than spectacle.

Into the Cosmic Forest invites listeners into that space — unedited, unhurried, and fully alive.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

A recent signee to Chess Club Records, Jo Geller aka jo from school, finds herself among the independent label’s pedigree of homegrown artists who have gone on to attain major success. Alumni such as Billie Marten, an artist long admired by Jo, as well as Wolf Alice, are just a couple of names who found their initial support through Chess Club.

At 22-years-old, jo from school’s graceful, carefully crafted but devastatingly delivered songs hit with an air of maturity that lands far beyond her years. An embrace for spontaneity and imperfection gives her material its character; primarily as an artist focussed on doing things her own way.

Writing on the piano since the tender age of nine, Jo self-taught herself guitar as a teenager during lockdown, joining the illustrious Brit School: “I was the only musician in my world until I went to Brit School, then I was the worst musician there,” she says. “It gave me a kick. I went from thinking that it was cooler to not care about anything, to realising the more you cared, the cooler and more individual it made you.”

Largely produced by Rich Cooper (CMAT, Billie Marten), so far both singles from the EP have been supported by BBC Radio 1, Radio 2 & 6Music. Huw Stephen's has invited Jo to feature in his Huw You Are segment airing on 6Music on 29th July, and Jess Iszatt has already had Jo as her Introducing featured artist on BBC Radio London. Rolling Stone UK featured jo as their Play Next artist last month, along with CLASH who just confirmed a Next Wave feature to run on EP release. Outlets like Line of Best Fit, DORK, DIY and Wonderland have all came to the table to champion jo too. We've also seen impressive audience growth in just 2 months – with jo adding more than 3k new followers across platforms since her debut single 'Chicken' was released on 6th May.

On the live front, jo was invited by Dirty Hit's Skullcrusher to support on her UK + European headline tour in June, with past supports also including TTSSFU, Daffo, Esme Emerson. Jo has been booked for Night Currents festival in Portsmouth and invited to support 1000 Rabbits, both in October, and will be Playing Estrella Soundhood Festival in London in September too.

Mit Nova Celestia präsentiert Schlagzeuger und Komponist Hendrik Eichler das Debüt seines Projekts Manic Anomaly - eine energiegeladene Space-Jazz-Odyssee zwischen Avantgarde, Improvisation und komplexen Rhythmuswelten. Inspiriert von Science-Fiction und synästhetischen Klangbildern entfalten sieben Kompositionen eine interstellare Reise voller Dynamik, Kontraste und klanglicher Weite. Eichlers Kompositionen verbinden dichte Grooves mit atmosphärischen Passagen und lassen den herausragenden internationalen Besetzungsmitgliedern viel Raum für kreative Entfaltung. Mit Kirke Karja, Teis Semey, Louise van den Heuvel und Angelika Niescier vereint das Album einige der spannendsten Stimmen der europäischen Jazzszene. Das Ergebnis ist ein kraftvolles, ideenreiches Debüt, das virtuose Spielfreude mit cineastischer Imaginationskraft verbindet und die Grenzen des zeitgenössischen Jazz neu auslotet.

Die unvergesslichen Klassiker der legendären Marlene Dietrich auf einer hochwertigen Vinyl-LP vereint.

Diese Sammlung präsentiert die größten Erfolge einer der bedeutendsten deutschen Künstlerinnen des 20. Jahrhunderts und lässt ihre unverwechselbare Stimme in bester Klangqualität neu aufleben.

Mit dabei sind zeitlose Klassiker wie:
Lili Marleen
Sag mir, wo die Blumen sind
sowie viele weitere unvergessene Aufnahmen.

Ob als Sammlerstück oder zum Genießen auf dem Plattenspieler – diese Vinyl-Ausgabe ist eine Hommage an eine außergewöhnliche Künstlerin und ein Muss für Liebhaber klassischer Chansons und deutscher Musikgeschichte.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

A major independent figure on the global electronic music scene, Petit Biscuit returns with Movement, a new album featuring a striking rework of “Everything In Its Right Place,” the acclaimed track “Let You Know” with Sonia Ammar, and the new single “Midnight Sky Pt II,” a tribute to his fans that reconnects with Petit Biscuit’s signature sound, both powerful and emotional.


The album will be showcased on the biggest stages of French festivals this summer.

Eero Koivistoinen's debut album reissued in July Eero Koivistoinen is a wide-ranging composer and a talented musician – one of the all-time greats of the Finnish jazz. In 1965 Koivistoinen founded a trio that played avant-garde and fusion jazz together with Pekka Sarmanto and Edward Vesala. In 1967–68 he was a member of Blues Section – a group that is regarded as the first progressive rock band in Finland. Valtakunta (“Kingdom”) was originally released in 1968 and is Eero Koivistoinen’s first jazz LP. The songs of the album are based on the lyrics written by Finnish poets Pentti Saarikoski, Tuomas Anhava, Hannu Mäkelä and Jarkko Laine. The vocalists are Eero Raittinen, Seija Simola, Vesa-Matti Loiri and Koivistoinen himself. He also plays the tenor saxophone, piano and vibraphone, and is joined by a vast selection of legendary Finnish musicians, including Seppo "Baron" Paakkunainen, Pekka Sarmanto, Ronnie Österberg, Hasse Walli, Juhani Aaltonen, Antero Jakoila, Kaj Backlund, Esa Pethman, and Reino Laine among many others. All compositions are by Koivistoinen. The album reflects well the forthcoming compositional repertoire of Koivistoinen with its wide style spectrum. Valtakunta was reissued on vinyl in 2016 via Svart and the pressing quickly found a new home on the turntables of record collectors worldwide. After ten years, it's time to bring back this quintessential piece of Finnish psychedelia, avant-garde, free jazz, and progressive rock on wax and CD again.

Whispering Ln. Vol. II was recorded between 2018 and 2019 in America, alongside the pieces that formed the first album. These recordings belong to the same time and space, shaped by the same quiet focus and slow attention to sound.

While remaining rooted in minimalism, this album introduces several more rhythmic pieces, drawing inspiration from early electronic music – echoes of composers such as Tom Dissevelt and Raymond Scott.

Movement and stillness coexist throughout this record. Rhythms and patterns shift and occasionally dissolve. The music asks for little and offers even less explanation, inviting listening without urgency – to slow down and remain present. May it offer a moment of calm, where time loosens, and attention gently settles.

Futaishitsu Souzou is the first vinyl album released by Japanese duo la scène 裸身, a duo of Saya on vocals and bass, and Eiji on guitar. They’ve been an understated but deeply impressive presence on the Japanese underground for the best part of a decade now, having self-released a debut album, Ten No Sekido, in 2018, which saw them co-producing by Atsuo of Boris, who also worked with them on the following year’s Corridor EP. The mystery and magic of their songs, which vibrate in a curious space between psychedelic rock, acid folk and slowcore, is at its strongest on Futaishitsu Souzou.

la scène 裸身 have long been interested in art that’s stripped back to its simplest, most elemental form, much as their name represents the Japanese word ‘rashin’, which means naked body. There is something unadorned about the three songs on Futaishitsu Souzou; Saya’s becalmed, unhurried vocal delivery reflects the gentle intensity of the simple, gem-like chord changes strewn through songs like “Futaishitsu Souzou” itself, and the bittersweet, folkish lament of “Reiyou”, a song inspired by the loss of the band’s friend, Gazelle.

Futaishitsu Souzou is steeped in melancholy, but it is not resigned to this emotional state; there are threads of rebirth and transcendence woven through the album’s three lovely, slowly enveloping, and deeply moving songs. Often, you can hear that transcendence in the soaring, sky- burning guitar playing that cleaves these songs in twain, from guest guitarist Hiroshi Kurosawa (of Asylum). At times, the music here recalls the drift-like psych-rock of the Paisley Underground; elsewhere, it explodes with vibrant intensity, swarming with noise and feedback, that runs alongside similarly delirious examples from the Japanese underground.

And yet, la scène 裸身 is entirely its own thing, a unique, singular vibration, a oneiric manifestation of hermetic visionary art.

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

Whirr and Luster have been orbiting each other for years, bound by a shared language of glide guitar, buried vocals, and volume as emotion. A through line that’s only deepened by Nick Bassett’s hand in producing and mixing the majority of Luster’s previously recorded output. The Whirr & Luster Split pairs one of American shoegaze's most storied bands with one of its most vital new voices across four new songs. Out on 12" EP, CD EP, and digital via Freewhirl Records. Splits are sacred territory for Whirr. More than a decade after the band helped define the modern heavy-shoegaze landscape, the Bay Area five-piece returns with its first new material in years. “Spiral Again” opens the record in classic Whirr fashion: an avalanche of guitar wrapped around a lyric about losing yourself in someone else’s gravity — spiraling, intertwining, coming down together. “Wish I Could Give You The World” follows, one of the most openly romantic songs the band has ever recorded, all wildfire imagery and dizzy devotion, desire rendered at full volume. Produced by Whirr and Zac Montez, both tracks find the band in signature form: enormous yet tender. On the flip side, Los Angeles' Luster continue their run as the standouts of the new shoegaze generation. Formed with the intent of pushing the genre forward rather than reenacting it, Luster fold electronic pulse and '90s texture into walls of glider guitar, and the two contributions here find the band in peak form. "Against the World" is a love song as a locked door — it's you and me, us against the world — claustrophobic and comforting in the same breath. "Forever" closes the record in a haze of doomed-romance repetition, a mantra of do you feel it now dissolving into the knowledge that nothing lasts. Also produced with Zac Montez, the songs make the case plainly: Luster aren't students of the form. They're peers. Taken together, the four songs read like a conversation. About distance, obsession, and the ache of never being able to give someone enough — carried across two coasts and two generations of a genre that refuses to fade. Loud, longing, and gone too soon: the Whirr & Luster Split, out September 18th. Whirr and Luster celebrate the release and cement the collaboration with two shows — the only U.S. Whirr performances of 2026, with no shows planned beyond them. Each night features a unique set built from rarities and live debuts, alongside exclusive vinyl variants and merchandise available only in that room, on that night: 9/18 — Los Angeles, CA @ The Wiltern 9/20 — New York, NY @ Brooklyn Paramount Two nights, two coasts, and no telling if there’s a next time — for the songs, the pairing, or the band itself.

Richmond's IRON REAGAN returns with their original lineup for the thrashing new EP, DEMONETIZATION. 6 blistering tracks clocking in at just 10 minutes, DEMONETIZATION shows the band (Tony Foresta, Ryan Parrish, Dr. Guitar, Phil Hall, and Adam Guilliams) crushing through the Punk, Hardcore, Fastcore, Thrash Metal, and more that have made IRON REAGAN a mainstay since their original 2012 demo. IRON REAGAN's most Punk lineup returns to deliver breakneck music at breakneck speeds. "Very excited to release new music with the original Iron Reagan lineup," says Foresta. "This is the first time we've released something with Paul since 2014 (Exhumed Split). This is some of our strongest/heaviest material we've done to date. Looking forward to getting back on the road with these guys and seeing everybody." Reactivated and ready to roll, IRON REAGAN promises that DEMONETIZATION is just a taste of things to come! Short: Richmond's IRON REAGAN returns with their original lineup for the thrashing new EP, DEMONETIZATION. FFO: D.R.I., Power Trip, Iron Age, The Accused, Nuclear Assault, Anthrax

IRON REAGAN's Relapse debut The Tyranny Of Will is a 24 song wrecking ball of hardcore-punk/thrash fury. Fronted by the venomously lyical Tony Foresta (Municipal Waste), on paper IRON REAGAN is a Richmond, VA supergroup (the band also features Phil Hall of Municipal Waste, Cannabis Corpse, etc as well as Ryan Parrish of Darkest Hour together with members of Mammoth Grinder). In practice IRON REAGAN are WAY more than just a supergroup project---they have toured the world several times over levelling audiences with their furious live show. This is a fully formed raging band that have delivered one of the heaviest hardcore records of the year that is guaranteed to be on the top of both metalheads' and punk rockers' year end lists.

Newly launched label Laughing Bee Music unveils vinyl and digital releases of Naked Raygun’s archival live performance from The Aadam Jacobs Collection. Documenting nearly forty years of the Chicago music scene, Associated Press recently said “The growing Aadam Jacobs Collection is an internet treasure trove for music lovers.” Naked Raygun's release This Place Used to Be a Strip Joint (releasing on both colored and black vinyl) features an incredible live performance recorded on November 2, 1985, including two soundcheck recordings and documenting the band at a pivotal moment as they emerged as one of the most influential bands in the Chicago punk scene.

Newly launched label Laughing Bee Music unveils vinyl and digital releases of Naked Raygun’s archival live performance from The Aadam Jacobs Collection. Documenting nearly forty years of the Chicago music scene, Associated Press recently said “The growing Aadam Jacobs Collection is an internet treasure trove for music lovers.” Naked Raygun's release This Place Used to Be a Strip Joint (releasing on both colored and black vinyl) features an incredible live performance recorded on November 2, 1985, including two soundcheck recordings and documenting the band at a pivotal moment as they emerged as one of the most influential bands in the Chicago punk scene.

"Business Spice" the debut LP by Big Benny Bailey isn't your grandpa's bluegrass album. It's unapologetically playful, and grunge- and pop-tinged, unafraid to break tradition and reimagine what a modern take on the genre can look like, complete with Charli XCX references and anxiety attacks during Uber rides.

Das aus Benton Harbor, Michigan, stammende Trio The Three Sounds - bestehend aus dem Pianisten
Gene Harris, dem Bassisten Andy Simpkins und dem Schlagzeuger Bill Dowdy - gehörte zwischen 1959 und
1962 zu den kommerziell erfolgreichsten Zugpferden von Blue Note Records. In dieser Zeit veröffentlichte
das Soul-Jazz-Trio sieben eigene Alben bei dem Label und begleitete auf zwei weiteren die Saxofonisten Lou Donaldson und Stanley Turrentine. Nach einigen Aufnahmen für die Labels Verve, Mercury und
Limelight kehrten The Three Sounds 1967 mit einem neuen Schlagzeuger und einem leicht modifizierten
Sound zu Blue Note Records zurück. Auf dem Album “Soul Symphony” arbeitete das Trio - nun mit
Henry Franklin am Bass und Carl Burnett am Schlagzeug - mit einem von Monk Higgins arrangierten
und geleiteten Orchester zusammen. Höhepunkt des groovigen Albums ist das 25-minütige Titelstück, ein
wahres Soul-Jazz-Opus , das wie alle anderen Kompositionen des Albums aus der Feder von Monk Higgins
stammte.

Diese Ausgabe des 19. Studioalbums „Magnification“ von Yes wurde mit halber Geschwindigkeit auf Lackplatten geschnitten und auf zwei 180-Gramm-LPs gepresst, um eine äußerst detailreiche Wiedergabe zu
gewährleisten. Sie ist in einem Gatefold-Cover mit neuem Artwork verpackt, das auf den Originalentwürfen
von 2001 basiert.
„Magnification“ der Progressive-Rock-Legenden Yes, das ursprünglich im September 2001 erschien, war
ihr erstes Studioalbum mit Orchesterbegleitung seit „Time and a Word“ aus dem Jahr 1970. Mit Orchesterarrangements des Komponisten Larry Groupé, eingespielt vom San Diego Symphony Orchestra, enthält
„Magnification“ den Titelsong, „Don’t Go“ und „In The Presence Of“, die auf ihrer „Yessymphonic Tour“
zur Promotion des Albums zu hören waren, während bei „Give Love Each Day“ Bassist Chris Squire den
Gesang übernimmt.
Dies ist das letzte Yes-Studioalbum mit Jon Anderson als Sänger und – da kein Keyboarder dabei ist
– das erste, auf dem nur vier Mitglieder von Yes zu hören sind.

Das 1987 erschienene Album „Whitesnake“ ist das Durchbruchsalbum von Whitesnake. Mit den Titeln
„Here I Go Again“, „Is This Love“ und „Still of the Night“ sowie angetrieben von David Coverdale und John
Sykes ist diese Ausgabe auf 180-g-Vinyl gepresst – und liefert arena-taugliche Hooks, ausgefeilte Power
und eines der prägenden Alben des Hardrock.

Das 1989 erschienene Album „Slip of the Tongue“ zeigt Whitesnake in voller Arena-Rock-Power. Mit „Fool
for Your Loving“ und „The Deeper the Love“ sowie angetrieben von David Coverdales kraftvollem Gesang
und Steve Vais virtuoser Gitarrenarbeit ist diese Ausgabe auf 180-g-Vinyl gepresst – und liefert ausgefeilte
Hooks, eine beeindruckende Produktion und Hardrock der späten 80er Jahre auf dem Höhepunkt.

„Slide It In“, ein wegweisendes Album von Whitesnake aus dem Jahr 1984 und dokumentiert den Wandel
der Band von ihren bluesigen Wurzeln hin zu arenatauglichem Hardrock. Mit herausragenden Titeln wie
„Love Ain’t No Stranger“ und dem Titelsong, getragen von David Coverdales kraftvollem Gesang, ist diese
Ausgabe auf 180-g-Vinyl gepresst – und liefert die eingängigen Hooks, die schneidenden Gitarren und die
Selbstsicherheit, die den Grundstein für den weltweiten Erfolg legten.

Der Soundtrack zum Oscar-prämierten Animationsfilm „Wallace und Gromit - Auf der Jagd nach dem
Riesenkaninchen“ feiert nun sein Vinyl-Debüt auf Picture Disc. In dem zweiten Spielfilm von Aardman
nach „Chicken Run“ begeben sich Wallace und Gromit auf ein urkomisches Abenteuer, bei dem sie gegen
ein riesiges „Wer-Kaninchen“ kämpfen, das die Ernte ihrer Stadt vernichtet. Die Filmmusik wurde von
Julian Nott komponiert, der auch bereits die Musik für die vorherigen Teile der Reihe geschrieben hat, und
von Hans Zimmer produziert.

Antorcha are one of the best-kept secrets of the Mexican underground rock scene. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, with whom they shared an anarchist and anti-establishment spirit. After a brief period during which they recorded only a couple of 7-inch singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7-inch records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.

Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.

"Fuera del cielo" (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto's own voice and create a unique blend of deep and delicate beauty. 'La Balsa' was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. It is an album to be filed next to the highly acclaimed "Bazar de los milagros" and "Cosas que no quieren morir", released the following year, creating an outstanding body of work that represents Nebbia's talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds. First time vinyl reissue, remastered sound.

Ocean Sleeper stammen aus der australischen Provinz Victoria und haben sich ihren Ruf durch Beharrlichkeit, eine enge Bindung zu ihren Fans und den unerschütterlichen Glauben an ihren eigenen Weg
erarbeitet. Die Band hat sich fest als einer der spannendsten Heavy-Acts Australiens etabliert und die Unterstützung an der Basis in eine wachsende Bewegung verwandelt, die mit jeder Veröffentlichung und jeder
Tour weiter an Fahrt gewinnt. Ihr Aufstieg basiert nie auf Hype oder Abkürzungen; Er ist das Ergebnis
von Beständigkeit, Ehrgeiz und dem unermüdlichen Streben nach künstlerischer Weiterentwicklung. Das
Album *The Peace When I’m Dead* erscheint über BMG Australia / Rise Records und fängt die Last von
Trauer, Schuld und Reue ein, während es gleichzeitig die dunkleren Facetten der menschlichen Erfahrung
auslotet. Angesichts der enormen Dynamik, die sie bereits entwickelt haben, wirkt der weitere Weg von
Ocean Sleeper weniger wie ein plötzlicher Durchbruch, sondern vielmehr wie der nächste logische Schritt
für eine Band, die in ihre entscheidende Ära eintritt.

The Fall-Off is J Cole's 7th studio album, presented as a 24-track 4LP Set & CD. The album debuted at #1 on the Billboard 200, his 7th chart topping release. Featuring appearances from Burna Boy, Erykah Badu, Future, Morray, Petey Pablo, PJ, and Tems

The story picks up when Connect 3 loses their opening act for a major reunion tour, returning to their beloved Camp Rock to discover the next big thing. As campers vie for the chance to open for their favorite band, tensions rise, and friendships are tested, leading to unexpected alliances, revelations and romances. ​Camp Rock’s all-new campers include bold and determined Sage (Segura) and her easygoing brother Desi (Stone), camp bad boy Fletch (Barton), cello prodigy Rosie (Pollack), drummer with his own beat Cliff (Trotter), choreo queen Callie (Pitts) and intimidating influencer Madison (Jean).

"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."

Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.

Das ist es! Die allererste gemeinsame Platte von Fred und Toody Cole (von Dead Moon, The Range Rats, Pierced Arrows usw.)! Ein primitives Punk-Meisterwerk. Die perfekte Mischung aus raffiniertem Songwriting und dem rohesten Rock, den man sich vorstellen kann. Der Ursprung des Portland-Punks, remastered, aber immer noch Lo-Fi.

Born and raised in Oklahoma City, Jason Scott & The High Heat return with their boldest statement yet on Play Boy, a gritty, swagger-filled collection that pushes the band's signature blend of heartland rock, Americana soul, and country grit into new territory Following the breakout success of American Grin and viral momentum surrounding "Too Good Too Bad," Play Boy captures the chaos, charm, and late-night recklessness that have made the band one of the most exciting rising acts in roots-driven country music. Fueled by razor-sharp songwriting, lived-in storytelling, and the electrifying chemistry that's earned them stages alongside acts like Morgan Wallen, Wyatt Flores, and 49 Winchester, Play Boy leans into the band's wild side without losing the honesty and substance at the core of their music. Equal parts dive-bar confession, desert highway soundtrack, and modern outlaw anthem, the album reflects a band fully embracing who they are: loud, fearless, and impossible to box in.