Pop & Rock Vinyl New Releases - News

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Ein Album mit dem Titel ,Roses" würde sich mit romantischen Gesten befassen. In den zehn Titeln, aus denen sich das siebte und neueste Widowspeak-Album zusammensetzt, werden intime Räume und Phasen der Liebe durch eine nostalgische, mit Vaseline überzogene Linse eingefangen. Kerzen brennen in rotem Glas, während sich Liebende in einer Lederbank näherkommen. Porträts von Prominenten blicken wie Engel in einem Restaurant herab. An anderer Stelle sind Nelken in ein schwarzes Buch gepresst, und Tänzer ziehen sich gegenseitig an sich. Widowspeak ist eine Band, die große Emotionen thematisiert, ohne sich selbst allzu ernst zu nehmen. Die Süße, ja sogar Albernheit einer ausgedehnten Verliebtheitsphase, die so alles verzehrend wird wie ein kitschiger Taschenbuchroman. Autos und ihre Fahrer dienen als Mittel, um über gegenseitige Abhängigkeit zu sprechen. Wenn Musik gleichzeitig naturalistisch und noir, gesättigt und üppig sein kann, dann ist das Widowspeak. Sie sind eine Band, die es versteht, eine Szene zu inszenieren. Diese Songs nutzen intime Momente, um über tiefere Herzschmerzen zu sprechen: die der modernen Existenz innewohnende Unruhe, das Herumwarten darauf, dass etwas geschieht. Oder das Gefühl, im Widerspruch dazu zu stehen, eine Rolle im eigenen Leben zu spielen. ,Roses" mag das romantischste Widowspeak-Album sein, aber es ist auch das zutiefst realistischste: Die Bühne wird nicht mit dramatischen Ouvertüren bereitet, sondern vor dem Hintergrund der Kleinigkeiten und Wiederholungen alltäglicher Handlungen. Kleine Beobachtungen vor, während und nach der Arbeit: das Ritual, Kunden Wasser einzuschenken, sich an seinem freien Tag eine Erkältung einzufangen. Davon zu träumen, im Lotto zu gewinnen, oder vielleicht zu erkennen, dass man bereits gewonnen hat. Hier ist Liebe ein Mittel, um darüber zu sprechen, was uns antreibt, und Widowspeak suggerieren, dass sie der eigentliche Sinn sein kann. Das Licht, das die dunklen Ecken eines Tages, eines Lebens erhellt. Ein Grund, weiterzumachen, trotz des Schmerzes, den es verursachen kann. Widowspeak sind eine der produktivsten und fleißigsten Bands der Szene, die knapp unter der Oberfläche brodeln. Molly Hamilton und Robert Earl Thomas bilden den Kern der Gruppe und sind ihre Songwriter; sie haben ihren Sound über sechzehn Jahre hinweg und mit einem beeindruckend konsistenten Werk verfeinert. Als eine von vielen Bands, die in der fruchtbaren New Yorker Musikszene entstanden sind, begannen sie damit, ihre Ausrüstung zwischen mittlerweile geschlossenen Veranstaltungsorten und ihrem Proberaum im Monster Island Basement hin- und herzuschleppen. Widowspeak ist heute ein Ehepaar, das in der eigenen ,Nebensaison" Tagesjobs ausübt. Robert ist Tischler, Molly Kellnerin. ,Roses" ist Widowspeak in Bestform und schöpft aus zeitlosen Einflüssen. Die Magie der Band liegt nach wie vor im Zusammenspiel zwischen Molly und Robert in ihren beiden Hauptrollen: ihrer trägen, facettenreichen Stimme und seinem instinktiven Gitarrenspiel. Im Kern ist ihre Musik etwas Besonderes, weil sie echt ist: vor allem für die Menschen, die sie machen. Zerbrechlich und vergänglich, und doch lohnend, wie die Liebe selbst.

Some people change your life in every way that a life can be changed. David Lynch is one of those people. When Alicia Witt first worked with him at age 7 in his classic Dune (1984) she had no idea what he meant to anyone as a filmmaker, nor that she would work with him 3 more times over the course of his life and that he would become one of her greatest influences. She only knew that she had found a kindred spirit and that she loved him. Between Heaven & Earth is a tribute to his energy, his legacy, and most of all, his love. When Alicia attended his memorial gathering shortly after his passing in 2025, she was struck by the depth of the relationships in that space. The knowing that if you were loved by David, you stayed loved. As those in the room spoke of their shared experience that David was still among them - directing from beyond - Alicia became ever more aware that she was being encouraged to create an album from this space of eternal unconditional love. ‘Use my name,’ David whispered. And so it was. Produced by renowned producer and singer-songwriter Joe Henry (Emmylou Harris; Milk Carton Kids; Bonnie Raitt; Rodney Crowell), this album was recorded live in studio in 5 days in New York City in January 2026. Alicia Witt on piano and vocals, accompanied by a band of 5 musicians, take you on a sonic journey that could never be recreated, channeling the energy that was brought together in this moment to honor the immeasurable effect that David Lynch had and still has on the world. He was palpably present in every moment of the making of this album. The 13 songs that were chosen reflect everything Alicia feels she learned about love from David - the acceptance, the insistent optimism, the curiosity, and the permanence. The final song, The Director, recounts messages he has sent to her from beyond over the year since he passed away.

Amyl and The Sniffers kündigen mit Truth Or Consequence ein Live-Album an, das alles andere als ein klassisches Konzertdokument ist. Im April vergangenen Jahres nahm die Band gemeinsam mit Freunden im legendären El Coyote Mexican Restaurant in Los Angeles eine einzigartige Performance auf und interpretierte ihre Songs erstmals in reduzierten, country-inspirierten Versionen. Das Album vereint neu arrangierte Fan-Favoriten mit zwei bislang unveröffentlichten Songs sowie einer Coverversion von Slim Dustys Klassiker "Lights On The Hill". Die Aufnahmen zeigen Amyl and The Sniffers von einer ungewohnt intimen, lockeren und verspielten Seite und fangen die besondere Atmosphäre einer spontanen Session unter Freunden ein. Zur Veröffentlichung erscheint auch ein begleitender Konzertfilm mit exklusiven Einblicken hinter die Kulissen. Im Mittelpunkt steht jedoch die Musik: Truth Or Consequence präsentiert die Band in einem völlig neuen Klanggewand und eröffnet einen frischen Blick auf ihr Songwriting. "The hope for this record is that it is listened to as it was made, in a ruckus exclamation between a cherished group of friends", erklärt die Band. Mit den ungewöhnlichen Arrangements und der entspannten Live-Atmosphäre dokumentiert Truth Or Consequence eine besondere Seite von Amyl and The Sniffers und erweitert den Blick auf eine Band, die bisher vor allem für ihre energiegeladenen Rockshows bekannt ist.

140 gramms black vinyl edition

“Origen: Una Exploración por el Jazz Modal de los Trópicos” is a celebration of the human bonds that transcend cultural differences to create a shared language beneath the same sky. Asia, the Middle East, Africa, Europe, and the Americas are the protagonists of this sonic diaspora, where Modal Jazz, Spiritual Jazz, Egyptian Jazz, Ethiopian Jazz, Cape Verdean Kriolu, Brazilian Jazz, Latin Jazz, Caribbean Rhythms, and Flamenco Jazz come together, among many other influences, to shape a journey toward healing and a reconnection with our shared origin.

Credits

Anthonius — Composition, piano, keyboards, arrangements, production, and mixing.

Edu Pons — Saxophones, clarinets, and flutes.

Joana Morais — Vocals (B1).

Situasound — Vocals and guitar (A2).

Music From Memory presents ‘Miraggi’, the debut release by Argento, a new project conceived by composer and producer David August. Written between Berlin and the Tuscan coast, the record unfolds as an imagined soundtrack to the Mediterranean, shaped by memory, longing and a profound connection to landscape.

The earliest sketches emerged during extended periods spent along Italy’s Tyrrhenian coast, where the shifting light, vegetation and ever-changing presence of the sea became lasting creative impulses. At the same time, an immersion in Italian library music of the 1970s and ‘80s quietly informed the project’s tonal language, while traces of jazz fusion and Balearic ambience surfaced not as direct references but as distant echoes.

Built around a dialogue between synthesizers, electronics, acoustic percussion and environmental recordings, ‘Miraggi’ balances rhythmic movement with spacious, cinematic composition. During the recording process, August was joined by drummer and percussionist Lorenzo Setti, whose performances and co-writing became an integral part of the album’s evolving rhythmic language. Across extended improvisations and recording sessions, August and Setti gradually shaped a musical language that feels both deeply personal and quietly transportive, allowing atmosphere and place to become as important as melody or rhythm.

The title ‘Miraggi’ (‘Mirages’) emerged organically, evoking a longing for something that remains just out of reach — something that cannot fully be grasped or lived. It suggests a suspended state between perception and imagination, akin to a hallucination or a dream. In this sense, ‘Miraggi’ reflects the project’s inner narrative: an imagined soundtrack shaped by desire, memory and the spiritual abundance of the Mediterranean Sea.

‘Miraggi’ will be released on vinyl and digitally via Music From Memory on September 10th 2026.

The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.

Ahead of their inclusion on the 2026 Claypool Gold tour, The Fearless Flying Frog Brigade will release a new live LP recorded during 2023's Hunt For Green October Tour (which includes a band comprised of Sean Lennon and Harry Waters among others). The four song album-length collection is pressed on green vinyl.

God Bless The Band is released on 28th August 2026. God Bless The Band celebrates an incredible two decades of Courteeners, featuring tracks from their seven studio albums - St. Jude (2008), Falcon (2010), Anna (2013), Concrete Love (2014), Mapping the Rendezvous (2016), More. Again. Forever. (2020) and Pink Cactus Cafe (2024) - along with two brand new tracks ‘The Luckiest Man Alive’ and ‘Plus One Forever’ produced by Liam Fray and James Skelly. Formats include heavyweight black 2LP and CD plus retail exclusive Crystal Clear 2LP.

The world is ending, and rent is due. The empire is crumbling, and you’re late refilling your meds. War is ceaseless, pandemics go unchecked, billionaires poison the well water and cops abduct neighbors while wildfires burn… but here at the hot dog stand, relief and joy are yours for five buck ninety-nine.

This is PEASANTS REVOLT, the latest album from trans folksinger Creekbed Carter Hogan. Playing the part of court jester in the halls of a dying empire, Hogan croons, hollers, and grins in the face of despair as we feast together on one last humble supper before everything falls apart.

A rollicking medieval-Americana manuscript, Hogan’s new work anchors itself in transitions. PEASANTS REVOLT was written living and moving between the North and the South; sung by a body both pre- and post-trans affirming healthcare; and recorded during a time of genocide, federal occupation, and workers’ uprisings. Decorating its margins are influences spanning time and medium. Here, 14th century king-killer ballads sit next to Appalachian strike songs. Labor and union songs find kinship with Ethiopian jazz records. Hogan’s work echoes with historical struggle, too, from the Haitian Revolution to the struggle for trans rights to the surreal futurism of Rio Grande Valley writer Fernando A. Flores. This album takes the entwinement of the personal and the political seriously, a path often walked by everyone from Hazel Dickens and John Prine to ANOHNI. The 10 tracks of PEASANTS REVOLT are themselves endlessly transitioning, hinging on mid-song shifts and building into wildfires that crackle and sputter with the courage of momentum and catchy hooks. By centering this work so deeply in the tumult of change, Hogan illuminates all of capitalism’s attempts to isolate us — and the power that we regain when we refuse to face our lives and our selves alone.

Reissued on Pascal Pinkert's new label 'Phantom Sounds'. Originally release 2019, now remastered with bonus track included! TIP!

Excerpt from the original release text

"On the album, you’ll find a touch of the old and a great deal of new material. ‘Geen Genade’, ‘Wat Voel Je Nou’ and ‘Verloren’ still stand strong in pride of place, reminding us why we love De Ambassade so much in the first place. The opener and title track, ‘Duistre Kamers’ has a dark industrial vibe that is a perfect introduction of what is to come. Somehow ‘Zo Hoog Als De Bogen’ feels warm and cold simultaneously, it maintains an almost spooky tone; ‘Malefica’ in comparison sounds raw, uncut and almost upbeat. ‘Niet Van Mij’ is one of the reasons the album is so special. Its unexpected wavering synths create another contrast of the melancholic and the joyful in one, and the heavy percussion and echoing vocals tie it in with the rest. ‘Laatste Uur’ kicks you in the face, again with this industrial, moody feel and beautifully handled synths. The closing track ‘Wapengekletter’ is elegant, and a new favourite here. The dark vocals, haunting melody and cleverly tempoed percussion conclude the album wonderfully. Overall, De Ambassade has hit the nail on the head and produced this autumn’s must have Amsterdam album."

Inspired by classic post-punk bands like The Cure, Sad Lovers & Giants, The Chameleons, and The Danse Society, but includes other musical influences like new wave, dream pop, deathrock, and even 90’s emo/screamo. DECEITS has shared the stage with acts such as She Past Away, She Wants Revenge, New Order, and Xmal Deutschland. The group is also set to perform at Darker Waves Festival in November alongside Morrissey, The Smashing Pumpkins, and more.

Congolese music at it's finest! Maestro "Vumbi" Dekula brings back his band to deliver some hypnotic and groovy jams full of soukous, rhumba and dancing vibes. The band (residing in Stockholm, Sweden) have been a favorite live act for many years and this is the follow up to their praised album debut "Opika" and to Vumbi Dekula's solo guitar album "Congo Guitar".

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

Magenta & Blue Swirl Vinyl. Electric Youth ist ein in Toronto ansässiges Duo, bestehend aus Austin Garrick und Bronwyn Griffin, die erstmals mit dem Soundtrack zu dem 2011 für den Oscar nominierten Film "Drive" (mit Ryan Gosling in der Hauptrolle) bekannt wurden. Ihr mittlerweile ikonischer Erkennungsmelodie "A Real Hero" unterlegte mehrere Schlüsselszenen des Films und wurde von Kritikern hoch gelobt. Ihr Debütalbum "Innerworld", das die beliebte Single "A Real Hero" enthält, ist seit einigen Jahren auf Vinyl vergriffen. Zum 10-jährigen Jubiläum der Veröffentlichung kommt eine neue Pressung auf "Magenta & Blue Swirl Vinyl", die zudem 6 Bonus Tracks enthält - drei neue Songs und drei Remixe, u.a. von den legendären französischen Elektronik Künstlern Lifelike und Fred Falke.

Exxûl emerges as a massive, brooding monument to the tradition of high-stakes Epic Doom. Founded by Phil Tougas (Zeicrydeus, Chthe’ilist, Atramentus), the project serves as a vital expansion of his established conceptual multiverse, carrying forward the intricate lore of his previous works into a new realm of tragedy and weight. However, Exxûl is a formidable collective in its own right, featuring a lineup of elite musicians from across the extreme metal spectrum. Their debut album, 'Sealed Into None', eschews the frantic pace of the modern world for a deliberate, regal march toward oblivion. Their debut album is a regal march, drawing inspiration from the technical majesty of early Fates Warning, the thundering conviction of Manowar, and the frost-bitten heroics of Scald and Solitude Aeturnus. It is an uncompromising work of architectural doom, serving as the definitive companion to the Zeicrydeus mythos and a new pillar in a vast, dark narrative.

For fans of: Solitude Aeturnus, Fates Warning (Early), Scald, Manowar, and Zeicrydeus.

2026 Repress

Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.

Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).

Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.

Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.

"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"

Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.

Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.

Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.

Florian’s Morning is the musical project of Mats Lideborg. Originally from Motala and now based in Stockholm, Mats balances life as a troubadour and songwriter with driving subway trains across the city. His music carries the weight of Scandinavian melancholy, intimate storytelling, and timeless songwriting traditions.

The project grew out of a long-standing friendship between Mats and ionnalee, who first met as teenagers in Motala playing music together. More than two decades later, they reconnected in Stockholm and began revisiting a collection of songs originally written by ionnalee years earlier.
Hearing Mats interpret the material sparked a complete transformation. The songs were rewritten and newly produced, evolving into something both cinematic and deeply personal, somewhere between Bryan Ferry and Elliott Smith meeting in a small town Swedish dive bar at closing time.
Florian’s Morning’s self-titled debut album is a striking introduction to an artist with a rare voice and quietly magnetic presence.

Florian’s Morning’s - Florian’s Morning’s is written and produced by ionnalee, out April 22, 2026 on To whom it may concern.

After high demand, Fred again.. releases a repress of Actual Life 3 (January 1 - September 9 2022) on March 31st after almost immediately selling out of vinyl copies upon the original release. the third in his series of Actual Life albums.

Actual Life 3 (January 1 - September 9 2022) is the third in his series of Actual Life albums, which saw Fred again.. resume his diary-esque approach to production using intimate use of voice notes from friends,
videos found whilst scrolling on Instagram and samples from important records in his life. It was an autobiographical
chapter of work that pushed forward the heritage of UK electronic music while standing as testament to the power of music in facilitating catharsis, healing and celebrating the realities of friendship, love and life. The album was
instrumental in his breakthrough as a global artist and debuted at #4 in the UK album charts, becoming the highest-
streaming new release globally on Spotify on its first weekend.

The album features his hit singles Danielle (smile on my face), Delilah (pull me out of this), Kammy (like i do) and Bleu (better with time). The repress remains on a clear vinyl, but this time round the vinyl comes in a black inner bag and the tracklist now mirrors the digital tracklist.

Fred has quickly become one of the most talked about live acts as he transformed his Actual Life records into an immersive, communal real-life experience for the first time, selling out shows across the UK and USA. Fred again.., Skrillex and Four Tet recently did a series of pop up events across New York, culminating in a record breaking sold out, 5 hour b2b set at Madison Square Garden. Also been announced that Fred will be performing the penultimate slot at this year’s Glastonbury Festival.

Fred’s recent Boiler Room performance remains one of the most viewed Boiler Rooms to date, surpassing over 16 million views.

GB is an artist from Copenhagen who crafts texture-heavy, adventurous guitar music cut with a pop sensibility. His debut record, the collage-based cult hit Gusse Music was released via storied CPH label Posh Isolation in 2024. Herzsprung was written while living in London when he spent weeks cutting up copies of the Metro to form the lyrical foundation of the songs - and is GB’s most expansive work yet.

Members of Raven (NWOBHM). Incredible old school USPM with gorgeous art from Michael Whelan. FFO: Griffin, Liege Lord, (early) Nasty Savage, Satan.

The awaited sophomore! Members of Raven (NWOBHM) and Ice Age. Incredible old school USPM. FFO: Savatage, Satan, Crimson Glory, Raven.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Sometimes an album title arrives like a voice from across time. For Johanna Samuels, Sorry, Kid began as a message to her younger self, part apology and part recognition. Gathering songs written as far back as 2007 alongside newer work, the album bridges nearly two decades of lived experience.

The record holds 70s tones without leaning on them, drawing from a lineage of melody and restraint while staying fully alive in its own time. It feels lived in, steady, and quietly powerful, like something finally understood without needing to be explained. The result is intimate and fully realized, songs that began as questions now settling into something like resolution.

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

Keita Sano keeps 'em coming !

This latest Disko Universal outing pays homage to lineage of the soundsystem, its ability to mirror our own volatile existence and culture.
Trademark Disco loops and all manner of 21st century sonic counterweight, to raise the roof, and create those timeless moments of escape.

Thieves is a document of Kelly Doyle’s 30 years as a musician steeped in country, jazz and ‘50s exotica. Marked by freedom and restraint, he showcases his ability to unreel, flex, tease, cajole, inundate, and revel within the bounds of a single work. Composed for saxophone and guitar, Thieves offers an interplay of timbres that brings delicacy to complex melodies—tethered by unflinching bass and drums.

Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.

FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.

Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.

FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.

Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.

After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature. As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural.

Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

* Cassette release**

Kolorit duo's live performance during the blundar 10th anniversary club night in Sweden.

The hardest part of ending is starting again.

After a seven-year hiatus following the devastating loss of their beloved bandmate, LINKIN PARK’S remaining members struggle to find their way forward. Their shared history and enduring friendship, combined with the fresh perspective of two new band members spark a renewed creative energy that leads them on a transformative journey of artistic reinvention.

Following the band from intimate 2022 studio sessions through their explosive November 15, 2024 FROM ZERO album release and concert in São Paulo, the film UNSHATTER weaves together rare vault footage, electrifying performances from sold-out shows, and candid interviews with band members and fans—capturing the raw, honest story of what it means to start over.

This accompanying Film Soundtrack (Live in São Paulo) features transcendent performances of songs spanning their entire career, including exclusive recordings not experienced in the film.