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I Bet on Sky is the third Dinosaur Jr. album since the original trio – J Mascis, Lou Barlow and Murph – reformed in 2005. And, crazily, it marks the band’s 10th studio album since their debut on Homestead Records in 1985. Back in the ‘80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort.

The trio has taken everything they’ve learned from the various projects they tackled over the years, and poured it directly into their current mix. J’s guitar approaches some of its most unhinged playing here, but there’s a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that’s another milieu). This is head-bobbing riff-romance at the apex. Lou’s basswork shows a lot more melodicism now as well, although his two songs on I Bet on Sky retain the jagged rhythmic edge that has so often marked his work. And Murph…well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates’ melodic explosions.


After submerging myself in I Bet on Sky, it’s clear that the album is a true and worthy addition to the Dinosaur Jr. discography. It hews close enough to rock formalism to please the squares. Yet it is brilliantly imprinted with the trio’s magical equation, which is a gift to the rest of us. For a combo that began as anomalous fusion of hardcore punk and pop influences, Dinosaur Jr. have proven themselves to be unlikely masters of the long game.

From the heart of the Australian psych scene... rainbow rockers BABE RAINBOW return with their 7th studio album ‘ACID AND HONEY’ recorded on an op shop acoustic on a houseboat in Amsterdam and finished at zen master Mullarky’s Malibu ranch. Exciting country-pop beat production backs wailing Babe rainbow vocals on solid skanking hip-hop hard rocking finger funky sounds. The first single ‘POLYMUCALSACCHARIDE’ is just something Perry Farrell says and it means "drool, like you're dribbling cos the truth is once you hit the road you don’t remember the good shows, they’re just like every other show."

Macy Gray's debut album On How Life Is was released in 1999 and definitely could be called one of the most impressive R&B/Soul debuts. By selling seven million records worldwide it reached a wide audience and received airplay beyond the genre-specific stations. The single "I Try" became a massive hit and reached the number one spot in Australia, Ireland, and New Zealand.

The album was, besides a commercial success, also very popular among critics. It was mostly praised for its distinctive and outstanding style, which felt like a breath of fresh air in the genre. The song "I Try", eventually won the Grammy Award for Best Female Pop Vocal Performance in 2001.

On How Life Is is available as a limited edition of 3000 individually numbered copies on yellow vinyl and includes an insert.

ALLTAGSDASEIN melden sich mit *SOFA GEHT DIE ZEIT* zurück - deutschsprachiger Punk zwischen Alltagswahnsinn, Couchromantik und leiser Wut. Ein Album für alle, die funktionieren sollen, aber lieber liegen bleiben würden. Lass uns von jetzt an alles anders machen! Du musst Dein Ändern leben _ von heute an! Aber, äh, die Watchlist ist voll und draußen ist feindlich. Und mein Sofa so bequem. Wenn die Faulheit den Aktivismus besiegt, dann müssen wir unser ,wir zwei gegen den Rest der Welt" auf morgen vertagen, okay? Hab grad so viel zu sehen: Netflix und so. Und dieses Jahr geht eh nix mehr. Irgendwann wird aber die Welt verändert, versprochen. Nur heute eben nicht. Release: CD 24.07.2026/ Vinyl 14.08.2026 12 Track 12inch 180 gr. rostrotes Vinyl 300 Stück mit Einleger Smith & Miller Records SMR LP053 oder als CD mit Bonustrack im Digipak mit Booklet SMR CD028

Repeat klingt wie eine Konfrontation: treibende Rhythmen, kantige Gitarren, massive Basslinien und Songs, die sich bewusst gegen einfache Muster stellen. Dabei verlieren Headbutt nie die Kontrolle über ihre Intensität. Zwischen Chaos und Präzision entsteht eine Platte, die gleichzeitig aggressiv, intelligent und zwingend wirkt. Live hat sich die Band bereits als kompromisslose Maschine bewiesen - laut, dicht und ohne Leerlauf. Für Fans von progressivem Punkrock, Post-Hardcore und Bands, die lieber Druck erzeugen als Erwartungen erfüllen. 10 Track 12inch 180 gr.weisses Vinyl 300 Stück handnummeriert im Klappcover und bedrucktes Innersleeve Smith & Miller Records SMR LP054

Das lange Warten hat ein Ende: Mit „PROLIFIC“ erscheint am Freitag, den 14. August, das legendäre, unveröffentlichte Kollaborationsalbum der West-Coast-Ikonen Nipsey Hussle und Bino Rideaux. Dieses 15-Track-Meisterwerk wurde auf dem kreativen Höhepunkt ihrer Partnerschaft aufgenommen und von einem Team aus GRAMMY®-prämierten Legenden vollendet. Es handelt sich hierbei nicht um ein nachträglich zusammengestelltes Projekt, sondern um ein geschlossenes Werk, das Nipsey Hussle genau so von Anfang bis Ende visionierte. Für alle treuen Fans und Unterstützer ist diese Veröffentlichung weit mehr als nur Musik – sie ist ein zeitloses Denkmal für Nipseys ungebrochenen Spirit, seine Vision und sein unvergessenes Vermächtnis.
"MARKETING HIGHLIGHTS

"Der preisgekrönte Komponist, Produzent und Multi-Instrumentalist Danny Keane kehrt mit „Kinesis“ zurück – einem kühnen, genreübergreifenden zweiten Album, das die Energie von Bewegung, Zusammenarbeit und kreativer Freiheit einfängt. Aufbauend auf jahrelangen Tourerfahrungen mit weltbekannten Größen wie Mulatu Astatke und Anoushka Shankar hat Keane ein außergewöhnliches Ensemble zusammengestellt, um einen facettenreichen, Grenzen überschreitenden Sound zu verwirklichen.


„Kinesis“ verbindet Einflüsse aus Jazz, zeitgenössischer Klassik, Weltmusik und Elektronik und bewegt sich mühelos zwischen hypnotischen Rhythmen, komplexen Taktarten und zutiefst emotionalen Kompositionen. Vom treibenden Puls von „Running“ bis zum intimen, nachdenklichen Abschlussstück „Time To Go“ erkundet jeder Titel Themen wie Reisen, Zeit und persönliche Entwicklung, die alle durch Keanes unverwechselbaren musikalischen Stil miteinander verbunden sind.


Mit Beiträgen führender britischer und internationaler Musiker ist „Kinesis“ ein fesselndes Hörerlebnis – perfekt für Fans von zukunftsweisendem Jazz und globaler Fusion. Als fesselndes und filmisches Album markiert es Keanes Durchbruch als wahrhaft origineller Künstler, der sich nicht an Genres bindet."

2026 Repress

* A UK Dub outing from 1996 from The Rootsman, originally appearing on his debut album on Third Eye Music - `In Dub We Trust’.
* A mid-paced steppers piece with more than enough weight to cause distress at any sound system gathering.
* This is the first time `African Style’ has been unleashed as a single.

Scum rock low-lives Louse return with their Sophomore LP, Buyer’s Remorse - an unrefined but levelled-up dip back into the murk, keeping it in the family one more time on Riot Season records (a label which now, fittingly, features genre luminaries Brainbombs).
More cohesive, more negative but no less disgusting than debut record Creep Call, the band have further enhanced their pummelling, single-riff ritual M.O. with even more strop-razor guitars, crank-fuelled slide-bass, strangled sax and sinister missives from the void.
Buyer’s Remorse includes unspeakable meditations on an unmatched litany of losers, including: inept hitmen/serial killers, snuff-flick refund naivety, disturbing fellatio lessons, burying yourself alive to escape the law (“you’ll never get me in the slammer”) and having a damn good time being chopped into luncheon (take a ride on the meat slide!)
Snubbed from all but the best festivals, Louse continue to eke out a steady stream of shows, with highlights such as glorious sweat-boxes in our beloved Torino, Monza and beyond in the EU with BRAK, being the first band to play Mickey Zogg’s Basement in Bristol with Beau Wanzer and multiple distinguished appearances at Café Oto with legend and fellow RS label-mate Shit & Shine.
Right-thinking taste-makers have decreed that Louse “exist in an alternate reality where The Fall and The Birthday Party are one and the same band”, and that their songs are “all at once unsettling, loose, filthy, untamed, distorted and fucked up, but most of all rocking, creative and unique”.
Buyer’s Remorse is no exception, having been wrangled into perfection by long-time collaborator James Atkinson (The Stationhouse Studio) and none other than Rectal Hygienics’ Matt Ibarra (STR Mastering) this is truly scum rock at its finest - all at once punishing, ugly and brutal; but listen to that groove (oh my!)
Louse are
The Captain - Vocals, Septic Pete - Guitar, The King of Sting - Guitar , Uncle Brutus - Guitar Mister P. - Drums, Dieta Di Patate - Slide Bass

Featuring Robert Roth, the visionary songwriter and frontman behind Truly, alongside Hiro Yamamoto, co-founder of Soundgarden, and Mark Pickerel, founding drummer of Screaming Trees, Twilight Curtains captures the collaboration of three influential figures from Seattle's underground music scene. Gathering rare, unreleased and alternate recordings from 1991-1997, this long-overlooked collection documents the band's most creative years and is available on vinyl for the first time ever. Originally released in 2000 as a CD-only collection, Twilight Curtains gathers rare, unreleased and alternate recordings captured between 1991 and 1997, documenting the band during its most creative and exploratory period. More than simply another Seattle group, Truly forged a singular sound that blended heavy psychedelic rock, grunge-era intensity, damaged pop and expansive melodic textures. Featuring the contributions of three key figures from the Pacific Northwest underground, this collection offers a fascinating glimpse into the band's evolution through alternate versions, lost recordings and previously unavailable material. An essential companion to Fast Stories_ From Kid Coma and Feeling You Up, Twilight Curtains finally makes this missing piece of the Truly catalogue available on vinyl.

27 years later Me First and The Gimme Gimmes are still a drag, now a neon green (vinyl) one, and the sleeve is foiled! CD still available too. Though it doesn't sound like a brilliant idea, Me First & the Gimme Gimmes, an all-star cover band dedicated to regurgitating punk rock-style the most frothy music in their parents' record collections, are actually extraordinarily entertaining and can make the likes of John Denver and Barry Manilow sound not so bad. The lineup here includes Fat Mike of NOFX, the guitarist from the Foo Fighters, a couple of the guys from Lagwagon, and Spike Slawson, the Gimmes' sweet-voiced singer, who also plays bass for the Swingin' Utters. On their second record, Are a Drag, the Gimmes tackle all of their parents' favorite showtunes, claiming homage rather than satire. Most of their choices are songs that anybody even remotely into musicals knows by heart. Their cover of "Don't Cry for Me Argentina" has more choruses than the original, rocks pretty damn hard, and is certainly worthy of a swirling slam pit. Though it's not as wild as John Coltrane's version, the Gimmes' "My Favorite Things" is raging enough to send Julie Andrews swan diving off the stage into a sea of sweaty punkers. They mess with the jazz standard "Summertime" by Gershwin, adding some fine surfy leads to a song that's been played a million times over. Also, there's their furious rendition of Andrew Lloyd Webber's "Phantom of the Opera." On Are a Drag, the Gimmes succeed at playing showtunes that punk kids can dig, no small feat.

Classic Me First And The Gimme Gimmes reissued: The Gimmes roll into town for a 12-song shootout with Country & Western. These Blue-State bandits are gonna show Kenny Chesney how it's really done. But now the demanding bunch are back, and this time, it's country that gets a kicking. More C&W-styled numbers are easy targets, be it the ever popular "(Ghost) Riders in the Sky," which here gallops straight into hardcore, "Desperado," which will never escape this incendiary melodic punk rock arrangement, and "On the Road Again," which is delivered up in a similar sizzling style. "Jolene," having already suffered the indignities of a goth make-over, is now manhandled by the Gimmes, who storm Dollyland with utter abandon and a barrage of guitars and battering drums, all the better to keep their man -- hmm, shades of Brokeback Mountain. "Annie's Song" is dragged off of John Denver's country roads, and dumped center stage in the middle of a rock concert, which is just where it belongs. Hank Williams' "I'm So Lonesome I Could Cry" gets even more inspired treatment, including a bagpipe! Even a seemingly straightforward punk do-over like "Goodbye Earl" provides some scintillating moments, from the Rancid meets the Clash styling to the bright harmonies and soaring lead guitar licks. The musicianship really shines through on this set, the guitars blaze, the bass becomes assaultive, and the rolling drums sound like the thunder of mortar in the distance, while the production is equally notable. But hey, the Gimmes can play country, too -- well almost -- the first half of "Much Too Young (To Feel This Damn Old)" boasts some fine fingerpickin' guitar, although the country styling keeps sliding into surf: hey, your roots are showing, guys. Now this is country music everyone can enjoy, gimme more! The 20th anniversary edition comes in a yellowish, more brown Mustard colored vinyl.

*full sounds later

The blissed family band is back! TENGGER have always moved together, through time, space & genre. 'SKY' arrives as a new chapter: a little more still, a little more inward, while keeping all the warmth that's always been at the heart of what they do.

Embodying the band name meaning "endless sky" in Mongolian and "vast sea" in Hungarian, their 8th album 'SKY' centres on the feelings of boundless, infinite expansion. Conceived as one continuous environment rather than a collection of tracks, the album unfolds slowly through luminous synths, patient drones and Itta's breath-like vocals. 

Like a soft big sky you can actually float on: 'SKY' is vast, warm, and wide open.

"Rather than a specific emotion, we hope the record opens a certain awareness — that the sky is not just something to be seen. Through it, we sense a connection to something much larger — a feeling of being linked to the wider universe. This sense of connection runs through the entire record."

Die Essenz des modernen Gothic Rock auf einer LP! „Gothic Spirits – Best Of Vol. 1“ vereint eine handverlesene Auswahl der besten Songs des Genres und bietet atmosphärische Klangwelten, kraftvolle Gitarren, epische Melodien und unverwechselbare Stimmen.

Freuen Sie sich auf musikalische Highlights von Szenegrößen wie Beyond The Black, Xandria, Therion, Sirenia und Exit Eden sowie weiteren namhaften Künstlern der Gothic- und Symphonic-Metal-Szene. Diese Compilation ist der perfekte Begleiter für langjährige Fans und alle, die die faszinierende Welt des Gothic Rock und Metal neu entdecken möchten.

Erleben Sie den unverwechselbaren Klang der legendären Comedian Harmonists mit dieser LP, die einige ihrer bekanntesten und beliebtesten Aufnahmen vereint. Die harmonischen Gesangssätze, der charmante Humor und
die zeitlosen Melodien machen diese Schallplatte zu einem besonderen Hörgenuss für Liebhaber deutscher Musikgeschichte.

Mit den Klassikern:
Mein kleiner grüner Kaktus
Ein Freund, ein guter Freund
Veronika, der Lenz ist da

sowie weitere unvergessliche Titel der Comedian Harmonists

Ob als Ergänzung einer Schallplattensammlung, als nostalgisches Geschenk oder zum entspannten Musikhören – diese LP bringt den einzigartigen Charme der Goldenen Zwanziger direkt nach Hause

After Diogo’s hit record, we are following it up with another set of swinging dance floor detonators! Arriving directly from Brasil, Sérgio presents itself as another moniker from one of the greatest creative minds in all South America, Gabriel Guerra. With dozens of releases scattered over Future Times, Superconscious Records, LAMA, Got Tun, Balaclava Records, or his own 40% Foda/Maneiríssimo, he lands on our lap with a couple of highly effective, UK infused, and slightly nostalgic dance tracks. We’ve allways neutered a profound sense admiration for everything that Guerrinha was releasing under his 40% Foda/Maneiríssimo label, and had the feeling that his vibe was definitely one that we could relate to. Happy, a little wacky, and truly unpretentious dance floor madness! From acknowledging that, to reaching out was just a step. He was super available to work with us, and after the first talks he promptly provided us with a google drive folder with more of 100 unreleased tracks… Yes! You heard it! More than 100 gems of pure creativity ranging from all kinds of genres and across a fucking multiverse of alias and alter egos! So yes, that’s the kind of creative genius we are talking about… Moving from this “garagy” universe, Guerrinha presents us with a set of super fun tracks, which both leans over this infamous side of dance music, as well as it keeps an eye open for the most blatant forms of pop culture. Pure and simple dance floor tracks, to be enjoyed with a smile on your face.

"Is this the sound Sérgio?" or "Is this Sergio's sound?". The question of the questions seems silly, but it was postulated in 2019 to answer Guerrinha a new sound idea: A super appealing garage sound, so that any kind of doubt about the fact that Guerrinha's sets being fun, and that he himself would be able to mix swinging rhythms, would be eliminated. Sérgio is Guerrinha’s pseudonym for this, and since its first release in 2019 with the album “Utensílios” it has strangely become his most played alias, with a few small hits in the small Brazilian scene. After the pandemic drama, he returned in 2022 with the album "Mais Utensílios" and the single "Fantabobi / Riquititas", two releases that again grew the good problem of other djs constantly asking Guerrinha for these tracks. Now he releases the 12'' "Pelo da Churreia" via Discos Extendes, made in 2020 and containing small garage hits from that time. All this information raises the initial questions, since Sérgio is not just a pseudonym, but the curse that grew inside Guerrinha himself, sometimes it's in the appeal that “the bug catches on”.

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.

Das Talent von The Script, Songs voller berauschender Emotionen und immer monumentalerer Melodien
zu schreiben, hat Fans auf der ganzen Welt in seinen Bann gezogen – ein Erfolg, der zu einem Katalog
weltweiter Hits wie „Hall of Fame“, „The Man Who Can’t Be Moved“ und „Breakeven“ führte. Auf
ihrem nunmehr achten Studioalbum arbeitet Danny O’Donoghue wieder mit seinen Songwriting-Partnern
Andrew Frampton und Steve Kipner zusammen – jenen Hit-Garanten, mit denen er und Mark Sheehan
eine ganze Reihe der bekanntesten Songs von The Script schufen, darunter „Breakeven“ und „The Man
Who Can’t Be Moved“. Ebenfalls mit von der Partie ist Produzent und Songwriter Jimbo Barry („Hall
of Fame“, „Superheroes“, „The Last Time“). Die Lead-Single „Man In The Arena“ ist eine mitreißende,
trotzige Hymne – untermalt von packenden, martialischen Trommelrhythmen –, die all die Erfahrungen und
weltweiten Erfolge der Band aus den letzten zwei Jahrzehnten aufgreift und ihren Status als unumstrittene
Pop-Rock-Giganten festigt. Wie ihre leidenschaftliche und treue Fangemeinde nur zu gut weiß, besitzen
The Script zudem jene entscheidende Qualität: eine echte, emotionale und tief in der Seele verankerte
Verbindung. Genau diese belebende und verbindende Idee bildet das Herzstück von *The User’s Guide to
Being Human* – jenes Element, das in der Musik, im Leben und bei The Script über allem anderen steht.
Denn schließlich gilt: „Sag mir, was zur Hölle wir eigentlich tun, wenn wir als Menschen nicht einfach nur
menschlich sind.“

GRAMMY®-nominierter und mehrfach mit Platin ausgezeichneter Künstler Lukas Graham kehrt mit Good
Times zurück – einem folk-inspirierten Album voller großer Pop-Hooks und sehr persönlichem Songwriting.
Aufgenommen mit einer wechselnden Gruppe von Musiker:innen in Nashville und New York, zeigt das
Album Lukas, wie er sich stärker seinen irischen Wurzeln zuwendet und gleichzeitig dem lebendigen, farbenreichen, lyrischen, eingängigen und zutiefst leidenschaftlichen Sound treu bleibt, der seine Karriere
geprägt hat.

Das 1966 bei Impulse! Records erschienene Album “Meditations“ fing John Coltrane in einer Umbruchphase
ein. Einerseits enthielt es die letzten Aufnahmen, die der Saxofonist mit der kompletten Besetzung seines
legendären Quartetts einspielte. Zum anderen präsentierte er auf dem Album mit dem Tenorsaxofonisten
Pharoah Sanders und dem zweiten Schlagzeuger Rashied Ali zusätzlich neue musikalische Weggefährten,
die Coltranes letzte Schaffensphase mitprägen sollten. In dem suiteartigen Programm fließt die Musik als
fortwährende Meditation über Transzendenz und kollektiven Ausdruck. “Meditations” hebt Coltranes Spiritual Jazz in höhere Sphären der Energie und Abstraktion. Das Album, das oft als spiritueller Nachfolger
von “A Love Supreme” bezeichnet wird, bleibt ein kraftvolles Dokument der Transformation, Intensität und
Hingabe in Coltranes musikalischem Vermächtnis

Mit dem Album “Giblet Gravy” feierte George Benson 1968 seinen glanzvollen Einstand bei Verve Records.
Der damals 24-jährige Gitarrist war zu dem Label geholt worden, um die Lücke zu füllen, die Wes Montgomery durch seinen Wechsel zu A&M Records hinterlassen hatte. Und Benson bewies gleich, dass er weit
mehr als nur ein “Lückenfüller” sein würde. Mal präsentierte er sich in einem agilen Quintett-Format (mit u.
a. Herbie Hancock, Ron Carter und Billy Cobham), dann mit einer Bigband und Background-Sängerinnen.
Im Mittelpunkt der Musik stehen jedoch stets Bensons flüssige Artikulation, seine bluesgeprägte Phrasierung
und seine rhythmische Gewandtheit. Das Repertoire vereint zeitgenössische Popstücke, Standards sowie
eigene Kompositionen und verdeutlicht die stilistische Bandbreite, die Bensons späteren Crossover-Erfolg
kennzeichnen sollte.

Mit „Beethoven Blues“ startete Jon Batiste 2024 seine ”Batiste Piano Series”. Am 14. August setzt der
mehrfache Grammy- und Oscar-Preisträger die Reihe mit den drei Piano-Alben „Black Mozart“, „Monk
Meditations“ und „Monk Movements“ fort. Neben seiner Auseinandersetzung mit Mozart widmet sich
Batiste auf zwei Alben der Jazzlegende Thelonious Monk, dessen Werk er als modernes Gegenstück zur
Klassik versteht. Während „Monk Meditations“ Monks Musik in meditative Klangwelten überführt, interpretiert „Monk Movements“ dessen Kompositionen als virtuose Klavierstücke neu. Gemeinsam schaffen
die drei Alben einen musikalischen Dialog zwischen Mozart, Monk und Batistes eigener Handschrift.

Mit „Beethoven Blues“ startete Jon Batiste 2024 seine ”Batiste Piano Series”. Am 14. August setzt der
mehrfache Grammy- und Oscar-Preisträger die Reihe mit den drei Piano-Alben „Black Mozart“, „Monk
Meditations“ und „Monk Movements“ fort. Neben seiner Auseinandersetzung mit Mozart widmet sich
Batiste auf zwei Alben der Jazzlegende Thelonious Monk, dessen Werk er als modernes Gegenstück zur
Klassik versteht. Während „Monk Meditations“ Monks Musik in meditative Klangwelten überführt, interpretiert „Monk Movements“ dessen Kompositionen als virtuose Klavierstücke neu. Gemeinsam schaffen
die drei Alben einen musikalischen Dialog zwischen Mozart, Monk und Batistes eigener Handschrift.

Laura Veirs returns with Temple Songs, her first album in four years—and the first she has written, recorded, arranged, produced, and performed entirely on her own. “I didn’t know if I would write songs again,” says Veirs, who spent the intervening years building a backyard studio, getting married, blending a family with four teenagers, deepening her visual art practice (painting), and expanding her music teaching. “Turns out that period was a gathering phase. When I made the commitment to recording the album myself, the muse caught me again and it came together very quickly.”

Minneapolis' Real Numbers return with a new full length album, the gorgeously pop-tastic “Was It Always This Way.” Ten expectant, exuberant songs mixing hope and despair, the future and the past, all set to the sounds of late-80s/early-90s UK indiepop. While definitely picking up where their 2021 EP "Brighter Then" left off, the emphasis this time is on multi-layered guitars intended to complement the wistful and melancholy tracks with glittering awe.

“Was It Always This Way” refines Real Numbers' already-stunning songs, polishing the tunes into a swooningly perfect album that recalls 90s antecedents like Field Mice and St Christopher, as well as fellow pop practitioners like Ducks Ltd, Chime School and The Umbrellas. Album highlights like "Darling" and "Never Never Again" show that Real Numbers stand tall with their influences, paying close attention to the past while taking their art straight into the future with assurance and flair.

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.

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".

Regulator Watts returns with kWh (kilowatt-hours), the band's first new music in nearly 30 years. Produced by Kurt Ballou (Converge), this 5-song EP is a masterclass in post-hardcore dynamics, contrasting crushing grooves with moody, mysterious atmospherics and the haunting tone that remains guitarist Alex Dunham's trademark. This is essential listening for fans of the DC scene and those who find catharsis in the cycles of tension and release perfected by this peerless power trio.

Best known as a member of the electrifying 'Hagstone rock' four-piece The New Eves, Winder- Lind 's solo work channels the same raw intensity and liberatory spirit while revealing a more intimate, deeply personal side to her songwriting. Expanding on the world introduced through her 2023 EP The Spirit Is Carnal and first poetry collection Rod Ska Jag Leva (2025), Wild Love is an ambitious and emotionally expansive body of work from one of the most enthralling new voices in music today. Though connected to the fierce communal energy of The New Eves , Wild Love inhabits its own distinct emotional landscape. Across eleven songs, Winder- Lind brings together the wealth of her experiences and passions and reflects them back outwards, distilled with shimmering intensity. The album spells out a liberatory vision which she refuses to compromise, one rooted in emotional honesty, ecstatic expression and unfettered selfhood.

Their music draws from the rich traditions of classic guitar pop while maintaining a distinctly contemporary voice. Packed with sharp hooks, jangling guitars, and the melodic urgency that has long defined the band's sound, 'Box' delivers a fresh collection of songs that balance classic power pop craftsmanship with restless modern energy. Across the album's running time, The Jacks channel the spirit of late-70s radio gold and underground college rock while sounding unmistakably like themselves. Recorded with an ear for immediacy and emotional punch, 'Box' moves confidently between driving anthems, bittersweet harmonies, and punchy guitar-pop excursions. The result is an album that feels both timeless and alive -- a record built equally for longtime devotees of the genre and new listeners discovering The Jacks for the first time.

Named after Anderson's Bengal cat, Rupi, the album is filled with wit, warmth & sharply observed storytelling, weaving together folk, rock, jazz, classical & world music influences into a uniquely atmospheric collection. Anderson's unmistakable flute melodies & expressive vocal performances lead the journey through vivid character sketches & reflective narratives, from the elegant title track & the playful "A Raft Of Penguins" to the poignant beauty of "Pigeon Flying Over Berlin Zoo." Musically adventurous yet deeply personal, 'Rupi's Dance' captures Anderson in a particularly creative period, balancing sophisticated arrangements with an inviting sense of spontaneity & charm. Tracks such as "Calliandra Shade (The Cappuccino Song)" & "Eurology" showcase his gift for blending intricate musicianship with lyrical humour & social commentary, while "Birthday Card At Christmas" reunites him with the sound & spirit longtime fans associate with his work in Jethro Tull.

Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.

Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.

Gary Sullivan's Bodega Pop project returns to DINTE with a cassette-only collection of traditional sounds plucked from CDRs found in the night-markets of Savannakhet, Vientiane, and Luang Prabang.

"In Lao PDR, music was seemingly everywhere. Walking through an open field outside Savannakhet to the sound of someone playing a khaen on a distant porch, the bracing rush of electronic molam from of one of Vientiane’s many aging malls, the awkward blending of the blind so u player’s voice with the bustling sounds of Luang Prabang’s night market.

It was in that UNESCO World Heritage Site that I found most of the CDs and CD-Rs from which I’ve ripped the tracks for this compilation. I’m almost certain I picked up a thumb drive at the night market that held many hours of additional music that could have been included, but if so, I’ve misplaced it, lost it for good, or simply misremember purchasing it in the first place. What I do remember is that these discs were literally the last copies in the cafe, museum, bookstore, and night market where I bought them, and not all of them played all the way through without sonic deterioration.

The sounds compiled here play in stark contrast to the more contemporary recordings I found in Laos, most of which featured some form of upbeat digital workstation molam or children’s songs. In addition to the ever-present khaen, this collection includes recordings of the sanai, a single-reed instrument fashioned from a water buffalo horn, the ceremonial khong nyai gong, the pi and similar free-reeds, and at least a dozen more traditional instruments played by Lao and ethnic minority artists. While some of these tracks were laid down in Vientiane or Luang Prabang, most were recorded near where the artists lived, from the legendary Vat Phou in the far south to the former Pathet Lao capital Xam Neua in the northeast.

Unlike Laurent Jeanneau’s more focused Lao collections for Akuphone and Sublime Frequencies, which remain among my favorite albums of all time, the present cassette-only selection is literally all over the PDR map. The sequencing is entirely in response to rhythm and texture and includes recordings from the 1970s, 80s, 90s, and early aughts. This may frustrate those with more of an ethnomusicology bent, but my hope is that the listener experiences something akin to wandering for the first time through this majestic country, encountering the last copies of forgotten recordings one after another, and hearing in these remains fragments of the past and a living musical landscape."

Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.

Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.

Es sind fünf hektische, chaotische, zermürbende, völlig durcheinander gewirbelte Jahre. Es sind all die mühsamen Missverständnisse einer fünfjährigen Beziehung, verzerrt und zu einer absurden schwarzen Comedy-Miniserie auf Vinyl gedehnt. Es ist der Klang all unserer Streitgespräche, die gleichzeitig erklingen. Es sind mehrere aufeinanderfolgende Sprachnachrichten, die nicht angehört, sondern stattdessen als Transkript gelesen wurden. Es sind fünfzehn Songs des ikonoklastischen Rappers Mike Eagle und des innovativen Produzenten Kenny Segal. Es ist das weltweit erste halb skurrile Trennungsalbum. Es ist "DOOMED!", es ist auch LA. Vielleicht nicht in erster Linie, aber Los Angeles ist tief in der Gegenwart und der Geschichte dieses Albums verwurzelt. Die Geschichte jeder Großstadt ist auch eine Geschichte von Zugezogenen. DJ Premier in New York, Tupac in Kalifornien. Wenn man es aufbaut, werden sie kommen. Mike und Kenny kamen beide als junge, aufstrebende Künstler nach LA, angezogen von der Szene rund um die bahnbrechende Rap-Crew Project Blowed. Sie sind seit fast zwanzig Jahren befreundet - und arbeiten gelegentlich zusammen. Trotzdem ist "DOOMED!" das erste Mal, dass die beiden ein komplettes Werk gemeinsam geschaffen haben. Aber alles geschieht zu seiner Zeit, und das Schicksal hat sie genau in dem Moment zusammengeführt, der es dem Duo ermöglichte, etwas Außergewöhnliches zu schaffen. Mike, der gerade eine Reihe von Alben mit mehreren Produzenten hinter sich hatte und das Ende einer turbulenten Beziehung verarbeitete, brauchte eine kreative Katharsis. Kenny hingegen hatte sich nach einer Reihe von hochgelobten Kollaborationen - nicht nur mit Rappern wie billy woods und K-the-I??? - sondern auch mit dem Jazz-Trio Human Error Club und dem bluesigen Indie-Rocker Benjamin Booker - auf seine nächste Herausforderung festgelegt. "In den letzten Jahren machte Kenny sehr deutlich, dass er nicht einfach weiterhin ein oder zwei Beats für meine Projekte beisteuern wollte; er wollte etwas aufbauen", erklärt Open Mike Eagle. "Ich konnte ihn davon überzeugen, mir ein paar Beats für Neighborhood Gods Unlimited zu überlassen, mit der Maßgabe, dass wir uns als Nächstes auf unser gemeinsames Projekt konzentrieren würden. Dann zerbrach meine Beziehung, gerade als wir mit der Arbeit begannen, und ich dachte mir: Perfekt, dazu habe ich eine Menge zu sagen."