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Critical Thot ist das kraftvolle neue Kollaborationsalbum der in der Bay Area ansässigen Rapperin und Produzentin Sha Ray sowie der Produzentin und Elektronikmusikerin DJ Haram - zwei kompromisslose Künstlerinnen, die Rap und experimentellen Sound neu definieren. Es ist eine spannende Kombination: Haram ist die eine Hälfte des Duos 700 Bliss zusammen mit der Rapperin und Poetin Moor Mother und hat zudem mehrere Soloalben veröffentlicht - darunter Beside Myself (Hyperdub, 2025), das von der Kritik gefeiert wurde - sowie hochkarätige Kollaborationen mit BbyMutha, Fever Ray, Ghais Guevara und Armand Hammer.Währenddessen handelt es sich bei Critical Thot zwar um Sha Rays offizielles Debütalbum, doch ihr Ruf als aufstrebendes Talent der nächsten Generation eilte ihr bereits voraus. DJ Haram wurde 2022 auf sie aufmerksam, als sie Sha Ray bei einem Auftritt in Brooklyn sah: ,Wir haben uns vor Ort unterhalten, und danach habe ich ihr auf Social Media gefolgt. Sie hat eine unglaubliche Performance abgeliefert, also war ich sofort dabei, als sie mir später eine Nachricht geschrieben und nach Beats gefragt hat", erklärt Haram.Ein Armand Hammer/DJ Haram-Konzert in Los Angeles wurde schließlich zum entscheidenden Moment, an dem sich diese Verbindungen konkretisierten. Sha Ray reiste aus der Bay Area an, um sich mit Haram zu treffen. Auch wenn an diesem Tag noch keine Aufnahmen entstanden, bildete er den Ausgangspunkt für die spätere Zusammenarbeit über große Distanz hinweg, die in Critical Thot mündete. Das gesamte Album entstand remote: Haram produzierte Beats in Brooklyn und schickte sie an Sha Ray, die ihrerseits Demos und Anmerkungen zurücksandte. Während der Arbeit an diesem Projekt lernten sie sich sowohl künstlerisch als auch persönlich besser kennen.,Haram und ich haben viele ähnliche Erfahrungen als Frauen in der Musikindustrie gemacht, was unsere Verbindung enorm gestärkt hat. Außerdem hat mich ihr markanter Produktionsstil stark beim Schreiben dieses Albums inspiriert", sagt Sha Ray.Diese Texte sind messerscharf und erfrischend direkt. Sha Ray beweist schnell, dass sie in ihrer eigenen Liga spielt und selbst die komplexesten Produktionen von DJ Haram mühelos meistert, ohne an Energie zu verlieren. Haram schöpft aus dem Vollen und bewegt sich mit ihren Beats zwischen experimentell-abrasiven Sounds, geschmeidiger Leichtigkeit und dunkel bedrohlicher Atmosphäre. Perkussive Einschläge und Schüsse werden mit feinen Details und weichen Klangflächen kombiniert. Ein traplastiger Banger löst sich plötzlich in einem Strom aus Streichern auf, während eine minimale industrielle Klanglandschaft sich langsam zu einer wuchtigen, kakophonischen Rap-Attacke steigert. Sha Ray navigiert sich souverän und trotzig durch jede Drumstruktur und jeden Synthesizer.,Als Rapperin interessiere ich mich fast ausschließlich dafür, Misogynie und Sexualität in meiner Arbeit zu hinterfragen. Critical Thot ist eine Auseinandersetzung mit unapologetischer weiblicher Autorität und gleichzeitig eine ehrliche Reflexion darüber, wie komplex es ist, an Selbstobjektifizierung teilzuhaben und Sexualität als soziale Währung zu begreifen", erläutert Sha Ray. ,Auf diesem Album geht es stark darum, Macht in weiblicher Sexualität als etwas Relationales und ständig Wandelndes zu definieren - und damit als grundsätzlich unvollkommen. Aber es ist eine Macht, die ich habe, und ich werde sie nutzen."Critical Thot enthält Beiträge von Nappy Nina, JWords und Archangel.

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

T-Spoon is a Dutch Eurodance project founded in 1991 by rapper Shalamon Baskin (known as Shamrock) and producer Remy de Groot (known as Prince Peration). They had multiple hits in the UK, Australia, Canada, Israel, Ireland, Scandinavia, South America, and, of course, their home country, the Netherlands.

The group released its debut single, “No Time To Waste,” in 1993, which became a European top‑10 hit. In the years that followed, T‑Spoon scored a series of international successes with tracks such as “A Part of My Life,” “Where R U Now" and “Take Me 2 the Limit.”

In 1997, they became known for the summer hit "Sex on the Beach" which reached the charts in the Netherlands as well as Belgium, Germany, Ireland, Scandinavia and the United Kingdom.

This brand new Greatest Hits collection is now available on vinyl and features all of T‑Spoon’s biggest successes, plus an exclusive bonus mix of “Sex on the Beach.”

T-Spoon's Greatest Hits is available as a limited edition of 1000 copies on white marble vinyl.

There's a confidence in calling something 'cheesy' before anyone else gets the chance to. The Lazy Eyes lean into it, they have an understanding that sincerity, when left out in the open long enough, will always risks ridicule. But what's remarkable on Cheesy Love Songs is how little they flinch for a young band dropping a sophomore album.
This is a record that understands its inheritance. You can hear the ghosts of bedroom psych, of records made by young people who discovered that distortion could double as a shield, that reverb could make even the most fragile confession feel infinite. But Cheesy Love Songs doesn't hide inside those textures, it lets them bloom until they almost overwhelm the room, like a feeling you tried to downplay that instead insists on becoming the only thing you can hear.

The kaleidoscopic guitars, the melodies that feel like they've been unearthed rather than written, the way it treats love as both spectacle and small disaster. These are songs that circle the same emotional drain: wanting too much, too quickly, and then sitting in the quiet aftermath of having said it out loud. The band doesn't pretend that intensity is sustainable; instead, they document the crash with the same care as the ascent.

In that way, Cheesy Love Songs feels like a document of early belief — the kind that arrives before irony calcifies, before restraint feels like wisdom. It's a record made by a band still willing to risk the embarrassment of being 'cheesy' in pursuit of something louder, brighter, and more honest than cool. And maybe that's what makes it an iconic modern Australian sophomore album: not just that it captures a moment in time for the band, but that it refuses to outgrow it.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

a 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]

Taylor Hollingsworth aus Birmingham, Alabama, hat sich schon immer einer einfachen Einstufung widersetzt. Als er gebeten wurde, seine Musik zu beschreiben, tat er sich schwer - ein bisschen Folk, ein Hauch von Blues, eine Prise Rock 'n' Roll, aber nicht wirklich in eine einzige Schublade zu stecken. Schließlich prägte er den Begriff ,Folk n' Roll", um seinen Sound zu beschreiben. Jetzt bekennt er sich stolz zu diesem Sound mit seinem neuesten Album, das treffend den Titel ,Folk n' Roll" trägt. Fans von JJ Cale, Mississippi John Hurt, Chuck Berry, Richard Thompson, Jonathan Richman und John Prine werden große Freude an Hollingsworths Mischung aus zeitlosen Einflüssen haben. In den frühen 2000er Jahren tourte Hollingsworth ausgiebig mit seiner punkigen Rockband (stell dir eine Mischung aus Ramones, Chuck Berry und ZZ Top vor) und arbeitete als Session-Musiker, der auf Tour mit verschiedenen Künstlern Gitarre spielte (vor allem mit Conor Oberst und der Mystic Valley Band). Doch nach der Geburt seiner Tochter legte er eine Tourpause ein, um sich ganz seiner Familie zu widmen und sein Handwerk als Vollzeit-Musiker vor Ort in Birmingham, Alabama, zu verfeinern. In dieser Zeit perfektionierte er seine fesselnde Ein-Mann-Show, die er nun ,Folk n' Roll" nennt. Seine Auftritte sind ein unvergessliches Erlebnis - fingergepickte E-Gitarre, ein mit Mikrofonen ausgestattetes Fußstampfer-Pedal, das den rhythmischen Rückgrat bildet, und gelegentlich ein Looper-Pedal, um Gitarrensoli einzuflechten, während er seine charakteristischen erzählerischen Texte vorträgt - Texte, die von zahlreichen Künstlern gecovert wurden, vor allem von Conor Oberst und Phoebe Bridgers bei Better Oblivion Community Center. ,Folk `N Roll" ist sein zweites Album für das beliebte Indie-Label Dial Back Sound, nach dem von Kritikern gefeierten und geliebten ,Yahola" aus dem Jahr 2025.

Hazel Eyes, the highly anticipated fifth studio album from multi-Platinum, GRAMMY®️, BRIT, Golden Globe and Oscar winning artist and songwriter Sam Smith, is released on 21st August 2026 via Capitol Records UK.

A heartfelt ode to the city of New York Sam now calls home, Hazel Eyes captures themes of emotional vulnerability, artistic freedom, and self-reflection. Created alongside longtime collaborator and friend Simon Aldred, the album includes the new single My Guy, along with To Be Free and Love Is A Stillness.

Music Evolution is the second and last album by the all-star jazz/hip-hop/R&B fusion project Buckshot LeFonque. Led by none other than jazz saxophonist Branford Marsalis and DJ Premier, the project was named after Buckshot La Funke, a one-time pseudonym used by alto sax legend Cannonball Adderley for contractual reasons.

The album features guest performances by rapper Guru, Matrix actor Laurence Fishburne, and the highly regarded session musician David Sanborn. While his brother Wynton holds conservative views regarding jazz, Branford is quite the opposite. On Music Evolution, he effortlessly embraces and fuses hip-hop, R&B, and rock into a sonic explosion infused with the joy of playing. The track "Another Day", featuring the soulful voice of Frank McComb, was especially popular in the Netherlands, reaching number 4 in the Dutch singles chart.

Music Evolution is available as a limited edition of 1000 copies on pink vinyl and includes an insert.

Bruno Silva returns under his Ondness moniker for his most personal album yet.

Recorded as an homage, a reference map, and a temporal slippage back to a transformative period of Bruno Silva's life, I Can Only Put So Much Into a Song conjures the threshold between his shoegaze-leaning teen years and a young adulthood defined by profound sonic landmarks: Iran’s The Moon Boys (whose cover serves as a key influence), The Microphones’ It Was Hot, We Stayed In The Water, Fennesz’s Endless Summer, and the communal, tape- hiss maelstrom of the New Weird America underground—all underscored by a persistent Black Metal tension.

Taking its title from a lyric in Farrah Abraham’s masterpiece My Teenage Dream Ended, this new humble offering from Ondness drifts into the memory of song as half-remembered recollections, as if beamed from a recurring "now" of unfulfilled possibilities.

Über die neun Songs des Albums hinweg erschafft Elanor Moss mit feinsinnigem Psych Folk ein eindringliches Wechselspiel aus Freude und Schmerz. Ihre düster-verträumten Momentaufnahmen bieten dabei weniger Katharsis als vielmehr ein Verständnis für die Komplexität des Wegs dorthin - Heilung nicht als Zustand, sondern als Prozess. Der Weg hin zu ihrem Debütalbum "The Knife, The Needle" war für Elanor Mos selbst eine komplexe Reise. Zeitweise fühlte sie sich von ihrer eigenen Musik entfremdet und suchte nach einem neuen Sound, anstatt den Raum zu besetzen, den sie sich bereits geschaffen hatte. "Nichts fühlte sich richtig an", erinnert sie sich, "also nahm ich den Druck heraus und versuchte, meine Beziehung zum Songwriting und zur Musik neu zu kalibrieren." Die drei Jahre, in denen die Songs für "The Knife, The Needle" entstanden, führten sie letztendlich zurück zu ihren Wurzeln und ihrer Liebe zu, wie sie es ausdrückt, "der Musik, die mich wirklich etwas fühlen ließ; der Musik, die ich schreiben wollte." "Das waren Folk- und zeitgenössische Folk-Songwriter", fährt sie fort. "Ich habe viel Zeit damit verbracht, Gitarre zu spielen", fährt sie fort. "Ich habe mir ein Vierspur Tape Gerät geliehen und darauf Demos aufgenommen. Ich habe mich intensiv mit Kurzgeschichten beschäftigt. Die schlichte, direkte Wahrhaftigkeit von Autor*innen wie Raymond Carver hat mich sehr angesprochen und inspiriert, während ich darauf wartete, dass meine Lust am Schreiben zurückkehrt. Ich habe außerdem wieder eine Therapie begonnen, in der ich anfing zu verstehen, woher ich komme, wie sich meine Familiengeschichte in meinem Handeln widerspiegelt und wie ich liebe und Liebe annehme. Aus der Langsamkeit und Stille dieser Rhythmen sind diese Songs entstanden." ,Sarah Waiting in the Car" gibt den Ton an, mit Moss' zartem, nachdenklichem Gitarrenspiel und den Pinselstrichen von Matthew Herds Ensemble - Marcus Hamblett (Horn), Jool Owen (Horn), Andrew Stuart-Buttle (Violine), Reid Jenkins (Violine), Linus Fenton (Kontrabass) und Herd (Saxophon) - die ihre Texte mit herzzerreißender Ernsthaftigkeit untermalen, während sich die Erzählung, die aus Moss herausfließt, von einem Treffen in der Bar zu den Nachwirkungen einer missbräuchlichen Beziehung wandelt, wobei Sanftheit in Gewalt umschlägt. In ,Fixer" ringt Moss mit der Tatsache, dass Liebe jemanden ebenso verletzen kann, wie sie ihn heilen kann. Ihr Album ,The Knife, The Needle" beschäftigt sich damit, wie Beziehungen durch die Liebe verändert, verkompliziert und erschüttert werden. Es ist ein erschütterndes Werk, zugleich geduldig und verletzlich, opulent umgesetzt und tief empfunden. Beide Objekte, die im Albumtitel genannt werden, können Blut vergießen, doch durch ihre Stimme und Gitarre erhellt, ist das, was aus den Wunden fließt, die sie hier teilt, nichts Geringeres als Poesie.

From São Paulo, Brazil comes CSS, the first South American band Sub Pop has foisted upon the global marketplace. Cansei de Ser Sexy, Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths (“Alala”) and a come-on of call and response that tears down any attempt at posturing (“Art Bitch,” “Patins”). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography.

It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…

Blue vinyl. Hailing from Wiltshire, forming in 1982, Tokyo Blade was initially considered part of the NWOBHM scene but quickly outgrew the tag, enduring over the course of 14 studio albums and five EPs. Producing genuine early classics such as their self-titled debut and follow-up 'Night Of The Blade', the band went through multiple line-up changes over the years, yet continued to enjoy the support of the metal community and die-hard fans across the globe.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

Baby You’re A Winner’ is a perfect illustration of the elevated musicality of the album that bears its name. Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.

It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.

The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.

The West Coast's contribution to hardcore punk is undeniable. That tradition of aggression, passion, and scrappy melodicism continues with The Barbarians Of California, an engaging new manifestation of iconoclastic spirit and true bombast. Born from the shared passion of Aaron Bruno (AWOLNATION) and his longtime engineer Eric Stenman - who cut his teeth in the same Sacramento community that eventually launched diverse and disparate acts like Deftones, Far, Will Haven, Team Sleep, Hella, Dance Gavin Dance, Death Grips, and Trash Talk - the spirit of the underground and the personal catharsis delivered through metallic hardcore never left either of them. So, when Aaron learned that Eric crafted a batch of throwback bangers combining impassioned angst with modern sensibilities, he wanted in immediately. The Barbarians of California was born.

In 2024, the band released their debut album, And Now I'm Just Gnashing My Teeth, and celebrated with a high-energy show at the iconic Troubadour in Los Angeles, cementing their place in the hardcore scene's next chapter. Since then, they've continued to build momentum with headline shows across LA, a summer 2025 arena tour with Deftones and other festival appearances that brought their explosive live presence to a wider audience. Dropping two new singles in 2025 including a collaboration with Keith Buckley (Every Time I Die/Many Eyes), The Barbarians Of California are gearing up in 2026 for the release of their sophomore album, MEGATONS. With their second full length, The Barbarians of California are unleashing fresh chaos straight from the sun-soaked, teeth-gnashing heart of the Golden State. Blending raw hardcore energy, razor-sharp riffs, and that signature mix of ferocity and tongue-in-cheek humor, these new songs hit like a caffeine-fueled fever dream.

,White Van Music" ist das Debüt-Studioalbum des amerikanischen Hip-Hop-Produzenten Jake One. Es erschien am 7. Oktober 2008 bei Rhymesayers Entertainment. In den USA erreichte es Platz 10 der Billboard Heatseekers Albums-Charts, Platz 49 der Independent Albums-Charts und Platz 94 der Top R&B/Hip-Hop Albums-Charts. Der Superproduzent aus Seattle und selbsternannte ,perfekte Beat-Writer" Jake One tritt aus dem Schatten des Mischpults hervor, um sein eigenes Debütalbum ,White Van Music" zu präsentieren. Jake One hat seine Produktionskünste im Laufe des letzten Jahrzehnts verfeinert und die musikalischen Klangwelten für Künstler wie De La Soul (,Rock Co. Kane Flow" feat. MF DOOM) bis hin zu 50 Cent (,All Of Me" feat. Mary J. Blige) gestaltet. Mit einer beeindruckenden und vielfältigen Diskografie ist es Jake One gelungen, seinen Sound aus dem Underground in die Billboard-Top-10-Charts zu bringen. Mit einer spannenden Mischung aus aufstrebenden Underground-Künstlern sowie einigen der angesehensten Mainstream-Acts des Hip-Hop wird Jake Ones ,White Van Music" die sogenannten Grenzen zwischen Underground- und Mainstream-Hip-Hop verwischen _ genau wie es seine herausragende Karriere als Produzent bereits getan hat.

The brand new jangle rock album from legendary UK cult songwriter, Robyn Hitchcock

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own). But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision.

The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline shaped by her many road trips from her Topanga Canyon home to her part-time residence in her native Vermont (a journey she’s made eight times in the last five years, usually on her own).

But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision. The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock & roll icons like the Rolling Stones & Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench, continuing in Nashville with Mother Road session players (members of Cage the Elephant, Kings of Leon, and Train), and completed in Vermont with members of her longtime live band, the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock & roll—all while orbiting Potter’s force- of-nature voice and lavishly imagined storytelling. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion,” says Potter. “It’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

Aufgenommen am 3. Juli 1960 beim legendären Newport Jazz Festival, zeigt At Newport 1960 Muddy
Waters in Höchstform. Begleitet von Otis Spann am Piano, Pat Hare an der Gitarre, Andrew Stevens
am Bass, Francis Clay am Schlagzeug und James Cotton an der Mundharmonika präsentiert Waters eine
mitreißende Performance, die tief in der Tradition des Blues verwurzelt und zugleich erstaunlich modern
klingt.
At Newport 1960 gilt als Meilenstein der Bluesgeschichte. Das Album trug maßgeblich dazu bei, den
Blues einem breiteren Publikum zugänglich zu machen, und festigte Muddy Waters’ Ruf als einer der
Väter des elektrischen Blues. Zu den Höhepunkten zählen Klassiker wie „I’m Your Hoochie Coochie Man“,
„Baby, Please Don’t Go“, „Got My Mojo Working“ sowie „Goodbye Newport Blues“ von Langston Hughes.
Erleben Sie den unverwechselbaren Klang eines der bedeutendsten Blues-Labels Amerikas in audiophiler
Qualität – mit der Chess Records Acoustic Sounds Series. Für diese hochwertigen Neuauflagen wurden
klassische Alben und Compilations aus dem Chess-Records-Katalog sorgfältig von den originalen analogen Masterbändern neu gemastert und auf 180-Gramm-Vinyl bei Quality Record Pressings gefertigt. Jede Ausgabe erscheint in einem hochwertigen Tip-on-Gatefold-Cover aus erstklassigem Karton und wird damit
auch höchsten Ansprüchen an Klang und Ausstattung gerecht

Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP, this two handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock & roll, became legends. Blending the raw energy of 1960s rock & roll with rhythm & blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene f rom their explosive beginnings to their 21st-century comeback. REWIND brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, i ncluding deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like " Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock & roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."

Sing Forever (Singing Is Free): Songs from 2021-2023 meets us as a foreword to A Profound Non-Event, Daily Toll's debut album from 2025. Offering an earlier chapter in the ever-growing songbook of the Sydney/Gadigal-based group, Sing Forever... is a collection in demo-form that maps their initial formative period as a duo, largely marked by Covid-era isolation, diabolical housemates, sonic experiments and copious amounts of wine sourced from Kata's job at the time. As bowerbirds of song, Kata and Jasper are making sounds from their own pocket - their world! - singing from nowhere to no-one from (in) a context of global upheaval, loss and mass confusion. Here we find the urge to sing forever, to share a morsel of spirit, and with it a mode of grounding one's humanity. The songs are loose, off-beat and textural, a period of "first thought, best thought" in boundless practice that finds inspiration from all over: a bracelet and a solo afternoon in Budapest; lyrics formed via a black-out poem scrawled across the page of a Neil Young biography; the scratch of paper daisies, toy drums, typewriters, and pots and pans all welcome melodies repeating and fumbling unto themselves until ultimately falling apart and into something else. These songs were never initially intended to find a physical release or to even be distributed further than the Bandcamp void, and yet here we arrive at a kind of essence of Daily Toll, or at least one iteration thereof, before the studio, before the additional band members, and before being known (perhaps, even loved) by more beyond. Sing Forever (Singing Is Free): Songs from 2021-2023 was initially released as a seven song cassette that came with early copies of A Profound Non-Event. Now with the addition of an extra song and a remastering by Mikey Young, it is now released as a limited 12" LP via Tough Love in a ww ltd edition of 275 copies.

Die auf orangefarbenem Vinyl erhältliche LP von Marcus 5 dokumentiert erstmals offiziell remasterte Archivaufnahmen einer slowenischen Band, deren Ursprung in den frühen Achtzigern liegt. Die LP versammelt neun Stücke, die zwischen 1982 und 1985 aufgenommen wurden und nun in 24-bit/48kHz-Downloads sowie als physische Pressung vorliegen. Die Veröffentlichung bringt frühe Demos und seltene Studioaufnahmen in eine kohärente Edition und richtet sich an Sammler und Freunde der regionalen Alternativszene. Musikalisch verbindet Marcus 5 alternative Funkelemente mit einem ausgeprägten Rhythmusfundament, zugleich sind Anklänge an New-Romantic- und Coldwave-Ästhetik spürbar. Charakteristisch für die Gruppe waren prägnante Basslinien, synkopierte Gitarren und eine ausgeprägte Bühnenpräsenz, die der Band in Ljubljana schnell lokale Aufmerksamkeit brachte. Diese stilistische Mischung sowie die knappen, melodisch orientierten Arrangements zeichnen den Sound aus und geben dem Material eine eigenständige Spur in der damaligen Szene. Die Credits nennen Vinci Vogue AnPlovar als Sänger, Borut KrPisnik und Zvone Kukec an den Gitarren, Jani Hace am Bass sowie Friderik Vargazon an Schlagzeug und Xylophon; sämtliche Stücke entstanden unter dem Bandnamen Marcus 5. Für die Neuauflage zeichnet Mastering-Ingenieur Simon Pensek (Studio Siska, 2025) verantwortlich; das Artwork stammt von Zvone Kukec, Fotografie von JoPe Suhadolnik. Die Edition erschien auf Matrix Music Arhiv und präsentiert damit ein wichtiges Dokument der slowenischen Alternativmusik aus den frühen Achtzigern. Orangen farbige Vinyl LP

Mit beunruhigenden Rhythmen, melancholischen Keyboardklängen und ergreifenden Chören ist „Polaar“ ein mitreißendes Album, das ebenso verstört wie es fasziniert, ebenso beruhigt wie es beunruhigt.

YHWH Nailgun waren schon immer von einer schonungslosen Direktheit geprägt. Was einst als rohes Duo begann, hat sich längst zu einer kompromisslosen Band entwickelt, deren Klang ebenso aggressiv wie eigenständig ist. Mit ihrem neuen Album Magazine schärfen sie dieses Profil weiter und entziehen sich bewusst jeder klaren Einordnung. Das kurze, nur etwa elf Minuten lange Werk wirkt wie ein konzentrierter Ausbruch von Energie. Schon der Opener "Ghost of Love" baut sich langsam auf, bevor Schlagzeug und grelle Gitarren plötzlich mit voller Wucht einsetzen. Diese Idee des "Ein- und Ausblendens" verstehen sie nicht nur als Stilmittel, sondern als Hinweis darauf, dass ihre Musik über das Hörbare hinaus weiterexistiert. Im Vergleich zum Debüt 45 Pounds zeigt sich Magazine reduzierter und präziser. Das Schlagzeug klingt roher, fast karg, während der Fokus stärker auf Klarheit liegt-vor allem bei Zack Borzones Stimme. Statt sich hinter Effekten zu verstecken, tritt sein Gesang nun unverhüllt hervor. Seine Texte, voller düsterer Bilder und religiöser Symbolik, gewinnen dadurch an Gewicht: Visionen von Asche, Blut und mythischen Kreaturen entfalten eine unmittelbare, beinahe bedrückende Intensität. Religiöse Motive waren schon immer zentral für die Band, doch auf Magazine werden sie klarer ausgesprochen. Der Name YHWH verweist selbst auf das unaussprechliche Gottesbild; nun stehen Themen wie Gott, Teufel und Moral offen im Raum. Im abschließenden Track "To the Devil" kulminiert dies in einer fast beschwörenden Atmosphäre, die zugleich beunruhigt und fasziniert. Trotz ihrer extremen Klangsprache verfolgen YHWH Nailgun keinen konfrontativen Ansatz gegenüber anderen Genres. Ihr Fokus liegt allein auf dem eigenen kreativen Raum-fern von Trends oder Erwartungen. Magazine wirkt dadurch wie ein Fragment eines endlosen musikalischen Flusses: kurz, intensiv und bewusst unvollständig, als würde die eigentliche Musik jenseits des Albums weiterlaufen.

Atlantic was the brainchild of guitarist and songwriter Simon Harrison. Following a successful ghost-writing career and his bands Stranger, Simon wanted to make an album in his favoured AOR/Melodic Rock genre. Heavily influenced by bands like Whitesnake, Journey, Bad English, FM, Heartland and Dare he set about writing the songs that became the first album entitled ‘Power’.
"Power" was first released as a CD back in 1994 on the Music For Nations label and subsequently re-released in 2008 on Escape Music (ESM176). Atlantic raised many eyebrows with this release which can be ranked alongside bands such as “Heartland” "Dare" and "Shy" (Tony Mills also guests on the album!).
Band members include Simon Harrison on guitar and keyboards and the great Phil Bates (Trickster/Quill) on lead vocals, guitars and keyboards. The album had so much potential at the time it is a shame that it did not receive the recognition it richly deserved. The band came back with a killer brand new album in 2024 title “Another World” also on Escape Music ESM388
A true British Classic!

A live recording of “Las Canciones”; a visceral celebration of the persistence of popular anonymous song based on the work of legendary socialist poet Federico García Lorca, a Granada born literary pioneer. Featuring songs from his 1931 collection of mysteriously beautiful flamenco tunes. A poetically rich collection created by Foster and Herrero for their acoustic band, formed while living in the Grenadine Sierra. “Foster’s vocals, met by husband Herrero’s frantic and raw gypsy-band orchestration, demonstrates the sense of urgency in the music’s message well and carries ‘Anda Jaleo’ to an elevated state.” The Line Of Best Fit... “The alt-folk fixture returns to more traditional material.” Pitchfork.

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components
from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars
Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

When the CD was issued, this album was Andy's first solo record in 26 years since Mega Shebang in 1980. It was produced by Glyn Johns with Andy's band including Dave Bronze, Henry Spinetti, Rabbit (John Bundrick), Katie Kisoon, Pat Arnold and Carole Kenyon.

Having recorded with UFO, Babe Ruth, Cozy Powell's Hammer, Paice Ashton Lord and on countless chart hits for RAK Records as Mickey Most's studio session guitarist, Bernie was a founding member of Whitesnake. in just four years, Whitesnake became firmly established as one of the very biggest British rock bands, racking up multiple chart singles and albums.After leaving Whitesnake in 1982, Bernie Marsden was almost constantly writing, recording or touring. Although a revered guitarist of exquisite touch, which mercifully is preserved for us to enjoy on hundreds of studio recordings, it was on stage where his charisma and wit was best enjoyed.

The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.

a1 One Vision 5:50
a2 Tie Your Mother Down 3:52
a3 In the Lap of the Gods...Revisited 2:43
a4 Seven Seas Of Rhye 1:18
a5 Tear It Up 2:12
a6 A Kind Of Magic 8:41
b1 Under Pressure 3:41
b2 Another One Bites The Dust 4:53
b3 Who Wants to Live Forever 5:16
c1 I Want To Break Free 3:34
c2 Impromptu 2:57
c3 Brighton Rock Solo 9:11
c4 Now I'm Here 6:20
d1 Love of My Life 4:49
d2 Is This the World We Created? 2:58
d3 (You're So Square) Baby I Don't Care 1:36
d4 Hello Mary Lou (Goodbye Heart) 1:51
d5 Tutti Frutti 3:24
e1 Gimme Some Lovin' 0:55
e2 Bohemian Rhapsody 5:51
e3 Hammer to Fall 6:04
e4 Crazy Little Thing Called Love 5:59
f1 Big Spender 1:06
f2 Radio Ga Ga 5:57
f3 We Will Rock You 2:48
f4 Friends Will Be Friends 2:06
f5 We Are The Champions 4:01
f6 God Save the Queen 1:32

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

"aethermead", das neue und 20. Studioalbum von Of Montreal, lässt die Sounds der frühen Jahre wieder aufleben, während es gleichzeitig die künstlerischen Grenzen ihres unverkennbaren Indie-Pop/Rock-Stils erweitert. Frontmann & Songwriter Kevin Barnes, bekannt für seinen einzigartig-produktiven Output und großartigen Kollaborationen mit Künstlern wie Solange, Janelle Monáe und Jon Brion, nahm die LP mit Toningenieur Drew Vandenberg (Faye Webster, Toro y Moi) in seinem neuen Heimatort Brooklyn auf. Die Grundspuren wurden live mit Barnes’ langjähriger Live-Band auf einer 16-Spur-Bandmaschine eingespielt. Das Ergebnis schimmert mit Indie-Pop-Elementen ihres 2004er Albums "Satanic Panic In The Attic" sowie der rohen, energiegeladenen Live-Atmosphäre von "Lousy With Sylvianbriar" (2013). Wunderschön-melodische Akkordfolgen wechseln sich mit Rock'n'Roll-Krachern ab, auf eingängige Hymnen folgen surreal-experimentelle Klangwelten. Mit einer neuen Tour am Horizont (erstmal durch Nordamerika) feiern Of Montreal weiterhin ihr Vermächtnis und gehen gleichzeitig mutig in die Zukunft.

aisie returns with a transformative descent into the darkness, assembled entirely from snippets of obscure educational science shows, ghost station radio transmissions, vinyl record detritus and blown-out microscopic field recordings.

Twisted into mystifyingly revelatory aural documentations of moments that never were, it unfolds like a dream sculpted out of shadows. Enchanting, enigmatic and elusive like the origins of the source material used for its creation.

- After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
- Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
- Vinyl mastered by Peter Beckmann at Technology Works

- July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with "Renascent" their first new studio album in over fifteen years which already get a very strong response & support from key traditional media - with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.

- Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).