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Limitierte Loser Edition: "Coke-Bottle Clear & Orange Vinyl" 2LP // 30-jähriges Jubiläum der Neuauflage des Noise-Rock-Klassikers ,Severe Exposure" von Six Finger Satellite aus dem Jahr 1995 auf farbigem Vinyl, Doppel-LP, komplett remastered, inklusive der EP ,Machine Cuisine" von 1994 und einem Download mit 17 Bonustracks // Für Fans von The Jesus Lizard, Gang of Four, Devo, Shellac, LCD Soundsystem, Les Savy Fav. // Sub Pop feiert das 30-jährige Jubiläum von Six Finger Satellites zweitem Album ,Severe Exposure" mit einer erweiterten Doppel-LP-Edition des Albums. Zusätzlich zum Originalalbum enthält ,Severe Exposure: Deluxe Edition" eine Bonus-12"-EP mit der ,Machine Cuisine EP" von 1994 und einen Download mit 17 zusätzlichen Songs, darunter seltene Singles, Compilation-Tracks und unveröffentlichtes Material. Das gesamte Material wurde von JJ Golden neu gemastert und die Vinyl-Platten sind in einem schönen Slipcase mit individuellen Covern für jede LP verpackt. Six Finger Satellite wurde 1990 in Providence, Rhode Island, von J. Ryan (Gesang/Keyboards), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gegründet und unterschrieb kurz darauf einen Vertrag bei Sub Pop für die EP ,Weapon". 1993 veröffentlichten sie ihr bahnbrechendes Debütalbum ,The Pigeon Is the Most Popular Bird" und 1995 ,Severe Exposure". ,Severe Exposure" war ein Vorbote des Post-Punk- und Synth-orientierten Rock-Revivals der frühen 2000er Jahre, indem es den bissigen, angespannten Post-Punk-Sound der Band um Synthesizer ergänzte. Damals schrieb Trouser Press: ,,Rabies (Baby's Got The)` und ,Simian Fever` sind animalisch aggressiv und chaotisch, während sie gleichzeitig die synthetische Digitone-Lust der New Wave teilen." Und die SF Weekly lobte es als ,ein Party-Album, das man genau dann auflegt, wenn man möchte, dass ,bestimmte Leute` nach Hause gehen." Und es ist das Lieblingsalbum von Seth Jabour von Les Savy Fav! In seinen Worten: ,Ich bin immer wieder überrascht, wie sehr ich es liebe und wie wichtig es für uns während unserer Entwicklung als Band war." Severe Exposure ist das meistverkaufte Album der Band und wurde von der Band in ihrem eigenen Studio, The Parlour, in Providence, Rhode Island, aufgenommen.

Brooklyn-based artists Leslie Graves and Toby Goodshank have joined creative forces on their album Between Worlds (BB*ISLAND), Toby Goodshank (The Moldy Peaches, The Pizza Underground) of the OG New York Antifolk scene, is known for his precise and acrobatic vocals over nuanced acoustic guitar in songs that have been described as "a zesty thumb of the nose at domesticated bullshit." (Myles Manley) Leslie Graves (GOLD, Endless Arrows) is a performing songwriter and recording artist who takes folk subgenres into evocative and intriguing directions, including "sounding like something you could hear Donna Hayward dancing to at the Bang Bang Bar." (Ronan Conroy, "Hidden In the Days" album review) Her voice has been described as "darkwave-meets-folk" with comparisons to Lana Del Rey, Cat Powers, Mazzy Star and Julee Cruise. Acoustic guitar and vocal harmonies make up the core of their music. a slightly psychedelic, at times dream pop-like folkrock. It just draws from a variety of folk and rock. You might hear hints of Sybil Baer, Judee Sill, REM, Linda Perhacs, and Jessica Pratt, but the intersection of Toby and Leslie is truly a place of its own, warm and enchanting, or perhaps a glimmer from the spaces in between worlds. Many instrumental threads are interwoven throughout with the invaluable skills of Jake Nicoll (The Burning Hell) who lovingly engineered and embellished the recordings. Ariel Sharrat of The Burning Hell assisted him and is also featured on saxophone or bass or on some songs here. Speaking to their process, Leslie writes, "Toby is great at composing song structures quickly. It was fun to feel into the emotion of the chords and write from there. The process was like chiseling away at a stone to reveal the sculpture underneath. I like when songs come like that - when it feels that they are teaching us as they are revealed."

Black Truffle is thrilled to present the first ever solo Donso n’goni recording from octogenarian Swedish multi-instrumentalist Christer Bothén. Active in the Swedish jazz and improvisation scene since the 1970s, often heard on bass clarinet, Bothén travelled to Mali in 1971, eventually making his way to the Wassoulou region in the country’s south where he encountered the Donso n’goni, the sacred harp of the hunter caste of Wassoulou society. Though playing the instrument has traditionally been restricted to those who belong to the hunters’ brotherhood, Bothén found an enthusiastic teacher in Brouema Dobia, who, after many months of intensive one-on-one lessons, gave Bothén his blessing to play the instrument both traditionally and in his own style. Returning to Sweden, he would go on to pass on what he had learned to Don Cherry and play the Donso n’goni in a wide variety of inventive settings, including the driving Afro-jazz-fusion of his Trancedance (reissued as BT118).

The seven pieces of Christer Bothén Donso n’goni offer up a stunning showcase of Bothén’s work on this remarkable instrument, heard entirely unaccompanied, except for the final piece where he is joined on a second Donso n’goni by his student and collaborator, the virtuoso bassist Kansan/Torbjorn Zetterberg, and Marianne N’Lemvo Linden on the metal Karanjang scraper. Recorded in three sessions in Stockholm between 2019 and 2023 in richly detailed high fidelity, the instrument’s buzzing, sonorous bass strings make an immediate, overwhelming sonic impression. Hyper-focused on hypnotically repeating pentatonic patterns, the seven pieces are at once relentlessly single-minded and endlessly rich in subtle variations. The concentrated listening environment turns small details, such as the deployment of the instrument’s segesege rattle on two of the pieces, into major events. Six of the seven pieces are traditional, with Bothén contributing the remaining ‘La Baraka’, but the line between tradition and the individual talent is imaginary here: as Bothén explained in a recent interview with The Wire’s Clive Bell, ‘I play traditional and untraditional, and I play the music forward and backward’. While the traditional Wassoulou pieces provide the rhythmic and harmonic elements, Bothén’s individuality as a performer is alive in every moment, felt acutely in boundless variations of attack, improvisational flourishes, and unexpected accelerations and decelerations. Captured entirely live and bristling with spontaneity, this music is undeniably the product of almost half a decade of Bothén’s devotion to the Donso n’goni and its traditional music.

Accompanied by detailed new liner notes by Bothén and stunning colour photos from his time in Mali, Christer Bothén Donso n’goni is a stunning document of a remarkable instrument, played with an almost spiritual intensity by one of contemporary music’s great explorers.

Teresa Rotschopf, a musician and composer from Vienna, presents her second solo album, »Currents and Orders« – a radical, delicate, yet grandiose sonic journey between experimental pop, new music, and improvised composition. The album will be presented live on August 27 as part of the »Pop-Kultur« festival (silent green, Berlin) and at the »ORF RadioKulturhaus« (Vienna) on 12 September.

»Currents and Orders« was recorded in an unusual location: a stalactite cave in Styria, Austria. Together with a small group of musicians (Maria Gstättner: bassoon, contraforte; Alex Kranabetter: tuba, trumpet, French horn; Patrick Dunst: saxophone, duduk; Florian Klinger: marimba, vibraphone, glockenspiel, cymbals, gong, stalactite; Patrick Pulsinger: gong, stalactite; Ulrich Schleicher: gong) and in co-production with Patrick Pulsinger, Rotschopf recorded the album in June 2023 – deep underground, far from daylight, but all the closer to archaic sounds and resonances.

The cave becomes not only an acoustic stage, but also a symbolic space of memory, retreat, and transformation. The album comprises four pieces – including two large-scale tracks:
- the opening, mantra-like title track »Currents and Orders« (over 10 minutes)
- the final, free-jazz, expressive »I Open My Gates (for You)« (over 20 minutes)

With a minimalist structure, choral voices, vibraphone, percussion, and wind instruments, fragile yet powerful soundscapes emerge, whose spatial depth is also palpable through the cave reverberation.

Rotschopf first developed the desire to record in a cave in the summer of 2022. What began as a visual and sonic image became a concrete project – supported by the Austrian Cave Association. In June 2023, Rotschopf and her musicians spent three days in a cave in the Styrian forest. Almost a kilometer of cable was laid, and equipment and instruments were carried deep underground. Rotschopf describes the recording situation as a kind of return to herself: »I descended into this cave, as if I could descend into myself, into my own womb ... What we did in the cave could just as easily be called ›recording music,‹ but it could also be called ›remembering‹ – remembering the earth, the cave, and humanity.«

»Currents and Orders« is an album like a ritual: haunting, atmospheric, bold in its form, and deeply rooted in both physical and emotional space. Music that takes its time, uses space, and pushes boundaries.

The pre-release single »O Please My Soul (Rest On My Back)« (release: July 17, 2025) is accompanied by a striking music video shot by Antoinette Zwirchmayr on 16mm film: Teresa Rotschopf holds a real owl in her hand – an image that is as magical as it is enigmatic.

Label owner Martin Hossbach read a review of Rotschopf's first solo album, »Messiah,« in 2018 and contacted the artist. Joint releases followed, including a drone album on the sub-label Martin Hossbach Score and a Pet Shop Boys cover version on Martin Hossbach Cover.

Teresa Rotschopf, Musikerin und Komponistin aus Wien, präsentiert mit »Currents and Orders« ihr zweites Soloalbum – eine radikale, zarte und zugleich groß angelegte Klangreise zwischen experimentellem Pop, Neuer Musik und improvisierter Komposition. Das Album wird am 27.8. im Rahmen des Festivals »Pop-Kultur« (silent green, Berlin) und am 12.9. im »ORF RadioKulturhaus« (Wien) live vorgestellt.

»Currents and Orders« entstand an einem ungewöhnlichen Ort: in einer Tropfsteinhöhle in der Steiermark, Österreich. Gemeinsam mit einer kleinen Gruppe von Musiker:innen (Maria Gstättner: Fagott, Kontraforte; Alex Kranabetter: Tuba, Trompete, Waldhorn; Patrick Dunst: Saxophon, Duduk; Florian Klinger: Marimbaphon, Vibraphon, Glockenspiel, Becken, Gong, Stalakmit; Patrick Pulsinger: Gong, Stalakmit; Ulrich Schleicher: Gong) und in Ko-Produktion mit Patrick Pulsinger nahm Rotschopf das Album im Juni 2023 auf – tief unter der Erde, fern von Tageslicht, dafür umso näher an archaischen Klängen und Resonanzen.

Die Höhle wird nicht nur zur akustischen Bühne, sondern auch zum symbolischen Raum der Erinnerung, des Rückzugs, der Transformation. So umfasst das Album vier Stücke – darunter zwei großformatige Tracks: - das eröffnende mantraartige Titelstück »Currents and Orders« (über 10 Minuten) - das finale, free-jazzig-expressive »I Open My Gates (For You)« (über 20 Minuten)

Mit minimalistischer Struktur, Chorstimmen, Vibraphon, Schlag- und Blasinstrumenten entstehen fragile und zugleich mächtige Klangwelten, deren räumliche Tiefe auch durch den Höhlenhall spürbar wird.

Der Wunsch, in einer Höhle aufzunehmen, kam Rotschopf im Sommer 2022. Was als visuelles und klangliches Bild begann, wurde zu einem konkreten Vorhaben – unterstützt vom Österreichischen Höhlenverein. Im Juni 2023 begab sich Rotschopf mit ihren Musiker:innen drei Tage lang in eine Höhle im steirischen Wald. Fast ein Kilometer Kabel wurde verlegt, Equipment und Instrumente tief unter die Erde getragen. Rotschopf beschreibt die Aufnahmesituation als eine Art Rückkehr in sich selbst: »Ich stieg in diese Höhle hinab, so als ob ich in mich selbst hinabsteigen könnte, in meinen eigenen Schoß [...] Was wir in der Höhle taten, könnte man ›Musik aufnehmen‹ nennen, genauso gut aber auch ›Erinnern‹ – Erinnern von Erde, Höhle und Menschsein.«

Currents and Orders ist ein Album wie ein Ritual: eindringlich, atmosphärisch, mutig in der Form und tief verwurzelt im physischen wie emotionalen Raum. Musik, die sich Zeit nimmt, Raum nutzt und Grenzen sprengt.

Die Vorab-Single »O Please My Soul (Rest On My Back)« (VÖ: 17.7.205) wird begleitet von einem eindrücklichen Musikvideo, das Antoinette Zwirchmayr auf 16mm-Film drehte: Teresa Rotschopf hält darin eine echte Eule auf ihrer Hand – ein Bild, das genauso magisch wie rätselhaft wirkt.

Labelbetreiber Martin Hossbach las im Jahr 2018 eine Rezension des ersten Rotschopf-Soloalbums »Messiah« und nahm Kontakt zu der Künstlerin auf. Es folgten gemeinsame Veröffentlichungen – etwa ein Drone-Album auf dem Sub-Label Martin Hossbach Score und eine Pet-Shop-Boys-Coverversion auf Martin Hossbach Cover.

Backspin's new release comes from Obscure Shape, delivering a deep and versatile techno EP that lives up to its title: 'Zwei Gesichter' (German for 'Two Faces'). Across five tracks, the EP explores the tension between raw force and emotional depth, marrying the label's Hardgroove roots with a more introspective edge.

The A-side presents Obscure Shape's first face: It opens with 'Zwei Seiten', a no-frills banger that hits with immediacy and drive. 'Im Angesicht Der Zeit', the single, leans into groove and movement, offering a more fluid, time-aware flow. 'Die Haut In Der Ich Wohne' pares things back into a minimalistic, loopinghypnosis, evoking the idea of inhabiting one's own skin. On the B-side, presenting the producer's second face, 'Spuren Des Werdens' features producer AMIYE and introduces more melody and saw synths, a reflection on growth and transformation. The closer, 'Von Hoffnung Getragen' - also a collaboration with AMIYE - lifts off with ethereal vocals and a bouncing rhythm, embodying the hope that carries us forward.

With the 'Zwei Gesichter' EP, Obscure Shape crafts a powerful narrative through groove, form and feeling, perfectly aligned with Backspin's evolving reinterpretation of early 2000s techno.

- Originally released in 1993, 'The Brown Album' marked a significant evolution in Orbital's sound - and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time.


- Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's It's a Fine Day. The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged.


- 'The Brown Album' 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten year

- The Brown Album' 2CD includes a 2nd disc of rarities, including the full 11:09 version of Halycon and the 13-minute Underworld mix of Lush.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

Wah Wah 45s present two very special cover versions from our beloved Afro-electronic duo, Raz & Afla, available on 12" vinyl for the very first time! Having recently released their sophomore LP, Echoes Of Resistance, to great acclaim and support ranging from Nick Grimshaw on BBC 6 Music to Tash LC on BBC Radio 1, and the follow up remix project Remixes Of Resistance, the pair offer up their unique takes on two very different slices of club culture on twelve inches of wax.

First up, the pair tackle Aphex Twin's sleazy and sinister turn-of-the-century dance floor bomb Windowlicker and take it somewhere completely unexpected, as Raz explains:

"We wanted to go to a different place from our influences for this one. When we told people we will cover this tune everyone said 'but how?!' In Raz & Afla style. We had an idea of what elements to recreate from the original and how we can reference it within our spectrum of sounds. It was so much fun to do and really kicks off at our live shows."

It's a heavily percussive reinterpretation, replete with spooky wordless vocals, funky guitars and spine tingling synths that builds into something of a future Afro-house anthem, whilst respecting the genius of the original recording.

On the flip, Going Back To My Roots has become a mainstay in Raz & Afla's live sets, and means a lot to them personally, as Raz once again explains:

"We love this song. The lyrics resonate with us, talking about the meaning of connection to a land and its people. The history of this song is also fascinating, from Hugh Masekela and Orlando Julius through Odyssey and Richie Havens. We wanted to give it our own flavour. You can't choose your heritage and where you are born. It is always a part of you and we like to celebrate that."

Written and first recorded by Lamont Dozier in 1977, Going Back To My Roots was famously covered by Richie Havens in 1980 before becoming a huge crossover hit when interpreted by disco outfit Odyssey in 1981. Raz & Afla very much give their version their own unique dance floor feeling. It's one which has received much support on BBC 6 Music.

Ukrainian artist Georgy Potopalskyi aka Ujif_notfound presents a new album of raw, expressive electronic music. An unfiltered work of blasted soundscapes, hyperkinetic breaks & bristling guitar noise responding to the continuing conflict in Ukraine. A defiant maelstrom of personal catharsis, velocity & dissonance.

Unmistakable are the sonic experiments of Spanish alchemist ORBE; with this fresh release on Token. ORBE's iconically viscous textures and impactful percussion weasel their way into 'Ascender' for a deeper release on Kr!z's label. Thick, brooding atmospheres drive these tracks into stories of pursuit and escape throughout its four tracks.

A slick, pulsating low end in 'Flashback' stands out as a first impression for an imposing EP. Electric leads zip by for maximum psychosis; he's known for his uncompromising dissonance and drive. A staple of the Spanish scene, ORBE bites down hard on deep and hypnotic techno to resonate through concrete warehouses. This jagged edge to club music continues through 'W9Y' - a more drum-forward cut with noisy transitions and breathable synthwork. Sharper stabs occupy this space as opposed to the track's predecessor and tension is maintained with a lingering pad in the background. A meditative conclusion for the A side, ORBE quickly shifts his attention in the titletrack 'Ascender'. Emphasizing tone and tune on the kick, the lead comes with confrontation. Rolling through shifting hats, the producer brings boiling tension through minimal arrangement and the weight of his sound design - a skillset only the most seasoned artists can claim. To close things out, 'Break Nation' does just that - cutting off the traditional four/four rhythm and instead presenting itself as a bass stepper. With ORBE's classic unison packed synths, this dweller presents a whole other perspective on 'Ascender'. A hybrid of influences and yet still destined for the techno dancefloor, this breath of fresh air serves as deep dive into the subconscious for an eyes-closed experience.

Transparent green vinyl. After an uncomfortably long five-year hiatus-likely spent arguing about time signatures, chord progressions, and who forgot to bring snacks to rehearsals-Glutton is finally back. The beloved (by at least a few people) trio is ready to unleash their questionable wisdom upon an unsuspecting world with their upcoming album: "Skiva heter Vishnu!" On their latest outing, Glutton boldly ditches vocals (likely realizing that nobody was really listening to their lyrics anyway) and commits fully to an instrumental format. This time around, it's only guitar, bass, and drums-because who needs keyboards or vocalists when you have enough distortion pedals and élan? Guitarist Eirik Orevik Aadland (Spurv), bassist Ola Mile Bruland (Actionfredag, Jordsjo), and drummer Jonas Eide Hollund (Mt. Mélodie) clearly didn't bother to consider commercial viability while crafting this sonic oddity, delivering tracks like "Hallux Valgus," "Orkensur," and "Rematusenogennatt" with absurd seriousness and delightfully misplaced confidence. Expect a reckless fusion of punk attitude, jazz complexity, and prog rock pretentiousness, presented with complete sincerity and zero self-awareness (well, almost zero). Each track is carefully constructed to give the illusion of a band deeply serious about their art, while simultaneously admitting that they may have no idea what they're doing. Whether you're a sophisticated music connoisseur with an ear for complexity, or just someone who enjoys pretending to appreciate weird music, Glutton's latest record promises to be precisely the type of organized hotchpotch you didn't realize your life was lacking. "Skiva heter Vishnu!" - because of course it does.

To celebrate 10 years of Medusa Outdoor, the renowned Belgian collective presents a unique various LP with international quality techno tracks from Ida Engberg, Petter B, Radio Slave, Progression and many more. The tracks were selected with passion by Medusa Outdoor residents Michael Forzza and Jochen Robberecht who both contributed an unreleased new track, especially for this exclusive anniversary album. The various LP is housed in a beautiful hand-numbered gatefold sleeve. Only 500 copies were pressed in Berlin.

Revolver Records proudly presents the brand new album from pop royalty Tony Hadley — The Mood I’m In. A dazzling collection of swing and big band classics, featuring the brand new track “Walk of Shame.” Pressed on striking colour vinyl in two unique variants, these audiophile editions celebrate Hadley’s iconic voice with timeless style and elegance. Also available on CD.

Revolver Records proudly presents the brand new album from pop royalty Tony Hadley — The Mood I’m In. A dazzling collection of swing and big band classics, featuring the brand new track “Walk of Shame.” Pressed on striking colour vinyl in two unique variants, these audiophile editions celebrate Hadley’s iconic voice with timeless style and elegance. Also available on CD.

Mutant, in partnership with Back Lot Music and Focus Features are proud to present the premiere physical release of David Holmes masterful score to Steven Soderbergh's latest thriller BLACK BAG. Ever since their first collaboration on OUT OF SIGHT, and throughout their OCEANS-trilogy, Holmes and Soderberg create an energy and verve with their productions. BLACK BAG is no outlier; percussive and inventive, and vibey throughout, this score is equal parts pulse-pounding and seductive. Playfully underscoring spy-tropes with kitchy 60's intrigue instrumentation and modern electronic sensibilities, Holmes has crafted something truly unique.

Many have followed in her stiletto-heeled footsteps, yet there is, was and only ever will be one Marilyn Monroe. Amazing as it now seems, Hollywood’s greatest ever sex symbol enjoyed less than a decade at the peak of the acting profession. The movies she made and the iconic images they contained, such as the billowing skirt from The Seven Year Itch, remain staples of popular culture. Andy Warhol turned her image into pop art, but Marilyn’s ‘15 minutes of fame’ made an unprecedented impact. Music was another gift she left the world, and this collection of songs reminds us she could do much more than merely look good

180g, turquoise vinyl. Perhaps the hardest thing about Soul music is convincing. If the place and the experiences don't somehow shine through and meet us, we risk missing out on what's on offer completely. "But first_ are you experienced?" as Jimi Hendrix asked. That's precisely why Soul music is difficult in Sweden. There are few who can portray their experiences in music in a way as convincing as in the Black US Soul tradition. This however seems almost provocatively easy for Bror Gunnar Jansson to do. On the album People, it's as if he pours both lyrics and melodies that have grown slowly in life and that come naturally if you grow up on the right soil. And on almost every song, it only takes a few bars for Bror Gunnar Jansson & The Escapism to show who their musical relatives are. Although Gunnar seems to move freely in musical landscapes ruled by the greats of seventies soul from Al Green, Curtis Mayfield and Aretha Franklin, as well as in some of the fringes of blues and jazz territory, both he and drummer and producer Christopher Cantillo explain that the album has took a long time brewing. And that what may appear obvious and simple has sprung out of a friendship that spans more than half of their lives.

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Echo Beach proudly presents: Don Letts - The Rebel Dread - legendary film and video director, disc jockey and musician. Don Letts, in his capacity as a selector (it"s not for nothing that he hosts his own show on BBC6 radio), enthusiastically accepted the invitation to create a compilation from Echo Beach"s extensive catalog to mark its 30th anniversary. A splendid and crisp selection.

Belgian drummer and composer Jelle Van Giel presents All I Hear, the first full-length album of his new band, Close Distance.

All I Hear unfolds in ten chapters - nine on vinyl, with an additional track on CD. Each track depicts its own world. Some burst to life, driven by energy that draws you in and melodies that linger. Others take their time, emerging like landscapes through morning mist, shaped by shifting textures and quiet detail.

Subtle soundscapes and cinematic colors blend with improvisation and groove, creating an immersive listening experience that speaks to both head and heart. This is music that paints with sound, drawing the listener deep into the world of Close Distance: a quartet in which Jelle invites his fellow musicians Roeland Celis (guitar), Ewout Pierreux (piano/rhodes) and Yannick Peeters (double bass) to join him on his journey and sometimes lead the way.