Search:ric b

"Motorway City" is a superb, driving-based collection of library music. The tracks on this album were all written between the mid-60s and the early 80s to hymn car travel, back when the petrol-operated motor car was seen as the transport mode of the future, when motorways were new and thrilling. It was car travel’s golden age.
The tracks are highly collectable rarities from the libraries of De Wolfe, Chappell and Hudson. It has been compiled by Bob Stanley of Saint Etienne who has also written the informative sleevenotes. It stretches from mod movers to proto-ambient, something for every car journey.

Library music soundtracked the many short films that extolled the virtues of TopTray restaurant at Watford Gap or the comfortable leather seats in an Alpine Sunbeam. These tunes illuminated the joys of motor travel, and were given titles such as ‘Fast Lane’, ‘Super City’ and ‘Clearway’.
Many of these tracks seem time specific. The sun peeks over the horizon for Basil Kirchin’s ‘Through New Territory’; Reg Tilsley’s ‘Hold The Road’ is so bright at midday that you’ll need to wear shades to stop the sun getting in your eyes; John Fiddy’s ‘City Skyline’ has to be seen (and heard) at dusk.

Ex-Soft Machine Karl Jenkins provides the tense ‘Wheeling’, and Peter Reno’s thunderous ‘Convoy’ shifts the mood up a gear. Maybe you should risk nudging the speed up, 80-plus, to the soundtrack of Alan Hawkshaw’s ‘Fuel Injection’ or Simon Park’s mellow-but-dynamic ‘Big Road’.
Beautifully packaged in a gatefold sleeve, "Motorway City" could be the soundtrack to your summer holiday.

In den letzten paar Jahren haben wir alle den Sinn für die Zeit verloren, aber es muss so um 2023 herum gewesen sein, dass Robert Rotifer, Journalist, Singer-Songwriter und zeitweiser Gitarrist/Bassist bei allen möglichen Bands, von Louis Philippe & The Night Mail über Swansea Sound, Penrose Web, Papernut Cambridge, André Heller, Keiron Phelan bis hin zu Fay Hallam's Band, seinen Freund Kenji, Ex-Sänger der deutschen Sunshine-Pop-Sensation Friedrich Sunglight, fragte, warum er eigentlich in keinen Bands mehr singt. Das war der Auslöser einer Zusammenarbeit, aus der zuerst langsam, dann immer schneller, eine üppige LP gewachsen ist, auf der neben Robert & Kenji noch der elegante post-Glam Veteran John Howard, das große junge Wiener Talent Leo Schlager alias The Zew, die lebende She-Punk-Legende Helen McCookerybook und der beliebteste singende Drummer der britischen Indie-Szene Ian Button zu hören sind. Die ursprüngliche Idee war, dass Robert Songs für Kenjis glockenklare, wendige Stimme schreiben sollte, was stilistisch automatisch eine melodiöse Baroque Pop-Richtung suggerierte. Als nächstes entwickelte sich ein textliches Thema, vom Opener "Considering", einem Lied an einen Freund, der seinen Weg verloren hat, über Songs der Ermutigung ("Things to do in Winter", "Stay With Us", "The More That I Think About What We Should Do") zu Songs über den feindseligen Zustand der Welt ("The Words", "Listen to the News", "Sense of Time"). Was für Rotifer als eine Reihe von Heim-Demos an Gitarre und Tasten in ungewohnten Tonarten (für Kenjis Stimme) begann, wuchs bald zu größeren Arrangements heran, angereichert durch Ian Buttons Drums, seine Stimme, weitere Instrumente und sein Ohr für einen guten Mix. Kenji und Rotifer hörten noch mehr am Horizont und beschlossen, dass dieses Material noch mehr verschiedene stimmliche Schattierungen gebrauchen konnte. Während Robert seine über den Kontinent verstreuten Freund:innen John (Südspanien), Helen (London) und Leo (Wien) für Vocal-Takes gewinnen konnte, die Ian in den Mix einfließen ließ, schrieb Roberts Tochter Emma gerade eine Seminararbeit an der Uni darüber, wie in der Independent-Musik-Szene Arbeit organisiert ist. Sie kam zu dem Ergebnis, dass das Musiker:innen-Netzwerk, in dem ihr Vater sich herumtreibt, einer Theorie der gegenseitigen Unterstützung gleicht, die man "Radical Friendship" nennt. Also widmete Rotifer dieser Idee noch einen Song, den er diesmal selber sang (nebst dem Schluss-Song "Is This Real Enough?"). Am Ende ergab es sich, dass alle Beteiligten auf jeweils einem Track die Haupt- oder Nebenstimme und auf allen anderen Songs unterstützende Harmonien singen. Auf diese Weise wurde das Album per se zu einer Verkörperung von Radical Friendship, nicht in der Theorie, sondern in der Praxis. Radical Friendship Theory is keine Band. Es ist ein liebevoll arrangierter Reigen von Songs in vielen verschiedenen Stilen, von Baroque Pop zu Psychedelia, Power Pop, Country Rock bis zu Bücherwurm-Indie, interpretiert von einem Kreis von Freund:innen, der sich immer erweitern und wandeln kann. Rotifer, der während der Fertigstellung des Albums von Canterbury nach Berlin gezogen ist, wird diese Songs in verschiedenen Städten mit verschiedenen Musiker:innen spielen, von Wien über London bis Glasgow, Hamburg, wahrscheinlich Berlin und Paris, wo immer seine radical friends zuhause sind. Indessen bringt das britische Label Spinout Nuggets die Studio-Version des Stoff in seiner Original-Besetzung heraus - eine Zelebrierung menschlicher, kreativer Freundschaft als lebensrettende Alternative zu einer Welt der digitalen Pseudokommunikation und künstlich geschürter Konflikte.

For nearly a decade, Lucia has been carving out her place as an artist in the UK indie scene. Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party. Lucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia & The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows. The Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. For Lucia & The Best Boys, it’s just coming home.

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Oscillation marks a significant step forward for OH HIROSHIMA. On their third studio album, the Swedish band further refines its distinctive blend of atmospheric post-rock, weaving together shimmering guitar lines, weightless vocals and understated electronic elements into seven richly textured soundscapes. Balancing intimacy with grandeur, Oscillation unfolds like a lucid dream_at once delicate, expansive and quietly captivating. OH HIROSHIMA began with Resistance Is Futile, a largely instrumental post-rock debut that already hinted at their atmospheric sensibilities, with only subtle early traces of vocals. On In Silence We Yearn, the band's identity became more defined, with vocals taking on a more central role and their sound expanding into emotionally driven, shoegaze-tinged post-rock. With Oscillation, they refined this approach into more complex, denser song structures, balancing clarity and abstraction while deepening their cinematic atmosphere. To get a sense of what the album has to offer, watch the music video for "Darkroom Aesthetics". Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and mixed and mastered by Magnus Lindberg of Cult of Luna, Oscillation unfolds in vast, immersive soundscapes where fragile melodies drift through reverb-drenched space before building into powerful, cathartic waves of sound. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost Classic black or white 2LP available!

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Oscillation marks a significant step forward for OH HIROSHIMA. On their third studio album, the Swedish band further refines its distinctive blend of atmospheric post-rock, weaving together shimmering guitar lines, weightless vocals and understated electronic elements into seven richly textured soundscapes. Balancing intimacy with grandeur, Oscillation unfolds like a lucid dream_at once delicate, expansive and quietly captivating. OH HIROSHIMA began with Resistance Is Futile, a largely instrumental post-rock debut that already hinted at their atmospheric sensibilities, with only subtle early traces of vocals. On In Silence We Yearn, the band's identity became more defined, with vocals taking on a more central role and their sound expanding into emotionally driven, shoegaze-tinged post-rock. With Oscillation, they refined this approach into more complex, denser song structures, balancing clarity and abstraction while deepening their cinematic atmosphere. To get a sense of what the album has to offer, watch the music video for "Darkroom Aesthetics". Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and mixed and mastered by Magnus Lindberg of Cult of Luna, Oscillation unfolds in vast, immersive soundscapes where fragile melodies drift through reverb-drenched space before building into powerful, cathartic waves of sound. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost Classic black or white 2LP available!

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Not all tropical escapes are meant to soothe. Some are meant to seduce… and unsettle.

On Haunted Bossa Nova, Creepxotica reimagines the language of classic exotica through a darker, more cinematic lens—where swaying rhythms and lush melodies drift through shadows instead of sunlight. This isn’t background music for a carefree afternoon. It’s a late-night transmission from a hidden lounge at the edge of a dream.

Built on the bones of traditional bossa nova and mid-century exotica, the album pulses with nylon-string guitars, vibraphone shimmer, and hypnotic percussion—but everything feels just slightly off-center, like a memory slipping out of reach. There’s a tension beneath the beauty, a sense that something unseen is moving just beyond the music. Each track unfolds like a scene, contributing to a larger atmosphere that’s immersive, cohesive, and quietly haunting.

What sets Haunted Bossa Nova apart is its intention. This is not nostalgia for nostalgia’s sake—it’s a deliberate evolution. Creepxotica honors the lineage of the genre while pushing it into more mysterious territory, blending tropical warmth with ambient unease and cinematic depth. The result feels less like a throwback and more like a lost soundtrack—discovered, not created.

Sonically rich and meticulously arranged, the album invites deep listening. Every tone, every pause, every echo has purpose. It’s exotica for those who crave mood over kitsch, atmosphere over imitation.

For listeners drawn to the edges of jazz, lounge, and ambient soundscapes, Haunted Bossa Nova offers something rare: a fully realized world that lingers long after the final note fades.

With Tarabesque, his powerful new album, Firas Zreik delivers his boldest and most visionary work to date. Fearlessly placing the kanun—the shimmering Mediterranean harp—at the center of a jazz quartet, a hybrid ensemble, and an Arab Takht ensemble, Zreik reimagines the instrument as both a rhythmic engine and melodic force. He builds a world of Maqam-driven melodies woven through rich harmonic and modal landscapes that feel fresh, organic, and defiantly new.

Based in New York City, Zreik is a Palestinian composer and kanunist who recently received Grammy recognition as a songwriter and performer on Residente's award-winning album Las Letras Ya No Importan, and composed The Art of Kanun, a film music album commissioned by Universal Music Production France. He is an official showcase artist at WOMEX 2022, a MacDowell Fellow, and has performed at Lincoln Center, Joe's Pub, and The Jazz Gallery.

With Tarabesque, Zreik signals the emergence of a new musical language—merging Tarab, the ecstatic listening state central to Arab musical traditions, with global influences to create a sound timeless, urgent, and entirely his own.

Second Circle returns with a reissue of ‘Rainsong’ by Gus Till, presented here alongside a new remix from Japanese producer Kuniyuki Takahashi.

Originally emerging from Melbourne’s post-punk and new wave underground in the late 1970s and early 1980s, Gus Till has spent more than four decades navigating a remarkably diverse musical path. From early electronic experimentation with Third Eye alongside Ollie Olsen, through a pivotal role in the formative years of the global psy-trance movement and collaborations with artists including Michael Hutchence, System 7, Manu Dibango, Todd Terry and Bim Sherman, Till’s work has consistently resisted easy categorisation, moving fluidly between ambient music, downtempo, house, trance and psychedelic electronica.

First released on Japan’s Dakini Records in 2006, ‘Rainsong’ captures many of these threads in a single expansive composition. Built around a pulsating bassline, layered live percussion and soaring vocal elements, the track sits comfortably between the dancefloor and more immersive listening environments. Unfolding patiently across nearly thirteen minutes, it combines hypnotic rhythmic momentum with a rich sense of atmosphere and musicality.

For the B-side, Kuniyuki Takahashi offers a distinct reinterpretation of the original. His remix gradually unfolds from a patient introduction into a deep and richly textured exploration of the track’s core themes. Subtle spatial processing, nuanced arrangement shifts and his unmistakable sense of atmosphere transform the source material while preserving its emotional core.

'Rainsong' will be released digitally and on vinyl through Second Circle on July 29th. Sleeve art and design by Michael Willis.

'Under the name The 4th Street Orchestra, Dennis Bovell released a series of limited-edition albums in the mid-70s specifically for the UK sound system scene. Yuh Learn! stands as a prime example of Bovell’s creativity and production prowess. With its strong Jamaican Roots appeal, it is a record cherished by sound system selectors, capable of taking every listener on a deep journey through the many shades of dub.
'The album features two of Real Rock Records’ favorite tracks. First, the instrumental The Grunwick Affair, recorded in solidarity with the striking workers of the Grunwick Film Processing Laboratories in Willesden. This historic industrial dispute paved the way for the socio-political shifts of the late 70s and remains a landmark in British labor history. The track was even hailed by Time Out as one of the top 100 songs about London. The horn section features also the legendary Rico Rodriguez, Michael ‘Bammy’ Rose, and Eddie Thornton on trumpet. Also included is the classic sound system anthem Rowing Down The River.
'Presented here in an extended version, Bovell’s vocals ride the rhythm perfectly until a heavyweight dub version takes over. The musicians performing as “The 4th Street Orchestra” deserve special mention. The lineup includes drummer Jah Bunny, a foundation musician who played on crucial albums with Bovell and the late Jah Shaka, and John Kpiaye, a leading figure in the British reggae scene and “Lovers Rock” producer. Kpiaye has collaborated with Dennis Brown, Aswad, and I Jahman Levi, and serves as the resident guitarist for the Dennis Bovell Dub Band backing Linton Kwesi Johnson.The late Eddie “Tan Tan” Thornton on trumpet, an Alpha Boys School alumnus and legendary session man also for The Beatles and Jimi Hendrix, brings his expertise to the project, having also contributed to masterpieces like Rico Rodriguez’s Man From Wareika.
This is a limited-edition, vinyl-only first reissue of one of the rarest and most sought-after albums from Dennis Bovell’s legendary catalog.'

'Where the Smoke Goes captures the conscious and unconscious of Johnny Coley in duet between 2020-2024 AD. Alabama-born, Marseille-based artist Turner Williams Jr. wraps a selection of his dear friend Johnny’s penultimate compositions in arresting tone poems.
'The music buzzes and hums with distant trains, trembling strings, and lapping water, haloing our protagonist in a humid glow as he considers whether horses can live to 70 years old, cigarettes potent enough to knock you on your ass, and orchids facing the wrath of winter storms.
'This work began in the first Covid spring, as Johnny's advancing multiple sclerosis gave way to a permanent domestic confinement and a final period of prolific creativity. Johnny braved the toxic gales of social media to share his thriving poetry and visual art practice and to keep in touch with friends like Turner, who had recently moved abroad. For the first time, Johnny recorded himself, sending Turner fresh poems, day and night.
'Taking cues from late era Coil and the operas of Robert Ashley, Turner approached these recordings both as language and pure sound, arranging accompanying mosaics that emerge as much from Johnny’s unseen text as his mercurial drawl. Tracks draw from Turner’s solo practice as well as sessions including Henry Birdsey of Old Saw, members of the French underground (Manoir Molle, Loto Retina, Mona Assayag) and close Birmingham collaborators (Jasper Lee, Jimmy Griffin, Ladonna Smith). The voice is parsed and played as an instrument and each poem becomes a score.
'There is Johnny’s poetry and Johnny’s voice. These are two independent yet interwoven instruments. For Turner, Johnny's vocabulary, cadence, and timbre carry all of the contradictions that he writes about. His work is a dialogue of rich contradictions. "He plays with Southern American vernacular speech in his poetry while embodying it with his speech, creating a zone of emotional frisson. He loved combining opposites. Rough yet soft was one of his favourite descriptors", Turner recalls, "That was Johnny. ” Upon hearing the completed record, Johnny likened it to "a beautiful wood box, that when you open it there are fabrics shot through with silk threads and sharp fall woods smells - supporting and decorating the poems that fall out of them. ”
'This record captures something unconscious, atmospheric, and gives it unexpected materiality. Smoke that you can feel like grass under your feet. Stars that you can touch like a lover. Meeting for the final time in the summer or 2025, the time for words had passed so they just held hands and listened to the album opener Stargazer in silence as Johnny drifted off to sleep.'

"Frozen Charlotte" - das siebte Studioalbum von Jack White zeigt den Rock and Roll Hall of Famer in Bestform; unterstützt von einer unglaublichen Band (Patrick Keeler am Schlagzeug, Dominic Davis am Bass, Bobby Emmett am Keyboard), die nach einer Tournee mit allseits gefeierten Auftritten gerade erst richtig in Fahrt gekommen ist. Anstatt sich auf ihren Lorbeeren auszuruhen, machten sie sich direkt im Studio an die Arbeit und nahmen das auf, was schließlich zu ,Frozen Charlotte" wurde. Aufgenommen in Whites Third Man Studio in Nashville, zeigt dieses Album, dass Jack die raue, rohe und frenetische Energie aus seinem gefeierten 2024er-Album "No Name" beibehält. Mit 13 Tracks von unterschiedlichem Gefühl und Klang ist "Frozen Charlotte" ein intensiver Rock-'n'-Roll-Kraftakt, bei dem die Blues-Wurzeln nie weit entfernt sind - perfekt für langjährige Fans und gleichzeitig eine weit offene Tür für Neulinge.

2026 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

2026 Repress

Kerouac presents a captivating five-track vinyl-only EP on Murmurations, showcasing groove-rich basslines, intricate percussion and deep rhythmic textures into a dancefloor-ready package. The A-side kicks off with "Gravity", a hypnotic excursion of looping stabs and rolling percussion, before sliding into "Active Meditation", a deep, driving cut built on smooth stabs and an elastic bassline. The flip opens with "Official Line", a tumbling low-end roller with layered vocal chops and crisp percussion. "Chugs" lives up to its name, a relentless groove packed with vocal hooks and a thick, chugging bass. Finally, "Too Sea Bee" winds things down with warm chord progressions and a funky, laid-back vibe that leaves a lasting glow.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Release 006 Eatherwaves from Deenamic on the Swiss label Imprint Léman Records.
With previous releases on respected imprints such as Neroli, Visions Recording, Freebeat, Mother Tongue, and most recently Mate Records, Deenamic returns with a powerful 3-track EP, blending organic textures with dancefloor-driven energy.
On the A-side, Sometimes sets the tone with a deep and atmospheric feel. Built around rich, heavy chords inspired by early ’90s Chicago deep house, the track creates an immersive and introspective vibe perfect for easing into the journey.
On the B1, Mirage unfolds through a hypnotic, repetitive melody that takes us straight to the Motor City. With its jazzy harmonies and deep chord progressions, it delivers a smooth yet captivating groove.
Closing the EP, Wacid Sabi brings a rawer edge. Driven by gritty drums, crunchy hi-hats, and deep chords, the track balances rough textures with a late-night groove, making it a perfect weapon for after-hours moments.

Repress of the 13th chapter of this highly acclaimed compilation series, originally released in 2017.

As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.
Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark.

FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache „Wu Du Wu“, which was only released on vinyl before - still difficult to find the original 12“ - is a freaky outstanding funk hybrid. Karim Sahraoui – with a punchy Detroit-ish track, picked up from Derrick May’s Transmat label - is currently in the works with a follow up 12“ later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, you’ll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital.

Boy George's single "Generations of Love" has become a dance anthem. The single has been digitally released 12 times, with over 70 remixes. Mixes were created by Paul Oakenfold, Ramp, Phunk Investigation, Scream, De-Phazz, and The Scumfrog. So, like it or not, it's sure to be a hit whenever it's played on dance floors around the world.
Described as exuding joie de vivre (joy of life) and full of joy.
Suitable for clubs and house music: Praised for its laid-back, house-inspired grooves, perfect for clubs and living rooms.
One editor called it "full, smooth, and richly satisfying."
Considered a potential club hit, with critics urging people to buy it.
Smash Hits called it a "glossy, understated dance track."
Ultimately, reviews describe it as a feel-good dance track that successfully blends Boy George's iconic vocals with JL & Afterman's disco-house production, creating a joyful and very catchy remix.
This vinyl also includes The Scumfrog's fabulous version.

K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".

Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".

Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".

Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".

Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".

French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".

RICK is the new record label by Rick Howe, host of Riddim Yard on PBS 106.7 FM in Melbourne, Australia. The second release, Calling Mr Speaker, is a re-lick of Tristan Palma's Face The Struggle, originally produced by Linval Thompson in 1982, with a new riddim built by Naram in Whanganui, Aotearoa. The 12" is mixed to tape by Naram in the 80s Channel One rub-a-dub style. Featuring reggae legend Freddie Mcgregor on vocals recorded at Big Ship studios in Kingston, Jamaica (2022). Complete with full horns cut by Hard Rubbish Horns, and two dub versions mixed for sound system.

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

THE HOBKNOBS - ein Projekt der Stimmen von LEWSBERG & THE KLITTENS - werden im Juli 2026 ihr erstes Album auf ihrem eigenen Label THK Records veröffentlichen! "Helmets Off" lässt sich als ein ehrlicher Versuch beschreiben, ehrlich zu sein. Obwohl im Moment der Entstehung alle Optionen offenstehen, bleibt das Endergebnis oft reduziert und schnörkellos. Instrumente setzen genau dann ein, wenn sie gebraucht werden - doch die Songs selbst scheinen gar nicht viel zu benötigen. Jedes Wort und jeder Gitarrenanschlag wirken so, als wären sie exakt im richtigen Moment platziert. Vielleicht ist es gerade diese Schlichtheit der Songs, die das Gefühl vermittelt, als würden The Hobknobs direkt zum Hörer sprechen. Es ist offensichtlich, dass sie nichts zulassen wollen, was diese menschliche Interaktion trüben könnte - eine Interaktion, die zudem eine gewisse Verspieltheit ausstrahlt. Yaël Dekker - dem einen oder anderen bekannt als Sängerin von The Klittens - und Arie van Vliet, der seine Botschaften einst mit der Band Lewsberg verbreitete, wurden einmal als "liebevolle Misanthropen" bezeichnet. Beim Hören des Albums erscheint diese Beschreibung durchaus treffend. Ein tröstlicher Song wie ,The Mind" wirkt eindringlich. In "Dictionary" scheinen selbst Worte ihre Bedeutung verloren zu haben. Lieder, die zunächst fröhlich und naiv wirken, entpuppen sich beim zweiten Hinhören als eindringliche Appelle. Und ist "Enarmoured" etwa ein Protestsong, der den Krieg befürwortet? Welchen Krieg wollen sie eigentlich führen? Die Stimmen von Dekker und Van Vliet scheinen bestens miteinander zu harmonieren; dieses Zusammenspiel hebt die Songs auf "Helmets Off" über ihre trügerische Einfachheit hinaus. In Kombination mit der minimalistischen Produktion von Jaap van der Velde trifft das Album genau den richtigen Punkt zwischen "sofort vertraut" und "einzigartig - niemand sonst klingt so wie sie". Karina Gill von der in San Francisco ansässigen Band Cindy schrieb über The Hobknobs: "Um die Musik von The Hobknobs zu beschreiben, ist das Wort "natürlich" treffend. Gemeint ist damit: Sie ruht in sich selbst; sie ist im Grunde - wenn auch auf höfliche Weise - daran desinteressiert, ob man ihr gerade zuhört oder nicht. Man mag an frühen Rock 'n' Roll denken - und dabei an dessen energiegeladene Lässigkeit und ehrliche Reduktion, frei von jeglicher Sentimentalität. Musikalisch und textlich greifen die Elemente der Songs perfekt ineinander; sie offenbaren ihren Fluss, ohne jedoch dazu zu verleiten, sie in ihre Einzelteile zerlegen zu wollen. Das Duo Yaël Dekker und Arie van Vliet schätzt die Musik des jeweils anderen schon lange, doch ihre Zusammenarbeit hier ist kein geschlossener Dialog - sie ist zugleich umgangssprachlich und intellektuell anspruchsvoll, und wir sind eingeladen, daran teilzuhaben, sofern wir mithalten können. So wie etwas Natürliches eine gewisse Gelassenheit ausstrahlt, manövrieren sich The Hobknobs geschickt in eine Position, in der wir an ihrer Seite stehen, mit ihnen hören und sehen und feststellen: Jeder Song ist ein Ort, an dem man gerne verweilt."

Modula Nation ist eine unverwechselbare Fusion aus experimentellem Psychedelic-Space-Rock, kombiniert mit schweren Industrial-Riffs, komplexen Rhythmen und tighten Grooves. Die Band wurde in Graz gegründet und zählt zu den vielversprechendsten Rockbands der österreichischen Underground-Szene. Das Progressive-Rock-Quartett aus Graz liefert pulsierende Space-Rock-Odysseen, die ihr Publikum auf eine psychedelische Reise durch verschiedene musikalische Welten mitnehmen.Modula Nation hatte bereits die Ehre, mit legendären Künstlern wie Molotov, Tito & Tarantula, Mother's Cake, KMFDM und Skinny Puppy auf der Bühne zu stehen.Das Projekt entstand aus früheren Musikprojekten des Sängers und Multi-Instrumentalisten Heinz Wallner sowie seines Bassisten und langjährigen Mitstreiters Ricardo Paz. Ihre Freundschaft und ihre Liebe zu einer Vielzahl von Musikgenres - kombiniert mit nächtlichen Jam-Sessions - trugen maßgeblich zur Entwicklung des individuellen Sounds der Band bei.Die musikalische Vision von Modula Nation wird durch zwei weitere Mitglieder vervollständigt:Philipp Pluhar am Schlagzeug und an den elektronischen Instrumenten sowie Markus Steinrück an den Gitarren.

Der von der Kritik gefeierte Fotograf und in Paris lebende, aus Algerien stammende Künstler Mohamed Bourouissa hegt seit langem ein tiefes, alles umfassendes Interesse an Klängen. ,LILA" ist sein Solo-Debüt, ein selbst bezeichnetes ,musikalisches Objekt", das die wichtigen Beziehungen in seinem Leben auflistet; jeder der Tracks des Albums ist einer Person gewidmet (und nach ihr benannt), an die er dachte, als er das Album komponierte. Mit Gastauftritten von französisch-senegalesischen Künstlers Le Diouck und der italienischen Avantgarde-Künstlerin Valentina Fanigliulo (alias Mushy und Phantom Love) wirkt das Album wie ein Tagebuch hypnagogischer Reflexionen, das mit schwerelosen Synthesizern, herzzerreißendem Auto-Tune-Gesang und dissoziierten Beat-Sequenzen ein Bild von Bourouissas innerer Realität zeichnet. Emotional aufgeladen und verwurzelt in der Ästhetik, die Bourouissa mit seiner Verbundenheit zu Klang, Menschen und Kunst verbindet, ist es so komplex und vielschichtig wie jede seiner gefeierten Installationen oder Ausstellungen. Bourouissas erste erkennbare klangliche Referenz war ,Temps Morts" aus dem Jahr 2009, eine bewegende Videoarbeit, die er nach dem legendären Debütalbum des französischen Rappers Booba benannte, und seitdem ist er seiner Intuition gefolgt und hat nach und nach herausgefunden, wie er Klang nicht nur in seine Werke integrieren, sondern ihn in den Mittelpunkt stellen kann. 2017 arbeitete er gemeinsam mit dem libanesischen Free-Improv-Gitarristen Sharif Sehnaoui und Sina Araghi (alias Sina XX) an ,Si Di Kubi", einer Compilation, die experimentelle Klänge aus der arabischen Welt in den Vordergrund stellte, und sein Weg wurde klar. ,In diesem Moment wurde der Klang zu einem integralen Bestandteil meiner künstlerischen Praxis", erklärt er. Bourouissa arbeitete 2021 mit dem französischen Sounddesigner und Programmierer Jordan Quiqueret zusammen, um herauszufinden, wie sich die von der Akazie erzeugten Frequenzen in Rhythmen auf ,Brutal Family Roots` umsetzen lassen, wobei er Gedichte des Waddi-Waddi-Rappers MC Kronic und des ägyptisch-australischen MC Nardean integrierte. Später arbeitete er mit Fanigliulo an ,Haral!" - einem Duo-Projekt, das dem Künstler endlich das Selbstvertrauen gab, seine Fähigkeiten anzunehmen und seinen eigenen Produktionen Vorrang einzuräumen. Sogar seine jüngste Ausstellung ,SIGNAL" im Palais de Tokyo, Bourouissas erste Retrospektive, wurde ähnlich wie ein Album zusammengestellt, wobei der Künstler besonderen Wert auf die musikalische Logik ihrer Struktur und die ihr innewohnenden Rhythmen legte. ,Ich sehe Klang als Träger von Geschichte und Erinnerung, manchmal traumatisch", sagt er. ,Die Arbeit mit Frequenzen, Geräuschen und Atemzügen eröffnet einen Raum für Heilung, eine kathartische Möglichkeit. ,Und genau diese Philosophie leitet ,LILA`, von den hallenden Klavierakkorden und Chor-Echos von ,INTRO` bis hin zu den mikrotonalen Summtönen und verschleierten Rhythmen, die sich spiralförmig um das kurze, bewegende ,OUTRO` winden. Es ist ein Album, das sich schwer einordnen lässt; es gibt Spuren von Pop in ,HFC", einer beatlosen Suite aus modularen Schluckaufgeräuschen und biomechanischen Schreien, die in Richtung Kakophonie übergeht, und Überreste von Clubmusik, die an den Fenstern und Wänden des schweißtreibenden ,MG" zurückbleiben, in den zitternden Trommelwirbeln und Le Dioucks schrillen Ausrufen. Der rote Faden, der sich durch das Ganze zieht, ist die Tatsache, dass Bourouissa in der Lage ist, eher ein Gefühl als einen Klang darzustellen. Mit einer Palette, die er im Laufe des letzten Jahrzehnts stetig verfeinert hat, bewegt er sich schimmernd durch eine persönliche Landschaft, die sich in ein lebendiges, atmendes klangliches Ökosystem verwandelt. Auf ,AF" schweben gespenstische FM-Arpeggios unheimlich um seine lässigen, herzlichen Worte, und auf dem beunruhigenden ,SEUM" kontern mehrschichtige Synth-Drones sein verzerrtes Crooning mit elektrisierenden xenharmonischen Akkorden. Instrumentale Dunstwolken schweben durch angespannte rhythmische Ausbrüche auf ,MN", und als Fanigliulo auf dem Titeltrack auftaucht, rückt das Album in den Fokus, während warme, hoffnungsvolle Pads einige von Bourouissas eindringlichster Texte. "What did you say, why should I cry", wiederholt er in die Leere hinein und presst die Worte durch metallische Verzerrung und ungleichmäßige Beats. Es ist Musik, die so greifbar ist, dass man sie fast berühren kann.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, partic- ularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier.

Warrant was formed in 1984 in Hollywood, Los Angeles, California, and experienced success from 1989 to 1996 with five albums reaching international sales of over 10 million. The band first came into the national spotlight with their double platinum debut album Dirty Rotten Filthy Stinking Rich (1989) and one of its singles, "Heaven", which reached No. 2 on the Billboard Hot 100. The band's success continued in the early 1990s with the double platinum album Cherry Pie (1990), which provided the hit song of the same name. In 1992, Warrant released their third album the critically acclaimed Dog Eat Dog. The record achieved only moderate commercial success compared with the first two albums, but still sold over 500,000 copies reaching Gold status and charting at No. 25 on the US Billboard charts. The band's fourth album Ultraphobic (produced by a returning Beau Hill) was released in March 1995 and, featured the singles "Family Picnic", " Followed" and the ballad "Stronger Now". Now to celebrate the 30th Anniversary of their fifth album which was released in October of 1996 and the last with Jani Lane. Belly To Belly Vol. 1 has been remastered and repackaged and is available for the first time on strictly limited vinyl LP.

L'Oriole is the meeting point between violinist and composer Clara Lévy and sound artist Stéphane Clor. Combining violin, violoncello piccolo and a unique orchestra of resonators and transducers, the duo explores birdsong, resonance and the transformative power of sound. Acoustic instruments are projected into cymbals, drum skins, aluminium cans and other resonant objects, creating rich layers of colour, texture and spatial depth. Inspired by the work of Olivier Messiaen and his fascination with birds, L'Oriole unfolds as a journey through imagined birdsongs, suspended sonic landscapes and raw bursts of acoustic energy.

This is the first studio album recorded by The Fabulous Thunderbirds - It introduced the outside world to the contemporary blues of this peerless band that was forged in the clubs of Austin, Texas featuring Jimmie Vaughan on guitar and Kim Wilson on vocals and harmonica with Keith Ferguson on bass and Mike Buck on drums

His technical fluency and electronic sensibility place groove at the centre of his language, allowing him to control density, space and pulse with clarity. Across work with Loyle Carner, Jordan Rakei, Petter Eldh and Alfa Mist, his playing remains recognisable - elastic, deliberate and grounded in feel. Released on Edition Records, the album marks a new chapter with Spaven stepping forward as a bandleader and composer with a clear focus. The music is built from the inside out - groove shaping harmony, texture shaping form. Studio and live performances follow the same intent: direct, physical, locked into the pocket. The result is controlled intensity, where technique serves expression, and the music moves freely across genres without losing its centre of gravity

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality. Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist.

The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical. On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

Psychic Zebra third 12" release, TMRS by Todd Modes and Ryan Spencer. Todd and Ryan put everything into this one and came out with something that genuinely moves. I brought back Hugo Capablanca for the artwork, Dietrich Schoenemann on mastering, and Archer Record Pressing to press it right. ‘Talk Talk (LA Guitar Mix)’ is the slow burn with guitars from Scott McNamara weaving through Todd and Ryan's production. Sounds like flying into 1980s LAX at night. Wheels down. City lights. No luggage. ‘Talk Talk (Frantic Mix)’ flips it on its head. Same bones, completely unhinged with Sarah O's vocals stacked over a groove that doesn't quit. ‘Risk Of The Road’ sits in heavy space between dance and dub. ‘Weird Wave’ is exactly does what it says. Trust the description.

TMRS is already receiving early support from Richard Sen, Dave Harvey, Jenö and The Warehouse Preservation Society.

Sushitech continues its expertly curated mission of uncovering hidden gems adding to its ever-green catalogue with another immersive, rare house classic from the West Coast of the late '90s.

Tim Buna and Eric James (RIP), who produced as E.T.I. and formed part of the solid bedrock of the West Coast sound alongside DJ Garth (together as Rocket) and the Wicked crew, join forces with Tony Hewitt, another titan of the era.

This rare genre-crossing underground record has been treasured by collectors for years, earning support from key players and featuring in the infamous Tyrant mix of Craig Richards and Lee Burridge.

Carefully restored and recut, this monster of a record is now available once again on Sushitech in its full form. Three decades on from its original release, its raw, dirty, high-energy vibe remains hard to match, with authentic, magical sound that stands second to none. Late '90s acid house at its finest.

Sleater-Kinney feiern das 30-jährige Jubiläum ihres zweiten Albums ,Call the Doctor" mit einer neuen Vinyl-Ausgabe auf "Northern Light"-farbenem Vinyl. Sleater-Kinney ist eine gefeierte amerikanische Rockband, die 1994 in Olympia, Washington, gegründet wurde. Die Kernbesetzung der Band besteht aus Corin Tucker (Gesang und Gitarre), Carrie Brownstein (Gitarre und Gesang) und Janet Weiss (Schlagzeug). Sleater-Kinney waren bekannt für ihre feministische, linksgerichtete Politik und waren ein fester Bestandteil der Riot-Grrrl- und Indie-Rock-Szene im pazifischen Nordwesten. Call the Doctor ist Sleater-Kinneys zweites Studioalbum. Es wurde von John Goodmanson produziert und ursprünglich am 25. März 1996 bei Chainsaw Records veröffentlicht. Das Album wird oft als Sleater-Kinneys erstes richtiges Album angesehen, da Tucker und die Co-Sängerin und Gitarristin Carrie Brownstein zum Zeitpunkt der Aufnahmen ihre früheren Bands, Heavens to Betsy und Excuse 17, verlassen hatten. Die Besetzung bestand aus Corin Tucker (Gesang, Gitarre), Carrie Brownstein (Gitarre, Gesang) und Lora Macfarlane (Schlagzeug, Gesang). Call the Doctor landete 1996 auf Platz drei der ,Pazz & Jop"-Kritikerumfrage von The Village Voice. 2010 wurde das Album von der Redaktion des Rolling Stone auf Platz 49 der Liste der 100 besten Alben der Neunziger gewählt. ,Sleater-Kinney ist Amerikas beste Rockband" - Greil Marcus, Time (2001). ,Tauscht Sexarbeiterinnen-Rollenspiele, Puppenteile, Gender-Bending und andere gängige Female-Rock-Klischees gegen Geschichten vom alltäglichen Kampf ... Sleater-Kinney beweist, dass Punk immer noch neue Wege bietet, Nein zu sagen" - Johnny Ray Huston, SPIN

Nickodemus is a traveler at heart—a connecter of worlds, scenes, and people since the mid-90s. Over his extensive career as a touring DJ and producer, including five albums, hundreds of remixes in his “Remix Machine” and two dozen compilations of cutting edge up incoming producers from around the World, remains one of the most important leaders of global fusion and the heavy beats we yearn for in the club. His music has long thrived on the close relationships and mutual respect of friends he’s built across the continents, felt through the worldly potions he cooks up in the studio, and spanning electronic sounds rooted in Latin, African, and Eastern instrumentation. His latest album, Soul & Science is a collaborative effort between old and new friends, recorded in several countries while touring as well as his home studio / record room / memorabilia museum.

This limited 7” pairs two standout remixes from Nickodemus’ 2023 album Soul & Science, bridging deep-rooted collaboration with modern dancefloor energy. On the A-side, Ben Gomori reimagines “Rumba Tobacco y Ron”—a trans-Caribbean production born between Puerto Rico and Cuba, featuring contributions from Tempo & The Candela All-Stars and Haydee Soul—into a chopped, electronic club cut that retains its original horns, piano, and vocal spirit. On the B-side, Tigerbalm delivers a driving, four-on-the-floor remix of “Mama Tchipp (Follow Me),” flipping the Afro-disco anthem with steady basslines, punchy drums, and Pat Kalla’s infectious vocals primed for peak-time play.

With a career spanning over 25 years, Nickodemus remains a globally recognized force in eclectic, genre-blurring dance music, boasting 60k+ Spotify followers, 811k+ monthly listeners, and over 350 million streams across his catalog, alongside more than 20,000 physical records sold worldwide. His breakout collaboration with Quantic and Candela All-Stars, “Mi Swing Es Tropical,” became a bona fide international hit with over 75 million cumulative streams and a key placement in the Chef soundtrack directed by Jon Favreau. On remix duties, Ben Gomori—founder of the UK-based Monologues Records—brings his signature touch, having previously reworked artists including Oby Onyioha, Segun Adewale, Dawda Jobarteh, and Amadou Balaké. The release is already receiving strong international radio support, with airplay and tastemaker backing from Gilles Peterson, BBC Radio 6 Music, FIP, RFI, Radio 3 (Generación Ya), 2SER, KCRW (Top Tune of the Day), and KEXP, signaling strong demand and cross-market appeal for DJs, collectors, and global music audiences alike.

a A1: Rumba Tobacco y Ron (ft. Haydèe Soul) Ben Gomori Remix
b B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1: Rumba Tobacco y Ron (ft. Haydèe Soul) [Ben Gomori Remix]
[b] B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

Known for his signature positive vibes and the triple-platinum single “GOOD TIME,” country star Niko Moon digs into his own origin story on his new 15-track album, ROOTS. Following his 2025 tropical album AMERICAN PALM, ROOTS shifts the scenery to the verdant hills of Georgia where Moon grew up, balancing his trademark optimism with unprecedented transparency about his journey. On the track “AMERICAN DREAMIN’,” he reflects on a lean childhood moving between trailers and motels, inspired by the resilient optimism of his truck-driver dad and waitress mom. He fast-forwards to his current life in Nashville on the ballad “RICH MAN,” celebrating his wife and two children as his true source of wealth, while tracks like “GET COUNTRY” deliver a trap-beat party anthem designed for pure escapism. The album's centerpiece, “GEORGIA (ROOTS),” interpolates the classic "Georgia on My Mind" to celebrate his home state with a feature from his own daughter. Beyond the music, Moon channels his pay-it-forward mentality into his Happy Cowboy Foundation, which provides affordable therapy, proving that his signature smile isn't from a lack of hardship, but a conscious choice to spread encouragement.

Politics. Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings. Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination. Subjugation. Deportation. We argue with each other while the rich get richer and cruelty is normalized. These are just a few of the reasons why the title of The Casualties" new album is Detonate. Detonate is the second chapter in a new epoch for The Casualties. As their second album with David Rodriguez at the mic, it solidifies the vocalist"s partnership with drummer Marc "Meggers" Eggers and guitarist Jake Kolatis . "It"s like a new era for the band," Meggers says. "It solidifies that Dave is here to stay." As the follow-up to 2018"s Written in Blood and their first record for Hellcat Records- the Epitaph subsidiary curated by Tim Armstrong of Rancid-Detonate sees this new version of The Casualties locking into place. "We were in the studio for Written in Blood about eight months after I joined," Rodriguez says. "With this new record, we really grew together. For me, it"s the proud moment where we clicked the three Legos together."

Der Singer-Songwriter Max Subar aus Chicago legte den Grundstein für ,Anything Could Be", sein Debütalbum, in einem Haus am Ufer eines zugefrorenen Sees in Wisconsin. Subar kehrte zu der klanglichen und geistigen Landschaft zurück, die er während der ersten zehntägigen Session geschaffen hatte, und blieb ganz im Moment, indem er nur dann arbeitete, wenn er sich wirklich voll und ganz darauf einlassen konnte. Die meisten der zusätzlichen Sessions, die dem Album Textur und Farbe verleihen, wurden in Subars Heimstudio aufgenommen, in demselben Haus, in dem Case Oats, die von Casey Gomez-Walker geleitete Band, in der Subar Gitarre spielt, ihr 2025er Debüt ,Last Missouri Exit" aufnahmen. Sein Bruder, Sam Subar, spielte Schlagzeug. Weitere Instrumentierung kommt von den Case Oats Bandkollegen Spencer Tweedy (Schlagzeug bei ,I Never" und ,Way Up"), Jason Ashworth (Kontrabass) und Scott Daniel (Violine) sowie den häufigen Mitarbeitern Chet Zenor (E-Gitarre), Kelly Hannemann (Klavier) und Sarah Weddle (Vibraphon, Orgel und E-Piano). Die Arrangements, die dabei entstanden, sind großzügig und erhellend und verleihen den Grundzügen der Live-Gitarren- und Gesangsaufnahmen von ,Anything Could Be" Substanz, ohne dabei ihre Spontaneität zu opfern. Im Ergebnis ein fesselndes, offenherziges Debüt, das mit dem Hörer wächst und Zeit und aufmerksames Zuhören belohnt. Seine 11 Songs sind durchdrungen von dem, was die Dichterin Adrienne Rich ,eine wilde Geduld" nannte, einer radikalen Stille, die selbst eine Reise hin zu Bewusstsein, Frieden und Selbstwahrnehmung ist. Es macht keine Versprechungen darüber, was als Nächstes kommt. Dennoch lässt es die Hörer in atemloser Vorfreude darauf zurück, was das sein mag.