Suche:son of a son

Pink vinyl & sleeve 40th Anniversary Edition of the 1985 studio album, completely remixed and revamped - as it should have sounded. Expanded with two unreleased tracks left off the original album, plus a bonus album: six previously unheard outtakes and six live versions. Remixed by The Vibrators" Pat Collier (RIP), who has brought the guitar properly up in the mix - Johnny missed the original mixing sessions, now it can be heard as he originally intended. Gatefold sleeve notes by Thunders biographer Nina Antonia with interviews of participants, including Mike Monroe.

"Originally released in 1990 on the legendary Australian label Extreme, The Annihilating Angel stands as one of Paul Schütze’s most visionary and cinematic works — a dark ambient masterpiece rooted in mystery, decay, and metaphysical beauty. Blending slow-burning soundscapes, processed field recordings, and abstract industrial textures, this album explores the sonic equivalent of sacred ruins and distant, imagined geographies.


Now officially reissued by Everland Music, this long out-of-print classic returns on vinyl with restored audio and updated packaging. The new brilliant remaster was handled by Miroslav Piškulić, a radio sound maestro renowned for his subtle approach to psychedelic electronic music. The result received praise from Paul Schütze himself — who called it the most faithful reproduction of his original vision to date."

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

Green vinyl. This festive vinyl brings together the best of blues and R&B holiday spirit! From Sonny Boy Williamson's soulful "Sonny Boy's Christmas Blues" to Carla Thomas's sweetly nostalgic "Gee Whiz, It's Christmas," each track adds a unique flavour to the season. Detroit's wild Nathaniel Mayer shouts out in "Mr. Santa Claus (Bring Me My Baby)," while Chuck Berry gives us a laid-back "Merry Christmas Baby." The set captures raw teen R&B from the `50s with Cleveland's Hepsters and their catchy "Rock 'n Rollin' with Santa Claus," plus California's Youngsters spinning a cautionary tale with "Christmas in Jail." The classic Penguins bring warmth with "A Christmas Prayer," and Jimmy McCracklin's "You're the One" adds a bluesy, downbeat edge. Closing with the Ronettes' lush "Sleigh Ride," Big Dee Irwin and Little Eva's spirited duet on "The Christmas Song," and Babs Gonzales' jazzy New Year's ode "Watch Them Resolutions," this collection is the ultimate groove for a holiday celebration that lasts right through New Year's. Perfect for any record player, it's a swinging, soulful holiday feast!

The Lemonheads tease new material with this super limited 12" single. Rekindling the near-perfect pop for which they're famed, the single focuses on the light and dark balance of their impending new album Love Chant that will be released on Fire Records this Fall. Beautifully ill-balanced, `Deep End' and `Sad Cinderella' traverse the highs and lows of life, perfectly illustrating Evan Dando's esoteric musical taste. `Deep End' is a churning riff monster with light-the-blue-touch-paper guitar breaks by J Mascis of Dinosaur Jr, a compulsive fist-in-the-air piece of timeless punk pop, the perfect soundtrack for bumming a cigarette. Co-written with Australian sparring partner Tom Morgan of Smudge, featuring J. Mascis and Juliana Hatfield! Meanwhile, the exclusive flipside is straight out of the Gram Parsons and Emmylou Harris songbook; a cover of the late, great Townes Van Zandt's `Sad Cinderella', it's a song for the romantics, a tearjerker that could have made its way onto Neil Young's `Harvest', or any aching George Jones opus; filled with regret and remorse, it's a beautifully brittle duet between Evan and Erin Rae. So, two slices of the born-again Lemonheads - a mature phoenix rising from the ashes of this legendary band who've been away way too long.

2026 Repress

Tame Impala’s fifth full-length album ‘Deadbeat’. On it, Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.

Deadbeat sounds like the work of an artist with a levelled-up mastery and bristles with a revitalized energy for experimentation. 12 songs crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch to many of the tracks, with a clutch of crucial details, timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). The Last Time I Did Acid I Went Insane (VV001LP) : The fragile poetry and lo-fi warmth of JL's home-recorded debut paint vivid scenes of downtown Manhattan life with cracked sincerity, comic book absurdity and charm. This groundbreaking album continues to charm listeners but has completely run out of stock. Press Quotes: "Jeffrey Lewis: `The Last Time I Did Acid I Went Insane' - Best Indie Album of 2002; like his drawings, his music is witty, animated and true." - New York Daily News "Bizarre but brilliant_ slugging it out to be New Rock capital of the universe, Jeffrey Lewis could well be New York's ace in the hole."- Uncut "Modestly brilliant." [Critic's Choice]- The Village Voice "He claws through the bullshit and pretence ingrained in society. [Jeffrey Lewis' work] _should be cherished."- TimeOut London "Jeffrey Lewis isn't simply a singer, but a creative comic mastermind_ brilliant_ a staggering work of_ genius." - (9 stars of 10) Addicted to Sound Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

Celebrate the SpongeBob SquarePants Movie with the iconic movie soundtrack. Dive into the Bikini Bottom with tracks like "Goofy Goober Rock" and "Ocean Man," and songs from Wilco, Ween, and Avril Lavigne transporting you to the whimsical world under the sea. This soundtrack is a must-have addition to any music collection. On Yellow Vinyl

LIMITED 500 ONLY (WORLDWIDE) FIRST PRESS ON CRYSTAL CLEAR VINYL WITH GREEN SMOKE SWIRLS. HOUSED IN GLOSS FINISHED FULL COLOUR SLEEVE WITH POLYLINED INNER BAG. NON-RETURNABLE.
Japanese psych rockers Hibushibire return with album number four ‘Flashback Stonehenge’ and a UK/European tour to coincide.
‘Flashback Stonehenge’ is the bands first studio album as a four piece, with live guest Kohei Katsuma now joining as a full time member on percussion/congas (an absolute must see live) alongside Changchang (Guitar/Vocal), Tetsuji Toyoda (Bass/Vocal) and Aoi Hama (Drums/Vocals).
Like the band's previous three albums, this one continues with the three shorter songs on side one, and one epic long song filling out side two mantra that has served them so well thus far.
Opening track ‘Snow Sniffing Matador’ is already a firm live favourite, with it’s heavy riffage and 70’s rock swagger. Things then cool down with a more laid back ‘In Heaven’, featuring Aoi Hama’s dreamlike vocal whispers, and a fuzzed out take on traditional English folk song ‘The Cuckoo’ with Changchang & Aoi trading verses.
Flip it over, and you have the epic title track, which sees the band take a slightly different approach recalling the likes of Steve Reich, Terry Riley, Faust, CAN, Eno etc over its extraordinary 22 minutes.
The band return for their fourth UK tour in October, and also play their first mainland European dates to coincide.

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Limited edition PLUTONIUM vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1986 vinyl reissue includes 2 bonus tracks. "This is a bit different than previous records in that there's only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin', and even pop. This LP is more challenging than before and really great." - MaximumRockNRoll, April 1986 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition BROWN & BLACK SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1989 vinyl reissue includes 2 bonus tracks. "...one of the best examples of melodic hardcore just a step away from emo. The album is excellently played and is full of breathtaking anthems that, from time to time, even wink at metal soundscapes." - Debaser - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Einem US-Metalfan die Band Griffin zu erklären hieße Eulen nach Athen tragen. Während das Debüt noch traditionellen Heavy Metal in Reinkultur bietet, tendierte die Gruppe um den außergewöhnlichen Sänger William McKay in Richtung Speed- und Thrash Metal, aber ohne dabei ihre Trademarks einzubüßen. „Protectors Of The Lair“ erschien 1986 bei Steamhammer/SPV. Musikalisch war man am Puls der Zeit, doch der Stil kann auch ebenso als kauzig und individuell bezeichnet werden. Das größte Manko war allerdings immer der dünne Sound, der sich fast nur in den Mitten und Höhen abspielte. Dies wurde nun gleich doppelt behoben!

Es ergab sich das seltene Glück, dass die originalen 24-Spur-Bänder noch vorlagen und nach einigen Reparaturen überspielt werden konnten. Somit war nicht nur ein Remaster möglich, sondern ein Remix, der von Neudi 2020 angefertigt wurde und nun die LP 1 füllt. Die zweite Scheibe beinhaltet den Original Mix von 1986, allerdings remastert von Patrick Engel (Metal Blade, High Roller, etc.).

Hammers Rule gelten als Kultgruppe des US-Metal, deren LP „Show No Mercy“ und EP „After The Bomb“ (1984/1985) heute gesuchte Sammlerobjekte sind. Man wollte sich vom Härtegrad nicht festlegen und decken dadurch ein enorm breites Spektrum des US-Metal ab. Während die ersten vier Tracks zwischen Epic-, Heavy- und Speed Metal liegen (ebenso die beiden EP-Tracks „Kamikaze“ und „Stop The World“), war die B-Seite der Original-LP etwas zugänglicher und passt auch gut zum hohen Haarsprayverbrauch der Achtziger. Doch auch diese Stücke stecken voller Energie und Spielwitz. Einer der Gründe ist die unfassbar gute Rhythmussektion aus Drummer Chuck Hohn und Bassist Shaun Henley.

Die beiden Musiker operierten auf einem Niveau wie Steve Harris und Nicko McBrain (Iron Maiden). Zudem ersetzt der Bass durch das kräftige Spiel und die Präsenz im Mix auf beeindruckende Weise eine zweite Gitarre. Das Album und auch die EP wurden weitestgehend live im Studio aufgenommen. Golden Core war das erste Label, bei dem die verbleibenden Bandmitglieder einer Wiederveröffentlichung zugestimmt haben. Die Golden Core LP enthält die EP-Tracks als 7“ Single.

Legendry haben 2020 eine spannende EP mit drei Coverversionen (u.a. „Metal“ von Manilla Road) und einem neuen, eigenen Song (das titelgebende „Heavy Metal Adventure“) eingespielt, die auch optisch ins Konzept der drei Vorgänger passt. Wer auf Epic Metal steht kommt um „Heavy Metal Adventure“ nicht herum!

- 29 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet.

Das Komponistenduo The Flight (Joe Henson und Alexis Smith) kehrt zur Assassin's-Creed-Reihe zurück und liefert einen Soundtrack, der traditionelle Instrumente mit zeitgenössischen orchestralen und elektronischen Elementen verbindet. So entsteht ein unverwechselbares Gefühl für Zeit und Ort, während spielerisch auf die Science-Fiction-Themen der Serie angespielt wird.

Die beiden Protagonisten von "Assassin's Creed Shadows" werden mit unterschiedlichen Instrumenten und musikalischen Ansätzen dargestellt: Die verstohlene Shinobi-Adeptin Naoe wird mit dem Instrument ihrer Wahl, der Tonflöte (Tsuchibue), und dem körperlosen Flüstern während der Stealth-Momente dargestellt. Der legendäre Samurai Yasuke wird mit den schärferen Klängen der Shamisen und rhythmischer Intensität dargestellt.

Für die Darbietung der japanischen Instrumente hat The Flight auf Meisterspieler wie Keiko Kitamura (Koto) und Hibiki Ichikawa (Shamisen) zurückgegriffen. Weitere Interpreten sind die Sängerin Akari Mochizuki, die Flötisten Kristin Naigus, Oriol Singh und Andy Findon sowie Michael Georgiades, der musikalische Mitarbeiter von The Flight bei Assassin's Creed Odyssey.

Punk pioneer/Eater main-man, Andy Blade's 7th solo album and follow up to 2024's critically acclaimed & heavily rotated, Sparks bros endorsed "Being Alive Is Fun". It is imbued with the usual left-of-centre Blade-ism's & themes: star maps, UFO's & a slightly twisted nod to tragic 70's heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track 'Karen Is The Drummer' (featuring Blade's regular singing collaborator - PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world - 'It's just her & her brother & her folks indifference to that girl'. Occasional Dinosaur Jr vocalist Tiffany Anders gives 'I'm Not Myself' a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet 'About That'. Matilda Scotland, Quick Romance's uber-cool punky-chanteuse - adds her Gen Z aura to the summery 'I Like It When You're Happy'. Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on 'Tiny Specks'_ Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. 'This Place' is another key track, capturing the claustrophobic-genocidal mood of what has been taking place in Gaza/Palestine for over two years now, and counting. 'This is not so much a protest song as it is the noise in my head'. If John Lydon is the Widow Twanky of Punk, and Billy Idol, its Elvis, then Andy Blade must surely be the Sinatra of Punk.

Returning after four years, Los Angeles indie-pop band Massage unveil Coaster, a luminous 10-track album steeped in melodic depth and emotional honesty. Widely recognized for their infectious pop sensibility, the five-piece approach the turbulence of adulthood through shimmering pop songs that capture both nostalgia and growth. Drawing inspiration from The Cure, Big Star, Echo and the Bunnymen, and The Go- Betweens, Massage now transcend their influences, offering a sound that's uniquely their own. Coaster is a testament to the band's evolution-embracing the "inbetween," writing pop songs that linger. What makes compelling is how three musicians take on writing and vocal duties, leading to stylistic shifts between tracks while maintaining a cohesive, signature sound. Across the record, the band's lyricism explores the messiness and resilience of adulthood-resolving to keep moving forward, even when life is uncertain. The recording process mirrored these themes: a willingness to make mistakes, hit reset, and chase down the unique world within each song. This is the soundtrack of five friends navigating life's unpredictability together. Their chemistry and shared history create moments of spontaneous brilliance- whether in the driving interplay between guitars, the pulse of vintage effects, or the heartfelt harmonies threading the album. Coaster is more than a collection of standout pop songs; it documents growth and camaraderie, bridging nostalgia with honest self-reflection and crafting melodies that linger long after the final note.