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UK house mainstay Hodge releases his long-awaited second album, eight tracks of high-calibre house and club music with a focus firmly on the dance floor.

New Time is an ode to musical innovation, a captivating fusion of nu jazz, nu funk, and soul that captures the essence of the contemporary era. Mr. Thruout's skillful production combines with Sandro Lilliu's masterful guitar work, creating a unique sonic experience.
New Time is a work that redefines the concept of contemporaneity in the music scene, offering a unique and engaging experience for enthusiasts of nu jazz, nu funk, and soul. With the signature of Mr. Thruout and the collaboration of Sandro Lilliu, this vinyl is destined to become a modern classic.

With absolute joy we can announce that one of our favorite dubplates of the last years is finally going to be released. If you heard Lion’s Den play, you heard this one. This is Violinbwoy’s take on a Belarusian traditional song. A beautiful interpretation by Laboratorium Pieśni remixed for sound system play by Violinbwoy in his laboratory.

A tune gathering the ancient spirits - from that time to this time… play it loud and feel the vibrations!

Across the cosmic boundaries via spiritual exploration and in the void between shimmer and shadow you will find the astral soundscapes of Birds Of Pandaemonium...

Emerging from Brooklyn's late-night music ecosystem, 'Hazy James' Armstrong and Tim Wagner met nearly 20 years ago through the city's DJ and club scene. Each with different but complementary musical backgrounds which included a mix of folk, guitar, DJing, synths, drum machines, country rock, disco, jazz, and rhythm-heavy club music (being just a few!), the duo began various musical endeavours together & "exploring the darkness while pursuing light" which eventually lead to the birth of Birds Of Pandaemonium.

It was only a matter of time that the stars aligned (via an introduction from Shane Watson of Causeway) to bring the Birds onto the musical radar at Sprechen which led to the release of 3 renowned E.Ps and ultimately, their debut album, Eudaemonia. Obscure covers including Idris Muhammed's Loft classic 'Could Heaven Ever Be Like This', the rave defining Born Slippy by Underworld and the post punk/new wave 'On Islands' by New Musik sit alongside original songs shaped by fresh reflections on life, grief, and love with elements of dream pop, shoe-gaze & gothic pop to give wistful and pulse-driven listening experience that is hazy, romantic, and deliberately genre-blurring.

A truly unique listening experience that delivers broad strokes of sunsetting psychedelia and bleary-eyed optimistic, astral dream-pop across all 8 tracks.

Is it balearic? Not really, it's pretty much a genre all on its own (answers on a postcard).

What began as a pandemic-era radio show on Openlab FM and Ralph Lawson's sonic escape hatch into distant electro worlds has since become a consistent home for the genre. Exit Planet Earth returns from hiatus with a new chapter, and Manchester's Jonny Strinati, aka Kalcagni, is the ideal artist to reopen the transmission. Already well-versed in the EPE universe through the radio show and releases on Cosmoba and Distrito 91, Strinati drops relentless machine beats, intricate synth programming that references all forms of electro from Kraftwerk to Drexciya, with dynamic bass and cinematic designs. It's an intergalactic mind trip as much as a dance floor workout and the production is next level. Welcome back!

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1 | Black Power (German version) [feat Donna Summer]

The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

Wayne Shorter stepped out as a Blue Note artist on his masterful 1964 label debut Night Dreamer, a sublime set that signalled the arrival of one of the most important saxophonists and composers in jazz history. Timeless Shorter compositions are given transcendent performances by a quintet with Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Quiet Village invites Eric Duncan AKA Dr Dunks for his latest EP ‘Plateau Alone’ featuring Zopelar. Dr Dunks is one half of DJ duo Rub-N-Tug.

New York music veteran Eric Duncan AKA Dr Dunks lands on Quiet Village with his latest release ‘Plateau Alone’ featuring Zopelar, dropping 18th September. Beginning his journey over three decades ago in New York's underground scene as one half of the duo ‘Rub-N-Tug’ alongside Thomas Bullock and one half of DFA’s ‘Still Going’, Duncan has built a reputation for his genre-defying music and sets, mixing disco, house, funk and electro. His production and remix catalogue over the years includes Grace Jones, Todd Terje, LCD Soundsystem, Groove Armada, and more. Producer and DJ ‘Zopelar’ hails from Brazil, taking inspiration from the Brazilian music scene and lacing it with jazz, soul, and house, with releases on Apron Records, Tartelet Records, Soul Clap Records, and Selva Discos

The ‘Plateau Alone’ EP comprises three funk-fuelled tracks. Syncopted electro synths fl ood opening track ‘Plateau Alone’ with an 80s-inspired groove, where bass melodies and textures create an otherworldly feel. Second track ‘Slow One Eleven’ slows the pace; percussion and strings featuring rock accents create a steady groove as Duncan adds his signature sonic sound. Low-down bass blends with dub-chords and alien textures in ‘88 Lights’, creating a warm and cosy closing to the EP.

Originally released in 2006, Radiohead tribute album Exit Music: Songs with Radio Heads returns to its original home at BBE Music, two decades on from its debut. Featuring eclectic cover versions of Radiohead’s songs by Mark Ronson, Bilal, Sia, Meshell Ndegeocello, Questlove Sa-Ra, The Cinematic Orchestra, Osunlade and Matthew Herbert to name but a few, the album gave BBE Music its first Top 40 single in the UK with Mark Ronson’s cover of “Just”, and has gone on to become an enduring classic, paving the way for many similar projects in the years since (like BBE's David Bowie tribute Modern Love and Naive Melodies, a tribute to the Talking Heads). Twenty years later, with several of its contributors now major names in their own right, its reputation as a genre-bending classic has only grown. People get confused about cover versions. They are a labour of love, not some sort of disrespectful treatment of the classics. Everyone involved in the "Exit Music" project loves the music of Radiohead; "Songs with Radio Heads" doesn't attempt to replace the originals as "definitive versions." Instead, like the Futureheads cover of Kate Bush or the Slits cover of Marvin Gaye, this is an exercise in translating well-loved tracks into a different genre. "Exit Music" also taps into the dance-floor potential of Radiohead, long recognised by DJs and producers ranging from Burial and Flying Lotus to Kendrick Lamar. The band themselves are devotees of both hip hop and dance music, commissioning remixes from respected figures such as Modeselektor, Madlib, DJ Shadow and Four Tet. Now a bona fide cult favourite, this 20th-anniversary reissue collects together the finest hip hop and dance cover versions of Radiohead songs. Ranging from gentle acoustic treatments to raw funky versions, BBE have taken the songs of Radiohead into realms even he couldn't imagine…

The long-awaited 7-inch release of the live recording of "Unknown Happiness," the signature song by Maher Shalal Hash Baz led by Tori Kudo!

Coupling two live takes of their signature song with distinct arrangements, an essential release that offers a fresh perspective on the unique world of Maher Shalal Hash Baz!

"Unknown Happiness", the signature song of Maher Shalal Hash Baz, the Japanese experimental music project formed in 1984 and led by Tori Kudo. A piece that perfectly embodies the group's one-of-a-kind musical world?freely traversing folk, jazz, brass, classical music, and improvisation?its simple yet heartwarming melody continues to be cherished by indie and experimental music fans around the world.

Now, the live version that captures the song's charm in its freshest form is finally available on a 7-inch record. Side A features the distinctive ensemble of Maher Shalal Hash Baz, beautifully imperfect and filled with the unique atmosphere that only a live performance can convey. Side B presents a special live version with a piano-centered arrangement, revealing a new dimension of the song.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

In August 2025, we gathered in Tindafel, a village by the sea in the north of Morocco, with a bunch of instruments our friend Abdou had lent us, along with a few things we brought ourselves.

At the core, Pablo plays gimbri, Miguel plays drums, Juan plays guitar and keyboards, sings and handles the radio transmissions, and Javier sings, plays keyboard and works with digital effects. Loops were created interchangeably by Pablo, Miguel and Javier, while Pablo would often also pick up the guitar or keyboards, with everyone moving between instruments and roles throughout the recording.

Nothing was written beforehand.
 All tracks were improvised and recorded in a single take using a room microphone, so no mixing was possible. 
To this day, as we write this, none of the tracks have been played again — yet!

The album was edited by Pablo and mastered by Tobias.

The cover photograph was taken in the kitchen of the house, the same place where Magic Pony Productions first came together.

The poem on the sleeve was written by Oscar García Sierra.

First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!

Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.


For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.

Legendary Children (All of Them Queer)" is a celebrated 1994 dance-pop track by former Frankie Goes to Hollywood frontman Holly Johnson. The song acts as an upbeat LGBTQ+ historical roll-call, honoring historical queer icons from Andy Warhol to Leonardo da Vinci, and was notably performed at London's Gay Pride in 1994. The song is based on the iconic Paris Is Burning and features the brilliant vocals of Helen Terry (Culture Club/2wo Third3). 

Released on the album Soulstream, the song is famous for its spoken-word verses and euphoric chorus celebrating legendary figures like Oscar Wilde, Jean Cocteau, and Joe Orton. The overarching message is captured in its defiant lyric: "The answer is clear, they're all of them queer."

Now 2026 sees brand new versions by Luv Foundation (UK). George from the Sharp Boys, a dear friend of Holly's and Mark Loverush, mentioned to Holly that Luv Foundation (UK) should do the rework. Mark Loverush and Julian Napolitano wanted to capture as much of the original essence as possible, keeping that 90s flavor while giving the remix a big, classic feel reflective of how it would sound today. 

This is a limited edition of 700 pink vinyl, including 2 of the original versions alongside 2 remixes by Luv Foundation (UK).  It comes in brand new artwork by Philip Marshall.

Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.

It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.

“Remarkably prescient and weirdly beautiful record. A creative, challenging and memorable companion, with a distinct voice and identity of its own: in turn playful, political and experimental. It's highly recommended.” – The Quietus

'Hive Mind are excited to have worked with Rio de Janeiro based label QTV, to bring you this retrospective from the cosmic joker of contemporary Brazilian music, Negro Leo.
'The music on this retrospective, which draws together songs from his 14 albums, EPs and singles released since 2012, ranges widely and wildly across genres and styles, from the urgent and angular no-wave inspired punk-funk of Niños Heroes or Ilhas de Calor, through the psychedelic hoedown of Noite Invertida or the beautiful and delicate Esferas and on to the maximalist hyperpop of more recent works like RELA or Desejo de Lacrar. Negro Leo consistently confounds, confuses, disturbs and provokes.
'His music is explicitly and fiercely Brazilian and draws on the history of black Brazilian music for inspiration - Gilberto Gil and Tropicalism, Itamar Assumpção and the Vanguard Paulista, Funk Carioca, the Boi's rhythm from the northern carnivals, the samba of the streets and the country - it's all thrown into the mix, along with free-jazz, noise and various chunks of non-Brazilian pop. Leo's music and songs serve as an essential documentation of the country's rapidly shifting social fabric in the digital age, a time in which the country and its people feel lost in a "jungle of pixels".
'Some of these surreal songs can feel overwhelming at times, like a wall of noise full of unfamiliar sounds and rhythms, but there's an unapologetic punk spirit behind it all, alongside a genius composer. It's worth pushing through the that sense of overwhelm to the place where the beauty and complexity of the composition and songwriting shines.'

Five Special were a five-man harmony vocal group from Detroit whose members included Mike Pattillo, Steve Harris, Zeke Stanley, Greg Finlay and Bryan Banks (the younger brother of Dramatics’ main man Ron Banks). The aim of these five young men was to create a group with the potential of anyone of its members to be able to step up to sing lead on any given song, something which they went on to achieve to great aplomb.

Ron Banks was very instrumental in the founding of Five Special introducing them to his long-time friend Charles “Chuck” Underwood, a one-time former road manager of the Dramatics and by then the owner of the independent T.E.A.I Record Corporation label (T.E.A.I being an abbreviation for “Tellin’ Everybody About It”). Five Special’s first release for T.E.A.I was the 1976 joyously uplifting dancer “The More I Get To Know You” a Jimmy Roach and Marcella Henderson composition featuring Bryan on lead, released as a part I and part II deemed to be a more disc-jockey friendly practice at the time. The record was popular with radio stations throughout the Detroit metropolis leading Chuck to precure a deal with Polygram which resulted in the song gaining release on their nationally distributed Mercury label. A second Five Special Mercury release followed in 1977, the Jimmy Roach penned mellifluous “(Let’s Stop Making) Small Talk” backed with the Ron Banks/Paul Clark penned psychedelic soul styled “Oh, Oh (Look What We’ve Done)” with Greg Finley and Zeke Stanley exchanging tenor and baritone parts throughout.

Through our ongoing working relationship with T.E.A.I Soul Junction have gained access to some previously unissued master tapes on Five Special which were recorded for an intended album project that was never finished. From these tapes we took “The More I Get To Know You” in its 5:50 minutes entirety (not split into parts 1 & 2) backed with the previously unissued mid-tempo delight “You Got To Be The One That I Love” with interchanging leads from Bryan and Steve coupled with the released psychedelic soul “Oh, Oh (Look What We’ve Done)” with interchanging leads between Greg and Zeke, catalogue number SJ565, currently a very popular release amongst Collectors and DJ’s alike. For our second and follow up Five Special 45 release, we have chosen to lead with the gorgeous, previously unissued “Two OF A Kind” penned by Ron Banks with lead vocals being provided by Steve Harris. The B-side of this release opens with another unissued psychedelic song, the Ron Banks/Chuck Underwood composed “Stone Chain Reaction” featuring punchy interchanging lead vocals from Greg Finley and Zeke Stanley, this is coupled together with the released mid 1970’s sweet soul masterpiece from the pen of Jimmy Roach “(Let’s Stop Making) Small Talk” making this yet another quality three track release from Soul Junction.

CPEN is the alias of Chris Penny and his 'Pirates Life' EP on Seasons Recordings back in the 2000s is one of our all-time favourites. It was used on Craig Richards's fabric mix and still sounds original more than a quarter of a century on as the man behind it has gone on to work with Luke Solomon and Honey Dijon on a Grammy-winning album. It's the title cut that does it for us with the way the groove is so languid and loose as it hangs just above the floor and deep space sounds colour the airwaves. 'Song Of The Muse' is a beautiful synth scape stripped of rhythm and 'Liquid Steps' has a little more bite but still roll on nice soft kicks with life-affirming keys up top. 'Third Quarter' is a majestic post-club comedown with all of CPEN's signature synth sounds and even some brassy smears, making it an utter downtempo delight.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Vier Jahre brodelte es im Berliner Untergrund: Nach zwei DIY-Tape-Releases durchbrechen SEK die Flanke und präsentieren mit Wallensteins Garage ihr erstes Album auf Vinyl ein Debüt, das gleichermaßen Geschichtserzählung, Konzeptalbum und ausufernde Jam-Session ist. SEK benannt nach den Anfangsbuchstaben der Nachnamen ihrer Mitglieder - Paul-Willy Stoyan (Gavial, Jacke Schwarz), Georg Edert (Elder, Gaffa Ghandi) und Lucas Kazzer (Gaffa Ghandi, Borders Down) - vereint drei Musiker, die seit Jahren in der Berliner Underground-Szene aktiv sind. Ihre gemeinsame Sprache findet sich zwischen Improvisation, historischer Erzählung und druckvollem Rock. Was die drei verbindet, ist weniger ein gemeinsamer Stil als die Lust am Ausprobieren: ausufernde Proben, lange Improvisationen und die Suche nach Klanglandschaften, die ebenso sperrig wie eingängig sein können. Was 2022 während des pandemiebedingten Lockdowns mit stundenlangen Jams begann, entwickelte sich in den vergangenen vier Jahren zu einer eigenwilligen Mischung aus Psychedelic Rock, Krautrock und einer Prise Prog. Die Band selbst nennt diesen Sound augenzwinkernd HOR Historian Oriented Rock: Musik, die historische Stoffe nicht illustriert, sondern in Klang übersetzt. Die Inspiration für die Songs stammt aus dem Dreißigjährigen Krieg (16181648), insbesondere aus dem Leben des böhmischen Feldherrn Albrecht Wenzel Eusebius von Wallenstein und den Ereignissen rund um die Schlacht bei Lützen (1632). Das musikalische Arsenal ist ebenso vielseitig wie die erzählte Geschichte: verfuzzte Gitarren mit wabernden Delays treffen auf einen galoppierenden Bass und treibende Drums, getragen von träumerischen Keyboards. Immer wieder öffnen sich freie, fast chaotische Passagen, in denen Harmonie und Rhythmus auseinanderbrechen wie Schlachtordnungen, die im brutalen Nahkampf ihre Form verlieren. An anderer Stelle schaffen sanfte Mandolinenklänge Momente der Ruhe, bevor sie sich in schwere, schmerzvolle Trauermusik verwandeln, inspiriert von Doom und Drone Metal. Zwischen hypnotischen Grooves, improvisatorischer Freiheit und cineastischer Dramaturgie erschaffen SEK einen Sound, der Vergangenheit nicht nachstellt, sondern neu erfahrbar macht. Die Platte erscheint auf Exile On Mainstream als schwarzes Vinyl mit beigelegter CD. Genre: Krautrock, Psychedelic, Alternative Für Fans von: Elder, Gentle Giant, Amon Düül, Zahn.

The much-admired southern soul singer Eddie Giles’ final single for his local Shreveport label Murco, was a self-penned bluesy plodder called ‘Ain’t Gonna Worry No More’. Hiding on the flip was ‘Tingling’ a catchy, atmospheric song written by Murco executive Dick Martin and Jimmy Johnson whose pop group the Peermonts were label-mates. His subsequent release by the same production team appeared on the Silver Fox label so his management may have felt his time at Murco was up - the few pressings of ‘Tingling’ are now in the rare soul big price league.
Around the same time Eddie cut a version of a 40s Country song written by Fred Rose which leant itself to being an excellent mid-tempo soul number; though not released at the time. Despite its sparse instrumentation, it is a very good performance, now on vinyl for the first time.

(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.


Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.


Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.


BLUAI much as they sound on stage: raw, direct and closely connected.

Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."

Seit der Gründung von 2nd Grade im Jahr 2018 hat der in Philadelphia ansässige Songwriter und Produzent Peter Gill (der auch Gitarrist der Alt-Country-Band Friendship ist) eine Reihe spektakulärer neuer Welten erschaffen ausgehend vom 20. Jahrhundert-Gitarrenpop, wobei er dessen typischen Klischees irgendwie meilenweit hinter sich lässt, indem er sie genau bis zu ihrem logischen Ende verfolgt. Girls and Boys" ist das neueste Album von 2nd Grade und das erste bei Lame-O Records eine Sammlung von zwanzig Songs, von denen keiner länger als drei Minuten dauert, vollgepackt mit unwiderstehlichen Gitarrenriffs, Power-Akkorden, rasanten Drumbeats und wirbelnden Melodien. Songs von schwindelerregender Komplexität, die man trotzdem nicht aufhören kann zu summen. Auf Girls and Boys" gelingt 2nd Grade immer wieder der wundersame Trick des perfekten Popsongs: Es so aussehen zu lassen, als wäre es ganz einfach.

Black Mekon gelten als Kultfavoriten und verbringen seit mehr als 15 Jahren ihre Zeit damit, rund um den Globus zu touren und eine Reihe hochgelobter Geheimtipp-Alben zu veröffentlichen. Dabei haben sie ihren einzigartigen Mix aus Lo-Fi-Garage-Rock, Punk und Blues stetig perfektioniert und sich eine treue Fangemeinde aufgebaut.Nachdem sie bereits mit Künstlern wie Jon Spencer, Black Lips, Kid Congo und The Scientists die Bühne geteilt haben, wurden sie kürzlich persönlich von Jack White als Support-Act ausgewählt. Dies geschah kurz nach einer weiteren Japan-Tournee gemeinsam mit Guitar Wolf.13 Songs About Monsters hält genau das, was der Titel verspricht: eine Sammlung von Horror-inspirierten Garage-Rock-Hymnen, die pünktlich zu Halloween erscheint und als streng limitierte Glow-in-the-Dark-Vinyl-Edition veröffentlicht wird.

More than five decades into one of Brazilian music's most remarkable careers, Joyce Moreno returns with a new collection of songs that reflect the warmth, lyrical sophistication and innovation that have made her one of Brazil's most defining musical voices.

Produced by Joyce Moreno alongside her husband and longtime collaborator Tutty Moreno, the album finds the Rio-born singer, guitarist and composer at her most reflective. Across nine beautifully crafted songs, Joyce pairs intricate guitar work, lyrical intimacy and effortless swing with the musical curiosity that has defined her work for more than half a century.

Invited into the studio by Roberto Menescal at just sixteen years old, Joyce emerged during a transformative period for Brazilian music, releasing her self-titled debut in 1968. She soon established herself as one of Brazil's pioneering female songwriters, writing unapologetically from a woman's perspective at a time when few women were afforded that voice. Her song “Me Disseram” sparked national debate, while later works including “Feminina” cemented her reputation as an artist unafraid to challenge convention.

While some of her politically charged songs were censored during Brazil's military dictatorship, Joyce continued to write with honesty and independence. After studying journalism in the late 1960s, her gift for observation and storytelling became an even more defining feature of her songwriting. Over the following decades she released a succession of acclaimed albums, including the now-classic Feminina and Água e Luz, earning widespread recognition both in Brazil and internationally. Antônio Carlos Jobim would later describe her as "one of the greatest singers", while generations of musicians have drawn inspiration from her fearless artistry and enduring originality.

That same artistic fearlessness remains at the heart of her latest work. The album brings together an exceptional ensemble of Brazilian musicians. Tutty Moreno's expressive drumming underpins Joyce's vocals and guitar throughout, while Jorge Helder's bass, Lula Galvão's guitar and Marcos Nimrichter's warm Fender Rhodes create a sound that is both intimate and expansive. Contributions also come from the legendary Toninho Horta, alongside José Arimatéa, Teco Cardoso, Nailor Proveta, Josué dos Santos and Raphael Sampaio, whose additions add colour and texture without overshadowing Joyce's understated brilliance.

Throughout the album, Joyce balances quiet reflection with effortless rhythmic vitality. “Chovendo na Horta” serves as both a heartfelt dedication and a celebration of Joyce's enduring musical connections, featuring the unmistakable guitar of Toninho Horta. Elsewhere, “Aldeia de Ogum” receives a fresh new arrangement by Nailor Proveta, revisiting one of Joyce's most beloved compositions. Originally released in 1980, the track has enjoyed a remarkable resurgence in recent years, embraced by a new generation of listeners and became an underground favourite among DJs including Floating Points, Four Tet and Danilo Plessow. Now a staple of Joyce's live performances, this reimagined version brings renewed energy to a song that continues to transcend generations.

At seventy-eight, Joyce Moreno continues to write with the same curiosity, generosity and quiet innovation that have defined her career from the very beginning. "For me, it's never too soon to try something new, either in music or in life," she reflects - a philosophy that gives both the album and its title their enduring sense of optimism. This latest album is neither a retrospective nor a reinvention, but the work of an artist who continues to refine her voice with remarkable grace, proving that her most compelling music remains firmly rooted in the present.

Following the album's release, Joyce Moreno will embark on a European tour this November, bringing her celebrated live show to audiences across the UK and Europe. A rare opportunity to experience one of Brazil's most influential and enduring artists in concert, the tour showcases a songwriter whose voice, virtuosity and musical vision remain as compelling today as ever.

It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.

Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.

The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.

stray dogs is the second full-length album from the Finnish electronic duo Shepherd’s Call. Released on the BELOW0 label, the project blends moody, emotional ambient textures with experimental club beats and live cello arrangements. This physical edition is pressed on heavy 180g black vinyl and features exclusive vocal dub tracks on Side B with guest spots from 3NDLES5, Merely, and Glayden.

Eine historische Begegnung zwischen zwei der größten und legendärsten Bands des ehemaligen Jugoslawiens: LAIBACH - international anerkannt für ihre kompromisslose Auseinandersetzung mit Ideologie, Ästhetik und Macht - präsentieren "Die Kanone". Dabei handelt es sich um eine Neuinterpretation von "Top", der ersten, 1974 veröffentlichten Single von BIJELO DUGME, den Pionieren der jugoslawischen Rockkultur, gegründet von Goran Bregovic. Gemeinsam verwandeln sie einen historischen Song in ein neues Statement über die Zyklen der Geschichte und die Mechanismen, die die Gegenwart prägen - ein Werk, das tief in der Kulturlandschaft des ehemaligen Jugoslawiens verwurzelt ist, aber ebenso deutlich darüber hinausweist. Die Version von Laibach, unter Mitwirkung von Bijelo Dugme und insbesondere Goran Bregovic an der Gitarre, erschien 2025 digital, sowohl in deutscher als auch in slowenischer Sprache. Nun zusätzlich von DIE KRUPPS, THE LINCOLNSHIRE POACHER, BLACK DOT und dem RTV Slovenia Symphony Orchestra neu gemischt und interpretiert, um die allererste physische Veröffentlichung auf 12"-Vinyl und CD zu vervollständigen. Mehr als fünfzig Jahre nachdem das Debüt von Bijelo Dugme ein neues Kapitel in der Geschichte des Balkan-Rock aufschlug, greifen Laibach dieses ikonische Material auf und interpretieren es in ihrer eigenen, monumentalen Klangsprache neu. Das Ergebnis ist ein Dialog zwischen zwei Epochen, zwei künstlerischen Visionen und zwei Herangehensweisen an die Symbole, durch die sich Gesellschaften selbst definieren. "Die Kanone" ist nicht bloß eine Neuinterpretation eines historischen Songs - es ist ein zeitgenössischer Kommentar zum sich wandelnden Verhältnis zwischen Industrie, Technologie und Militarisierung. Der Titel evoziert den Wandel der industriellen Produktion und die beunruhigende Neuausrichtung etablierter Fertigungstraditionen hin zur Herstellung von Waffen und Kriegssystemen. Durch das Aufeinandertreffen der ursprünglichen Rock-Mythologie von Bijelo Dugme und dem Industrial-Ritualismus von Laibach untersucht der Song, wie wirtschaftliche Macht, technologischer Fortschritt und militärische Ambitionen miteinander verflochten sind. Das Stück reflektiert eine Welt, in der die Sprache der Produktion zunehmend mit der Sprache des Konflikts verschmilzt. "Die Kanone" und die slowenische Version "S topom te bom ciljal moja mala" erscheinen erstmals physisch, mit Remixen der deutschen Industrial/EBM-Legenden DIE KRUPPS (die eine episch-wuchtige Version beisteuern, welche ein Hit in ganz eigener Sache ist), des britischen Produzenten The Lincolnshire Poacher sowie des slowenisch-kroatischen Elektronik-Duos Black Dot. Der sechste Titel der 12"-Vinylversion ist eine Live-Aufnahme aus der Oper von Ljubljana, eingespielt mit dem RTV Slovenia Symphony Orchestra. Erhältlich ist klassisch schwarzes oder limitiertes farbiges Vinyl sowie CD mit zwei Bonustracks (iTurks Symphonic Mix der slowenischen Version und eine Instrumental-/Karaoke-Version). Beide Formate mit Obi-Banderole.

The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.

The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.

If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.

All tracks recorded at ROLL OVER STUDIOS, London. January 2004.

Features 10 Studio tracks including: It Mek, Israelites and Sing A Little Song.

Desmond Adolphus Dacres was born on 16th July 1941 in Saint Andrew Parish, Greater Kingston, Jamaica. As a youngster Desmond regularly attended his local church with his grandmother and aunt. Here would bring him his lifetime religious commitment and his enjoyment for singing.

Dekker moved to parish of St. Mary following his mother’s death as a result of illness. He later moved to St. Thomas, where he took up an apprenticeship as a tailor, before he moved back to Kingston and landed himself a job as a welder.

His co-workers encouraged him to pursue his singing career, he successfully auditioned for Leslie Kong's Beverley's record label and was awarded his first recording contract. As his career took off this was the time he decided to adopt the name Desmond Dekker instead of 'Dacres'.

After his Studio One days with The Mad Lads and a long break for his engineering career, George Allison went back into the studio for Carl Prince's Gibbous label. The sessions ran across Channel One, Aquarius, Tuff Gong and Music Mountain, and they produced two albums in 1984, So Unusual and Exclusive. Both were released in the UK and the US. This single puts one song from each album together.
Sad - George's version of "Who's Sad" by Smokey Robinson & The Miracles. Smokey was one of his first vocal models, and his school friends called him "George Smokey."
Every Hoe - "I composed Every Hoe from the Jamaican proverb 'Every hoe have him stick a bush', which means there's somebody out there for everyone. The gist of the song is that there are always problems too, because it's a curse on the human race."

Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."

*CASSETTE TAPE!**

SELN Recordings is proud to present Sillons, the debut release from French musician Pierre François.

Straight from Nantes with love and sadness; Sillons is the soundtrack to being shut inside and sheltered from all the dread beyond your bedroom door. What may at first appear as a collection of abstract loops unravels into something much greater throughout its entirety.

Underneath a thick atmosphere of tape hiss and crackle, minimal synth explorations emerge and float away while the occasional guitar-esq riff ebbs in and out of the foreground like waves at the shore. Percussive refrains come through with perfect timing, their occasional rudimentary timbre all in the spirit of ‘do it yourself magique’.

Picture the following: it’s been decades and you’ve forgotten how to communicate with the world outside, all you have left are message-songs which leave behind a story of what it was like to be separated from everything you’d ever known during an existential sabbatical. This is very near to the audio experience that Sillons gives and thus makes it so real. On this merit alone François deserves his flowers.

Even the shortest of songs manage to conjure up visceral imagery. For example ‘Abouile’, with an impressive runtime of 51 seconds, dives straight into the eeriest corners of a Cold-War era ‘Numbers Broadcast’ being sent out from malfunctioning military personnel venturing off into the depths of their consciousness.

All in all there is something distinctly ambitious and positive within Francois’ work. It takes you to a place where little else matters except the mood and feeling the music provides, a hopeful and emotive landscape.

Mastered by Amir Shoat

The Oak Ridge Boys are paying tribute to their favorite songs without losing sight of their gospel roots in a stunning and inspiring new album, Buried Treasures. Produced by Anderson East and executive produced by Dave Cobb, Buried Treasures gathers together classic songs made popular by seminal voices such as Louis Armstrong and Nat King Cole, as well as essential songs written by Billy Joe Shaver, Paul Simon, and Bill Withers. The vocal group’s spiritual side shines through on recordings of “Deep River,” “How Great Thou Art,” and “Softly and Tenderly,” yet there’s also a hint of romance in the enduring ballad, “You Are So Beautiful.” The album’s only new song, “Buried Treasure,” was written specifically for the project by GRAMMY Award-winning songwriter Aaron Raitiere. “Every song on the album is about something that’s dear to us,” Oaks member Duane Allen says.

'A little grungy, a little groovy…after 25 years of making music, ELIZA has finally written her first real love song.
'Fifteen years on from her platinum-selling debut, the music she is making now feels far more authentic to the soundtrack of her teenage years: D’Angelo, Radiohead, Janet Jackson, Stevie Wonder, Prince, and The Smashing Pumpkins.'

"On her best record yet, Eliza strips her songwriting to its bones” - Shatter The Standards (★★★★☆)

"The Darkening Green feels like a natural deepening of her voice and vision, balancing intimacy, social awareness and quiet hope” - Wordplay

"Serious, stylish, but also effortlessly cool” - Song Bar

Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.

"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.

Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

To celebrate the 20th Anniversary the album is to be released as a 1LP Zoetrope, featuring the original album newly remastered at Half Speed at the legendary Abbey Road Studios. Plus, different artwork designs on side A+B which bring to life original designer Sanna Annukka Smith’s illustrations in mesmerising motions created by expert Zoetrope graphic designer Drew Tetz. Strictly Limited Edition pressing.

Shadowy Detroit duo The Fantasy continue to offer up "secret mixes fixes" - high-grade, sonically spectacular re-rubs inspired by the original reel-to-reel re-edit era and the now iconic DJs behind the movement (Ron Hardy, Danny Krivit and Larry Levan included). The Motor City twosome kick off volume 5 in their ongoing series with 'Working Girl', a throbbing, San Francisco style electro disco workout peppered with spacey synth riffs, before turning a Bay Area drum machine workout into a breathless peak-time percussion-fest. Over on the reverse, 'On Fire Warp' is another percussion-laden revision of what sounds like a post-punk era industrial funk gem, while 'Lovefingers' is a break-driven translation of an ancient psychedelic rock workout.

Tenampa now turns to French sonic storyteller YokoO, who makes his debut on the Mexican imprint with a three-track workout that perfectly captures his signature sound: deep, refined and effortlessly effective.
Rich in groove, subtle textures and immersive atmospheres, the release unfolds with the unmistakable sense of depth and emotional detail that has become synonymous with YokoO’s productions.
Strictly limited to 300 copies worldwide and available exclusively on vinyl, this release further cements its status as a true collector’s piece.
The artwork once again comes courtesy of the ever-outstanding Manuel Cetina, aka El_Stitch, whose distinctive visual language adds another layer of identity and lasting value to the release, securing its place in any serious record collection.

A Safe Place To Be Wild is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, A Safe Place To Be Wild captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.

In January 2016, a 21-year-old Jacquees confidently stepped into the spotlight and officially shifted the climate of modern R&B. Released as a mixtape hosted by DJ Spinz, Mood wasn't just a collection of songs—it was a bold sonic manifesto. Merging classic, unbridled Southern R&B vocals with the heavy, localized bounce of Atlanta’s dominant trap scene, the project gave a generation of fans their definitive late-night soundtrack. Now, a decade after its initial release, the foundational classic is finally making its official debut on all major streaming services, as well as arriving on CD and vinyl for the very first time.

Produced primarily by Nash B, Mood captured an artist on the precipice of superstardom. Backed by executive support from Birdman and the Cash Money Records family, the project features a powerhouse lineup of mid-2010s royalty, including standout guest verses from Kevin Gates, DeJ Loaf, Rich Homie Quan, Kirko Bangz, and Young Scooter.

For years, Mood lived in the digital underground of mixtape websites and YouTube rips, passed around by R&B purists like a treasured secret. Whether you're streaming it on the go, spinning the rich analog grooves of the vinyl, or popping the CD into your car, this release honors the timeless body of work that cemented Jacquees as the King of R&B.

For the first time ever, Michael Jackson’s ‘Thriller’ is available on red & black marble vinyl, celebrating the world’s biggest-selling album and the first album to be certified triple Diamond by the RIAA. Released in 1982, Thriller changed pop music forever, featuring seven U.S. Top 10 hits including “Billie Jean,” “Beat It” and “Thriller,” and helped Michael win a record-setting eight Grammy Awards in one night.

venturing is the side project of acclaimed artist Jane Remover whose 2023 album Census Designated, and 2025 album Revengeseekerz and new EP <3 has received immense critical acclaim and "best of year" lists. this is a brand new EP, surprise released.

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

NEUES ALBUM MIT DEN PUNK-ROCK-LEGENDEN CHARLIE HARPER (U.K. SUBS) UND DEL GREENING (PETER AND THE TEST TUBE BABIES) Eine wunderbare neue Punkrock-Partnerschaft! Charlie Harper ist ein langjähriger Bewunderer von Del Greenings Gitarrenspiel und beide leben in Brighton. Da Del nicht mehr mit Peter And The Test Tube Babies auf Tour war und Charlie ,etwas" weniger Gigs mit den U.K. Subs spielte, hatten beide Zeit, etwas Neues und Frisches zu starten. Ohne Proben, ohne Vorproduktion und mit nur ein paar groben Songideen machten sich Del und Charlie zusammen mit Vicky Smith von den Ramonas am Bass und Marley Perez (Charlies Enkel) am Schlagzeug im Oktober 2025 auf den Weg zu den Brighton Road Recording Studios und legten los. Die Songs ,Deadlines", ,Divide", ,Cyber War" und ,Lost" wurden in der ersten sechsstündigen Session geschrieben. Nachdem der Großteil von Marleys Schlagzeug bereits aufgenommen war und er nun auf Tour war, zogen die Sessions in das winzige Studio im Hinterhof von (Toningenieur) Ali Gavin im Dorf Aulburn in Mid Sussex um. ,Ali war für die Tontechnik zuständig. Ich habe Gitarren und Gesang überlagert. Charlie saß hinter uns und warf Ideen, Geschichten, Songtexte oder - je nach Tageszeit - völlige Verwirrung ein. Irgendwie nahm das Album aus all dem Chaos langsam Gestalt an.", so Del zum Aufnahmeprozess. Eine kurze Krankheitsphase von Charlie führte jedoch dazu, dass die Disasters an einigen Songs ohne ihn arbeiteten. ,Wir drei haben schließlich ein paar neue Tracks aufgenommen: ,Scars` und ,The Disasters`. Vicky spielte Bass, während Ali das Mixing übernahm, dann setzte er sich ans Schlagzeug, während ich mich um die Gitarren kümmerte. Wir schickten die Rohaufnahmen an Charlie. Er war begeistert. Bei den letzten Sessions war das Album zu etwas geworden, womit keiner von uns gerechnet hatte. Nicht wirklich ein Subs-Album und auch nicht wirklich mein oder Charlies Soloalbum. Etwas völlig anderes." ,Derik & The Disasters" besteht aus vierzehn Songs, die sowohl an Charlies als auch an Dels musikalisches Erbe anknüpfen und gleichzeitig einen einzigartigen, lebendigen Sound schaffen - mit Texten, die sich nicht scheuen, die vielen Probleme anzusprechen, mit denen die Welt heute konfrontiert ist. Das ist Punkrock im Jahr 2026. Laut abspielen.

NEUES ALBUM MIT DEN PUNK-ROCK-LEGENDEN CHARLIE HARPER (U.K. SUBS) UND DEL GREENING (PETER AND THE TEST TUBE BABIES) Eine wunderbare neue Punkrock-Partnerschaft! Charlie Harper ist ein langjähriger Bewunderer von Del Greenings Gitarrenspiel und beide leben in Brighton. Da Del nicht mehr mit Peter And The Test Tube Babies auf Tour war und Charlie ,etwas" weniger Gigs mit den U.K. Subs spielte, hatten beide Zeit, etwas Neues und Frisches zu starten. Ohne Proben, ohne Vorproduktion und mit nur ein paar groben Songideen machten sich Del und Charlie zusammen mit Vicky Smith von den Ramonas am Bass und Marley Perez (Charlies Enkel) am Schlagzeug im Oktober 2025 auf den Weg zu den Brighton Road Recording Studios und legten los. Die Songs ,Deadlines", ,Divide", ,Cyber War" und ,Lost" wurden in der ersten sechsstündigen Session geschrieben. Nachdem der Großteil von Marleys Schlagzeug bereits aufgenommen war und er nun auf Tour war, zogen die Sessions in das winzige Studio im Hinterhof von (Toningenieur) Ali Gavin im Dorf Aulburn in Mid Sussex um. ,Ali war für die Tontechnik zuständig. Ich habe Gitarren und Gesang überlagert. Charlie saß hinter uns und warf Ideen, Geschichten, Songtexte oder - je nach Tageszeit - völlige Verwirrung ein. Irgendwie nahm das Album aus all dem Chaos langsam Gestalt an.", so Del zum Aufnahmeprozess. Eine kurze Krankheitsphase von Charlie führte jedoch dazu, dass die Disasters an einigen Songs ohne ihn arbeiteten. ,Wir drei haben schließlich ein paar neue Tracks aufgenommen: ,Scars` und ,The Disasters`. Vicky spielte Bass, während Ali das Mixing übernahm, dann setzte er sich ans Schlagzeug, während ich mich um die Gitarren kümmerte. Wir schickten die Rohaufnahmen an Charlie. Er war begeistert. Bei den letzten Sessions war das Album zu etwas geworden, womit keiner von uns gerechnet hatte. Nicht wirklich ein Subs-Album und auch nicht wirklich mein oder Charlies Soloalbum. Etwas völlig anderes." ,Derik & The Disasters" besteht aus vierzehn Songs, die sowohl an Charlies als auch an Dels musikalisches Erbe anknüpfen und gleichzeitig einen einzigartigen, lebendigen Sound schaffen - mit Texten, die sich nicht scheuen, die vielen Probleme anzusprechen, mit denen die Welt heute konfrontiert ist. Das ist Punkrock im Jahr 2026. Laut abspielen.

Written during and after a year touring the world, Sweet American Boy
expands the raw honesty that built honestav's audience while pushing his
sound into bigger, rock-driven territory - heard on Can't Let Go, Storm In
This House, and Crash First.
Across 16 tracks he wrestles with family history, addiction, grief, love, and
the complicated reality of chasing - and catching - the dreams he once
chased. It’s honestav at his most vulnerable, self-aware, and ambitious: an
evolution of his signature storyteling that feels larger, louder, and more
unfiltered than ever before.
• MGK co-sign Multiple dates on MGK's Lost Americana Tour; Crash
First (with mgk) on the LP
• Deeply engaged fanbase: 1.8M TikTok • 1.2M Spotify monthly
listeners
• A bigger, bolder chapter: Rock-driven evolution of his sound, with a
headline tour on the way

Mit dieser festlichen Compilation stehen die unvergesslichen Weihnachtsaufnahmen von Elvis Presley im Mittelpunkt. Der "King of Rock "n" Roll" zählt bis heute zu den erfolgreichsten und einflussreichsten Künstlern der Musikgeschichte, und seine Interpretationen klassischer Weihnachtslieder gehören seit Jahrzehnten zum festen Bestandteil der Advents- und Weihnachtszeit. Die Sammlung vereint zwölf seiner beliebtesten saisonalen Aufnahmen und verbindet traditionelle Weihnachtsklassiker mit Gospel-inspirierten Songs und gefühlvollen Balladen. Darunter finden sich zeitlose Titel wie "White Christmas", "Silent Night", "Blue Christmas" und "Santa Claus Is Back In Town". Mit seiner unverwechselbaren Stimme und seinem warmen Vortrag verleiht Elvis diesen Aufnahmen eine besondere Atmosphäre, die Generationen von Musikfans begeistert.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The Italian ambient maestro’s 1986 debut, remastered and restored for its 40th anniversary. A peerless infusion of minimal piano, free classical, and balearic new age, Wind is the aural equivalent of swimming alone at night. Housed in a tip-on jacket with the Bear In Heaven issue’s original iconography in reflective silver foil for easy self-analyzation/ realization.

The Italian ambient maestro’s 1986 debut, remastered and restored for its 40th anniversary. A peerless infusion of minimal piano, free classical, and balearic new age, Wind is the aural equivalent of swimming alone at night. Housed in a tip-on jacket with the Bear In Heaven issue’s original iconography in reflective silver foil for easy self-analyzation/ realization.

As the thirteenth release on Guy J's Early Morning imprint, this three-track collection unfolds across 25 minutes and 9 seconds, exploring movement, emotion, and introspection through three distinct yet interconnected works.
The release opens with Secret Serv1ce, an uncompromising statement driven by a commanding beat, layered percussion, and psychedelic textures that blur the boundary between reality and abstraction. Its hypnotic momentum earns attention, reaffirming Guy J's command of both studio craftsmanship and musical skills.
At the centre of the release lies Placebo, the collection's longest work. Across nearly eleven minutes, it balances ethereal atmospheres with a meticulously engineered groove. Delicate electronic textures gradually give way to an irresistible melodicmotif that transforms the track's emotional landscape.
Closing the EP is My Existence, an intimate exploration of identity that reflects both the artist familiar to audiences around the world and the quieter dimensions hidden beneath the surface. Synthesizer interplay and forward-looking sound design converge into a navigation through unexplored emotional and sonic terrain while connecting memory, imagination, and rhythm into a unified whole.
With EARLY013, Guy J demonstrates how electronic music can remain both intellectually engaging and physically compelling, inviting listeners to lose themselves on the dance floor while discovering something deeper within the process.