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Eine Disco-45 mit zwei heißen Tracks von Say She She's neuester LP ,Cut & Rewind". Die NYC Punk-Chic, Discodelic Funk Band hat letzten Oktober ihr drittes Studioalbum rausgebracht. Es ist ein politisch aufgeladenes, Dancefloor-zerstörendes Album, angeführt vom kraftvollen Gesangstrio Piya Malik, Sabrina Mileo Cunningham und Nya Gazelle Brown. Die A-Seite, der Titeltrack ,Cut & Rewind", ist ein Post-Punk-Femme-Funk-Track mit den mitreißenden Harmonien der Gruppe und einer unverkennbaren Funk-Base/Basslinie. Der Song ist hauptsächlich autobiografisch, enthält aber auch subtile Hommagen an Songwriting-Legenden. Die Gruppe hat kürzlich die B-Seite ,Disco Life" live bei Jimmy Kimmel gespielt. Der fröhliche, groovige Track verurteilt den Rassismus und die Homophobie von Steve Dahls ,Disco Demolition Night" aus dem Jahr 1979 und fordert die Tanzfläche als ,Spielfeld, auf dem alle frei sind" zurück.

Originally released in 1978, "But Not for Me" is a masterpiece that fuses African polyrhythms with spiritual jazz, created by the singular jazz pianist Masabumi Kikuchi. The album is now set to be reissued by "Spin This Now!".

Piano: Masabumi Kikuchi
Bass: Gary Peacock
Bells: Alyrio Roy, Azzedin Weston
Berimbau: Alyrio Lima
Congas: Azzedin Weston
Drums: Al Foster
Percussion: Al Foster, Gary Peacock, Masabumi Kikuchi

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Mononoke is a Berlin band founded by Fabian Rösch and Benjamin Geyer. Their musical passion is improvisation with a sound that moves between experimental electronic music, jazz, beat music and ambient.
This LP combines their two recent EPs which have been released on the Munich based label tunnel.visions,
each on one side.

APARt
APARt was created in the field of tension between spontaneous improvisation and careful studio work, marked
by the lockdowns during covid and social isolation. It was precisely this physical separation that gave rise to a
new experimental approach.
Each track is a puzzle, whose individual pieces were put together, moved around, and placed in new contexts.
Instead of jamming and rehearsing together, musical ideas were exchanged online so that they could be freely
interpreted, altered and redesigned.


modular
Newly found vivid playfulness, fresh approaches and a tilt towards the unexpected marks these songs. Capturing moments in our lives full of challenges, developments and salvation.
The same new and unusual process of working separately, shaped the subsequent second EP modular which
followed the same working structure but with a new component: the modular synthesizer, which decisively reshapes the sound: a collection of analog textures, broken structures and a touch of raw intimacy.
Each song is an episode, each sound a reminder of how music connects us.?
Even when circumstances, such as a pandemic, can threaten to pull us apart.

Reissue of the highly-regarded 2003 live album by Canadian technical death metal masters Cryptopsy. Capturing a crushing 2002 Montreal performance featuring their then-new vocalist Martin Lacroix and a career-spanning setlist including tracks from None So Vile, Blasphemy Made Flesh, and Whisper Supremacy, showcasing incredible energy, technicality, and a notable drum solo by Flo Mounier. It's considered by many fans to be a definitive live death metal album, representing their best material from previous albums in one powerful recording.

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
+
Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Representing a more analog sound than before, Itken jos mua huvittaa was recorded in Gothenburg in the autumn of 2025. The album was produced by Gustav Ejstes, known as the leader of the band Dungen, and engineered by Mattias Glavå, renowned for producing Håkan Hellström's albums. Counting among the most popular bands in Finland, Maustetytöt also enjoy international cult fame and have toured extensively across Europe over the past two years, performing headline shows in England, Germany, France, Italy, Spain, Switzerland, the Netherlands, Greece, the Czech Republic, Poland, and throughout Scandinavia.

Freiburgs DAS BLANKE EXTREM meldet sich nach 5 Jahren mit dem dritten Album zurück. Darauf lädt die Band zum wilden Ritt auf dem Dachfirst und zum Wände einreißen im Keller. Bis die Statik bedenklich wankt. PREKÄR ist kein Protestalbum, sondern die in Marmor gemeißelte Einladung zum Untergang. Es ist die Erkenntnis, dass Überfluss und Abgrund die besten Freunde sind. PREKÄR ist durch und durch Post-Punk. Auf ihrem dritten Album folgt DAS BLANKE EXTREM aber der konsequenten Weiterentwicklung ihres individuellen Stils, der so manche Schublade öffnet, ohne jedoch hineinzufallen. Von verträumt-verspielt bis schnörkellos-direkt treffen kantige Basslinien, flirrende Gitarren und ein stoisches Schlagzeug auf Texte, die mal schonungslos persönlich, mal hoffnungslos prophetisch sind. Und trotzdem: Wer sich nach dem Hören von PREKÄR beim Blick in den Spiegel erschrocken wiedererkennt, ist geneigt, die Verzweiflung doch noch einmal an den Nagel zu hängen.

Das Hamburger Duo Das Pack veröffentlicht ihr nunmehr sechstes Studioalbum "Das Weise Album", ein wuchtiges Manifest musikalischer Reife, gepaart mit der unververwechselbaren Mischung aus Humor, Haltung und brachialem Rock. Gegründet wurde Das Pack 2006 von Sänger und Gitarrist Pensen Paletti (Monsters of Liedermaching). Schnell entwickelte sich das Duo, später Trio, zu einer festen Größe der deutschsprachigen Rockszene. Mit ihren schweißtreibenden Liveshows, ehrlicher Attitüde und einem Sound zwischen Punk, Metal und Alternative Rock hat sich die Band eine treue Fanbase erspielt.

Das Hamburger Duo Das Pack veröffentlicht ihr nunmehr sechstes Studioalbum "Das Weise Album", ein wuchtiges Manifest musikalischer Reife, gepaart mit der unververwechselbaren Mischung aus Humor, Haltung und brachialem Rock. Gegründet wurde Das Pack 2006 von Sänger und Gitarrist Pensen Paletti (Monsters of Liedermaching). Schnell entwickelte sich das Duo, später Trio, zu einer festen Größe der deutschsprachigen Rockszene. Mit ihren schweißtreibenden Liveshows, ehrlicher Attitüde und einem Sound zwischen Punk, Metal und Alternative Rock hat sich die Band eine treue Fanbase erspielt.

Comic Sans are back! The San Sebastián Midwest Emo quartet has finished their second album, "Todas las cosas que nos salieron mal", following" Éramos felices y no lo sabíamos" and the EP "Ojalá fuera mi cumpleaños". However, "Todas las cosas que nos salieron mal" and its opening single mark an evolution within Comic Sans"s perfectly recognizable style. Without abandoning the parameters of midwest emo, the San Sebastián band wants to reach a wider audience and sound more like themselves than their influences. They have matured, and it shows in deeper lyrics, while still remaining honest and direct, and in a more personal choice of structures, effects, and melodies. Everything"s more indie, really; understanding indie no longer as a genre (which it never was) or a classification related to the size of a band"s distribution channels, whether more mainstream or more underground, but as the desire to move away from the conventions of the style in which they emerged and took their first steps in order to develop something genuinely their own.

Destruction, killing, is all that’s in sight. Unleashed in 1988 at a time when Death Metal as a genre was still at its infancy and the vast majority of bands were yet to release their first album, BOLT THROWER’s debut In Battle There Is No Law! already hit the nascent underground with full force. Only preceded by a handful albums like DEATH’s Scream Bloody Gore, NAPALM DEATH’s Scum or NECROPHAGIA’s Season of the Dead, In Battle There Is No Law! is widely considered a landmark record and ranks among the very first Death Metal albums ever.

Consisting of 8 tracks and clocking in at just around 28 minutes, the album originally released by Vinyl Solution is arguably BOLT THROWER’s rawest and most primal effort. Despite the uncompromisingly rough sound and their Crust and Punk influences still being rather obvious, the characteristics BOLT THROWER would go on to be hailed for, are already represented albeit in rather crude form, though. Rather than to its detriment, it’s this very unfiltered roughness that`s somewhat missing from their later albums that gives In Battle There Is No Law! its special unmistakable charm. Instead of putting emphasis on distinctive melodies and mid-tempo groove, the songwriting leans more towards all-out attack.

Destruction, killing, is all that’s in sight. Unleashed in 1988 at a time when Death Metal as a genre was still at its infancy and the vast majority of bands were yet to release their first album, BOLT THROWER’s debut In Battle There Is No Law! already hit the nascent underground with full force. Only preceded by a handful albums like DEATH’s Scream Bloody Gore, NAPALM DEATH’s Scum or NECROPHAGIA’s Season of the Dead, In Battle There Is No Law! is widely considered a landmark record and ranks among the very first Death Metal albums ever.

Consisting of 8 tracks and clocking in at just around 28 minutes, the album originally released by Vinyl Solution is arguably BOLT THROWER’s rawest and most primal effort. Despite the uncompromisingly rough sound and their Crust and Punk influences still being rather obvious, the characteristics BOLT THROWER would go on to be hailed for, are already represented albeit in rather crude form, though. Rather than to its detriment, it’s this very unfiltered roughness that`s somewhat missing from their later albums that gives In Battle There Is No Law! its special unmistakable charm. Instead of putting emphasis on distinctive melodies and mid-tempo groove, the songwriting leans more towards all-out attack.

Trio Sfera – Verschwiegene Lieder is a richly atmospheric album that weaves classical melodies, world music influences, and intimate soundscapes into a deeply expressive listening experience. With pieces such as Verschwiegene Liebe, Oblivion, and Assyrian Woman, the trio invites the listener into a world of quiet intensity, emotional depth, and subtle beauty. Each track unfolds with sensitivity and nuance, creating a musical journey that speaks softly yet leaves a lasting impression.

Following the album "Mori", which focused mainly on slow-tempo pieces, this album "Yama" centers on up-tempo tracks. Moriyama’s sharp yet deeply embracing drumming is powerfully dynamic, like climbing a steep mountain at full speed. On both "Mori" and "Yama", the addition of saxophonist George Garzone allows listeners to be immersed in a refreshing flood of sound.

Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Wewantsounds is delighted to release for the 1st time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the 80s and early 90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. Newly remastered and accompanied by liner notes by Gysin scholar Jason Weiss, this LP edition coincides with a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, underscoring his lasting impact on contemporary culture.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

For more than three decades, Converge have delivered musical and emotional catharsis, putting purpose before perception and intent before interpretation. Whether it’s their 2001 landmark recording Jane Doe or their 2021 Bloodmoon: I collaboration with Chelsea Wolfe, they have created some of the most compelling music, lyrics, and visual art of the 21st century. During that time, fewer bands have had a greater impact on the underground imagination. It seems unlikely that anyone who has been making music for this long would create one of their best works for their eleventh album, in their 35th year as a band. And yet: Love is Not Enough might be the apotheosis of Converge’s decades-long journey through the punk, hardcore and metal microcosm. What vocalist/lyricist Jacob Bannon, guitarist/producer Kurt Ballou, bassist/vocalist Nate Newton and drummer Ben Koller have created is a strident artistic statement on the turmoil of living that hones their collective strengths to a razor’s edge. There isn’t an ounce of fat. Every song moves with a power and purpose that eclipses their human origins, that speaks to the anger, pain, and frustration of the modern age.

Shoreline’s new album Is This The Low Point Or The Moment After? is built around an unanswerable question: when you hit rock bottom, can you tell where things begin to turn? Meant to be heard front to back, the record starts in a subdued, reflective place, grows progressively heavier, and ultimately lands on a more hopeful note. Drawing from the current wave of emo and hardcore while reflecting the collision of Germany’s alternative scenes, the album shows a band with a clear musical vision focused on big melodies, heavy riffs, and an honest DIY punk foundation.

Barsuk Records is pleased to release Death Cab for Cutie's beloved debut LP Something About Airplanes on attractively-priced standard weight vinyl. This black vinyl pressing is packaged with the original spot-color printed die-cut jacket design, with a new boat-and-water-ripples lyrics insert.

"Formed in San Diego at the tail end of the 1970s, The Crawdaddys stood apart from the punk explosion surrounding them, reviving the raw rhythm & blues spirit of the early British Invasion with unshakable devotion. Their debut album Crawdaddy Express, originally released in l979 on Voxx Records, captures the band at full throttle, gritty guitars, swirling organ, and a ferocious live energy straight out of a sweaty basement club circa 1965. Reissued to celebrate BOMP!’s 5Oth anniversary, this essential slab of garage revival magic remains a timeless reminder of when rock & roll was wild, loud, and gloriously untamed"

2026 Repress
Détends-Toi is the debut EP of the Parisian-born, berlin-based singer & DJ Stella Zekri.

Produced and co-written by Ed Longo, Détends-Toi is a sunny collection of four original songs, one dub version and one special cover, heavily influenced by zouk, boogie and the sound of the mid-80s French underground.

Coming to you in advance of summer ‘22 the record marks also the first release of Berlin label Cosmic Romance.

The Damned schrieben Geschichte, als sie am 22. Oktober 1976 als erste britische Punkband ihre Single
„New Rose“ veröffentlichten. Kurz darauf folgte das allererste britische Punkalbum, ihr legendäres Debütalbum „Damned Damned Damned“, das am 18. Februar 1977 von Stiff Records herausgebracht wurde. Das
Album erreichte bei seiner Veröffentlichung Platz 36 der britischen Charts und hat sich in den 45 Jahren
seit seinem Erscheinen zu einer Legende entwickelt. Mit nur einer halben Stunde Spielzeit ist „Damned
Damned Damned“ ein absoluter Klassiker des Rock ’n’ Roll. Zusammen mit der kompromisslosen Ästhetik
der Band überließen The Damned Rhetorik den Theoretikern und politisches Gehabe The Clash. Die vier
Musiker wollten einfach nur rocken. Die Originalbesetzung mit Dave Vanian, Captain Sensible, Brian James
und Rat Scabies hat sich letztes Jahr wiedervereint und wird das Album im kommenden November auf
einer einmaligen Tournee komplett live spielen.

„Encouraging Words“ ist als limitierte Goldvinyl-Edition erhältlich. Billy Preston ist vor allem für seine
Arbeit mit den Beatles am Album „Let It Be“ bekannt und spielte eine wichtige Rolle in Peter Jacksons
Dokumentarfilm „Get Back“. Der neue, abendfüllende Dokumentarfilm „Billy Preston: That’s the Way
God Planned It“ kommt im Februar 2026 in die Kinos und enthält Interviews mit Ringo Starr, Eric Clapton
und anderen.

Es war DIE Nachricht des Jahres. Nach dem sich der Graf vor neun Jahren von Bühne und Öffentlichkeit
verabschiedet hatte, kündigte er - einer der erfolgreichsten Musikkünstler der letzten Dekaden - im Februar
2025 sein Comeback an. Aus zunächst sechs geplanten Comeback-Konzerten wurden aufgrund der hohen
Nachfrage in kürzester Zeit 17 Termine.
Mit dem neuen Album “LIEBE GLAUBE MONSTER“ knüpft UNHEILIG dort an, wo sie 2016 aufgehört haben. Die insgesamt 16 neuen Songs des Konzeptalbums spiegeln die ehrlichen Gedanken, Erlebnisse
und Emotionen des Grafen, die er in den ausnahmslos von ihm selbst geschriebenen Texten verarbeitet. Die
Schlagworte des Albumtitels ziehen sich als Leitmotive durch das berührende Gesamtwerk und spannen die
Bögen zwischen den verschiedenen Dimensionen, die UNHEILIG auszeichnen. Auf dem Album geht es um
Liebe, Freundschaft, Hoffnung, Zuversicht und auch um die Monster, denen wir uns alle im Leben stellen
müssen.

„Verismo“ in der Oper bedeutet, wie der Name sagt, nicht nur eine Hinwendung zu gesteigertem Realismus
der Handlung. Die Werke sind gekennzeichnet durch leidenschaftliches Handeln, weitgespannte Melodik,
effektvolle Orchestrierung, pittoreske Schauplätze sowie die oftmals ungeschminkte Darstellung von Liebe,
Eifersucht, Verrat und Grausamkeit. Die Stoffe wenden sich dem Alltagsleben und den einfachen Menschen aus dem Volk zu, wobei historische Themen oder ein exotisches Ambiente nicht ausgeschlossen
sind. Luciano Pavarottis Album „Verismo“ enthält Schlüsselarien aus Opern wie „Fedora“ („Amor ti vieta“), „Adriana Lecouvreur“ („L’anima ho stanca“) und „Andrea Chénier“ („Colpito qui m’avete ... Un
dì all’azzuro spazio“). Hier ist ohne Zweifel ein idealer Sänger am Werk, der stimmliche Brillanz mit der
Fähigkeit zur Darstellung tiefer menschlicher Emotionen vereint.
Diese Neuauflage des ursprünglich 1971 erschienenen Albums verwendet erstmals die neu in HD gemasterten Originalbänder aus den Decca-Archiven. Dies verleiht den historischen Aufnahmen eine überaus
lebendige und nuancenreiche Klanggestalt.

Lange bevor er jemals ein Studio von innen sah, war Sam Snitchy auf der Straße unterwegs und schrie unter dem Namen Maniporno Gedichte - roh, furchtlos und im Einklang mit dem Chaos um ihn herum. Dann begann er, diesen Lärm in Platten zu verwandeln - zuerst als Melker, später als Sam Snitchy. Im April 2026 erscheint nun das dritte Snitchy-Album bei Voodoo Rhythm Records - ein weiterer Schritt auf diesem Weg, tiefer hinein in den Lärm, den Puls, die Verwirrung, mit der alles begann. Das neue Album ist ein klanglicher Exorzismus, aufgenommen mit Marco Fuorigioco, der Bass, Synthesizer und Gitarren verzerrt und das Tonband zerreißt, Philipp Schlotter (Me&Mobi, Music Against Airports) der den Raum mit geisterhaften Synthesizer- Halluzinationen erfüllt, und Domi Chansorn (Sophie Hunger, Knackeboul, Fai Baba, Bonaparte, Marie Krüttli, Béatrice Graf) der die Drums wie einstürzende Türme hämmert. Gemeinsam zerren sie dich durch psychedelische Punkwut, verschmelzen mit den Schatten dunkler Waves, mutieren zu Industrial Noise und Dub-Nebel, verwandeln sich in einen verzerrten Techno-Puls, bis du nicht mehr unterscheiden kannst, wo das eine aufhört und das andere anfängt - alles nährt das Feuer. Und über diesem Sturm spuckt Sam Snitchy seine Worte wie zerbrochene Spiegel - verzerrte und selbstreflexive Geschichten über Menschen, die in ihren eigenen Widersprüchen gefangen sind, über leere Routinen und bedeutungslose Lebensstile, die als Erfolg getarnt sind, über den absurden Tanz zwischen Ekstase und Verzweiflung. Die Texte erklären nicht - sie verstören. Sie halten dir ein zerbrochenes Glas vor und zwingen dich, dich selbst anzusehen, bis du nicht mehr weißt, ob du lachen oder schreien sollst. In VVR's own words: "Sam Snitchy transforms chaos into sound. Once a street poet known as Maniporno, he now blends punk energy with techno pulse, industrial grit, dub tension, and psychedelic garage haze. It's raw and hypnotic _ words like broken glass, beats like heartbeat and collapse spring to mind."

"The Sophs sind quasi aus dem Nichts aufgetaucht", sagen Rough-Trade-Mitgründer Geoff Travis und Jeannette Lee über ihr neuestes Signing: eine sechsköpfige Band aus L.A. mit dem feinsinnigen Namen The Sophs. Die kompromisslose Ehrlichkeit und der weite Soundkosmos der Band überzeugten sofort. Als Sänger Ethan Ramon ein Demo an seine Lieblingslabels schickte, rechnete er nicht mit einer Reaktion - doch schon am nächsten Tag meldete sich Rough Trade mit der Bitte um ein Gespräch. In den frühen Songs hörte das Label genau jene Kreativität, Vielseitigkeit und den draufgängerischen "Don"t expect me to act pretty"-Spirit, den The Sophs auf jede Bühne bringen: Ethan Ramon (Gesang), Sam Yuh (Keyboards), Austin Parker Jones (E-Gitarre), Seth Smades (Akustikgitarre), Devin Russ (Drums) und Cole Bobbitt (Bass). Die fünf Demo-Tracks bildeten die Blaupause für ihr Debütalbum "GOLDSTAR". Musikalisch bewegen sich The Sophs im Zickzack: Pop-Punk trifft auf Funk, Delta Blues auf ZZ Top. Ramons warme, kraftvolle Stimme wandert dabei wie ein vokales Chamäleon durch die Genres. "Wir versuchen nie, so vielseitig zu sein, wie wir am Ende klingen", sagt Ramon. Songwriting verstehen sie als Pop Art - ein spielerisches Zitieren, Verformen und Neuerschaffen. Oft entstehen Songs aus spontanen Ideen, die im Bandprozess eine völlig neue Richtung nehmen. Der Track "THE DOG DIES IN THE END" erinnert an 2000er-Pop-Punk, getragen von düsteren Gedankenspiralen und Akkordeon. "DEATH IN THE FAMILY" kombiniert sonnigen Rock mit bitterem Humor und der Sehnsucht nach Mitleid als Schutz vor Verantwortung. "GOLDSTAR" stellt dabei einfache, aber unbequeme Fragen nach Anerkennung und Moral. Weitere Highlights wie "SWEETIEPIE" und "BLITZED AGAIN" zeigen die Band zwischen Selbstentlarvung und euphorischer Energie - roh, lebendig und kompromisslos kreativ.

Mitreißend und hypnotisch markierte Ilana (The Creator) (2019) den Beginn eines neuen Kapitels für die nigerianische Band Mdou Moctar. Es ist das erste Album des nigrischen Gitarrenhelden, das mit einer Live-Rockband aufgenommen wurde, und fängt den schweren, psychedelischen Sound perfekt ein. Dieser Sound, den das Quartett durch endloses Touren verfeinert hatte, sollte später auf Afrique Victime in explosiver Form voll zur Entfaltung kommen.

Fast-rising Los Angeles band The Silvertone make a splash on the modern soul scene with Mistakes—their most soulful statement yet. Retro-laced and dripping with smoky vocals, dusty grooves, and late-night cool, this souldie record blends vintage R&B, classic soul, and a touch of psych—Sam Cooke meets Durand Jones under neon lights.

"The Sophs sind quasi aus dem Nichts aufgetaucht", sagen Rough-Trade-Mitgründer Geoff Travis und Jeannette Lee über ihr neuestes Signing: eine sechsköpfige Band aus L.A. mit dem feinsinnigen Namen The Sophs. Die kompromisslose Ehrlichkeit und der weite Soundkosmos der Band überzeugten sofort. Als Sänger Ethan Ramon ein Demo an seine Lieblingslabels schickte, rechnete er nicht mit einer Reaktion - doch schon am nächsten Tag meldete sich Rough Trade mit der Bitte um ein Gespräch. In den frühen Songs hörte das Label genau jene Kreativität, Vielseitigkeit und den draufgängerischen "Don"t expect me to act pretty"-Spirit, den The Sophs auf jede Bühne bringen: Ethan Ramon (Gesang), Sam Yuh (Keyboards), Austin Parker Jones (E-Gitarre), Seth Smades (Akustikgitarre), Devin Russ (Drums) und Cole Bobbitt (Bass). Die fünf Demo-Tracks bildeten die Blaupause für ihr Debütalbum "GOLDSTAR". Musikalisch bewegen sich The Sophs im Zickzack: Pop-Punk trifft auf Funk, Delta Blues auf ZZ Top. Ramons warme, kraftvolle Stimme wandert dabei wie ein vokales Chamäleon durch die Genres. "Wir versuchen nie, so vielseitig zu sein, wie wir am Ende klingen", sagt Ramon. Songwriting verstehen sie als Pop Art - ein spielerisches Zitieren, Verformen und Neuerschaffen. Oft entstehen Songs aus spontanen Ideen, die im Bandprozess eine völlig neue Richtung nehmen. Der Track "THE DOG DIES IN THE END" erinnert an 2000er-Pop-Punk, getragen von düsteren Gedankenspiralen und Akkordeon. "DEATH IN THE FAMILY" kombiniert sonnigen Rock mit bitterem Humor und der Sehnsucht nach Mitleid als Schutz vor Verantwortung. "GOLDSTAR" stellt dabei einfache, aber unbequeme Fragen nach Anerkennung und Moral. Weitere Highlights wie "SWEETIEPIE" und "BLITZED AGAIN" zeigen die Band zwischen Selbstentlarvung und euphorischer Energie - roh, lebendig und kompromisslos kreativ.

WHAT-A-NIGHT’S, formed by members of Minority Blues Band and I Excuse who spearheaded Snuffy Smile in the 2000s.
Their second album, infusing their solid rock sound into melodic punk, finally arrives from POWER ELEPHANT!"

Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth
Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different
temporalities experienced through our bodies, drawing from multiple meanings of period – from the
menstrual cycle to musical repetitions and astronomical revolutions.

r'tu
A central meaning of the Sanskrit word for ritual, r'tu, is menstruation, the original ritual. The root of
r'tu is in arithmetic and rhythm/.

Period Music has been staying with essential matters on how we listen to time and rhythms in our
bodies and in the world. Questioning the tempo of everyday life in an accelerated system like that of
modern society, the group has opened up co-creation spaces to listen to embodied memories.
Through dialogue, improvisation and jam sessions, the six artists attuned to e ach other’s processes,
composing music, word scores and drawings – ultimately sounding together.

This work embodies other notions of community through archetypes, embracing the impermanence
that reveals the countless rhythms of life. Period Music speaks of friendship and connection, and
invites you to take on a journey of interconnectedness between our rhythms and the broader social
structures influencing our lives.

The project emerges from conversations that began in Berlin in the fall of 2023, including a one-week
residency at Atelier Josepha in Ahrenshoop by the Baltic Sea in April 2024. The first physical iteration
of this project will consist of a book and a vinyl. The album features looping improvisational compositions encoded with messages about multiple temporalities. The accompanying book gathers poetic memories, letters, photographs, symbols, and drawings that emerged during the process

"Electroacoustic Work" is a collection of experimental sound pieces recorded in 2024-2025 at Goldsmiths University by Kleptofirm. It spans from performance and composition to interactive installation material.

In this collection, Kleptofirm bends and breaks a variety of traditional instruments - pushing computer-controlled pianos beyond the range of human playability, live-processing mandolins with modular synthesis, and cutting a dervish of organ loops from tangles of ferric tape.

Listening to "Electroacoustic Work" feels like wandering through an immersive installation: every step and motion tracked, calibrated then transposed into ominous folds and figures of feedback, sculpted in thick air.

Recommended if you like The Caretaker, Aphex Twin, Actress.