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Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).

In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.

These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.

"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ

Audio restored & remastered
Including cuesheet poster/ Limited edition of 500 copies

The duo’s debut album sets off on an airy, groovy odyssey.

Recorded at the legendary La Frette studio (Parcels, Fontaines D.C.), the album follows an extensive period of demo development.

Immersed alongside outstanding musicians, the team worked in a relaxed, old-school spirit: a handful of takes, tape recording, and analog gear. Plenty of space was left for ideas to emerge organically in the studio. The arrangements—synthesizers, flute, backing vocals, percussion—were then carefully refined over many months.



"Idésia" stands out for its delicate production, brought to life by Maxime Kosinetz on recording (Oracle Sisters, Bon Voyage Organisation), Stan Neff on mixing (Andrea Laszlo de Simone, Polo & Pan), and Chab on mastering (Daft Punk, La Femme).



The record unfolds across changing sonic landscapes, with Will’s voice gliding over melodies rooted in a bright, warm groove. A subtle blend of pop and Californian warmth runs throughout the album.

The album explores themes of childhood (Sur le Chemin de l’École, L’Île Perdue), ecstatic escapes (Holiday(s), Pas de Côté, Escalier), and simple pleasures (Le Bal, Cavalière de l’Aube). It also casts a poetic eye on the evolution of the world (Dernier Vol, Robot Rêveur, Balayeur de l’Espace). Will & Paul play with contrasts, shifting perspectives along the way.



"Idésia" is the imaginary world in which Will & Paul gracefully lose themselves - a suspended place between nostalgia and science fiction, as if their silhouettes were drifting from a bright, carefree past toward a place suspended in time.

Maui Blue & Orchid Vinyl. Nachdem wir American Don mit (Steve) Albini fertiggestellt hatten, waren wir kurz davor, dass die Spannungen zwischen uns so groß wurden, dass wir uns trennen mussten. Ich (Eric) war überzeugt, dass wir bei den Aufnahmen die wahre Essenz der Songs verloren hatten. Es war keine einstimmige Entscheidung, mit Steve aufzunehmen. Wir haben das Album komplett mit Gitarrenloops geschrieben, und Team Storm & Stress wollte im Studio mit Pro Tools weitermachen, was sowohl zu dem passte, was wir machten, als auch zu dem, was wir erreichen wollten. Steve hatte gerade den großartigen A-Raum bei Electrical fertiggestellt, und Damon bestand darauf, dass wir dort die Drums aufnehmen würden. Er gab in dieser Frage nicht nach. Sobald wir dort ankamen, wurde uns klar, dass alle Songs, die wir mit unseren Pedalen in mehreren Overdubs geschrieben hatten, nur Mono-Gitarrenaufnahmen zuließen. Wir haben das Problem gelöst, indem wir die Songs zu einem einzigen Loop gespielt und alle Gitarren später überlagert haben, sodass ein volles Stereofeld entstand, das zu den grandiosen Drum-Aufnahmen von Steve passte. Dieser Ansatz hat unsere Spielweise total verändert. Das hat zwar magische Momente der Improvisation ermöglicht (Peter Criss Intro), aber als das Album fertig war, klang es aufgebläht und die Darbietungen waren träge. Ich war mir immer sicherer, dass der Sound des Akai Headrush und die Tempi, die er für Damon vorgab, das Herzstück dieser Songs waren. Ian stimmte mir zu. In einem gewagten letzten Versuch hatte ich die Idee, Greg Norman (der für Steve arbeitete!) anzurufen und ihn zu fragen, ob wir nach unseren nächsten Shows heimlich in sein Studio in S. Chicago kommen und das Album LIVE neu aufnehmen könnten. Es war ein riesiger Schritt, der niemals hätte funktionieren können, aber wie durch ein Wunder waren alle einverstanden, und wir versuchten es. Greg hat uns persönlich und professionell in unserer heißesten Phase eingefangen. Die Tempi sind schneller, und niemand hält sich zurück. Diese echten Live-Bänder zeigen die Songs genau so, wie wir sie auf Tour gespielt haben, wo sie zwischen Juni 1999 und Juli 2000 entstanden sind. Jetzt, 25 Jahre später, wurden die Greg-Norman-Aufnahmen entstaubt und digitalisiert. Mit Hilfe moderner Restaurierungswerkzeuge und dem Fachwissen von Sir Bob Weston konnten wir diese Aufnahmen zum ersten Mal neu abmischen und mastern. - Eric Emm, Bassist

Der nächste Geniestreich des Hit-Garanten
Mit seinem neuen Studioalbum "Whoever’s Clever!" beweist der vierfach GRAMMY-nominierte Multiplatin-Künstler Charlie Puth erneut, warum er als einer der versiertesten Songwriter und Produzenten der modernen Popmusik gilt.
Nach dem Erfolg seines persönlichsten Albums CHARLIE kehrt er nun mit einem Sound zurück, der technische Brillanz mit unwiderstehlichen Feel-Good-Hooks vereint.
Am 8. Februar 2026 wird er vor einem weltweiten Millionenpublikum die Nationalhymne beim US Super Bowl Finale performen. Dieses mediale Großereignis markiert den offiziellen Startschuss für die Kampagne zu seinem vierten Studioalbum "Whatever’s Clever!", das am 27. März erscheint.
Das Album, produziert von Puth selbst und BloodPop, wird bereits jetzt als eines der Pop-Highlights des Jahres gehandelt.
Zudem wird er für 2 exklusive Konzerte nach Deutschland kommen
05. Juli 2026 – Hamburg, Stadtpark Open Air
06. Juli 2026 – Frankfurt am Main, Jahrhunderthalle

Good As True (2026), the 12th studio album from Yonder Mountain String Band, leans into a warm, expressive sound — bluegrass shaped with an indie edge, rock undertones, and a hint of country. Recorded live in the studio, its eight original tracks trace romantic, personal, and societal relationships and the work it takes to stay connected. The lead single “Brand New Heartache” pairs rock-driven verses with a bluegrass-lifted chorus as it follows the fallout of a breakup and the uneasy hope of starting again, while “Blind” opens with a striking instrumental riff that lingers long after the song ends, while its lyrics confront regret, mental health struggles, and the pull to become something better. “Long Ride” delivers a sharp, sarcastic look at life in a touring band; “Nothing New” and “The Lie” confront political rigidity and division; “One to One Another” and “Always Almost” pull toward quieter emotional corners; and “Barroom Feather” drifts into indie-folk terrain with one of the album’s most atmospheric jams. Across Good As True, Yonder moves between high-tempo runs, layered harmonies, and moments that breathe — a reminder that nearly three decades in, they’re still charting new ground.

WILDFIRE is the long-awaited new studio album from Loreen, set for release on 27th March. Marking her first full studio album in nearly a decade, WILDFIRE is a powerful and intimate body of work that explores emotion, perception and inner transformation, a record that allows the full emotional spectrum to exist, from vulnerability and pain to freedom, love and truth.

The album features the global phenomenon “Tattoo”, alongside fan-favourite “Is It Love” and the transcendent new single “Feels Like Heaven”, co-written with Sia. Together, the tracks reflect Loreen’s unique ability to fuse raw emotional honesty with cinematic pop, creating music that is both deeply personal and universally resonant.

Loreen is the only female artist to have won the Eurovision Song Contest twice and has amassed over 9 billion streams worldwide. “Tattoo” topped radio airplay and singles charts in five countries, further cementing her status as one of the most distinctive and influential voices in modern pop.

With WILDFIRE, Loreen returns with an album that is fearless, expansive and profoundly human

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

6 LPS, DVD, 40 PAGE BOOK, CASSETTE
AND FIGURINE USB DRIVE

Endless Pain
(Swirl vinyl with original artwork & inner sleeve)
Pleasure To Kill
(Splatter vinyl with original artwork & inner sleeve)
Terrible Certainty
(Splatter vinyl with original artwork & inner lyric sleeve)
Extreme Aggression
(Half/half vinyl with original artwork & inner lyric sleeve)
Coma Of Souls
(Splatter vinyl with original artwork & inner lyric sleeve)
Renewal
(Swirl vinyl with original artwork & inner lyric sleeve)
Some Pain Will Last DVD
Containing ‘From The Vault’ mini documentary, plus two previously unreleased audio live concerts and an Andy Sneap remix of Live In East Berlin 1990.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Ursprünglich veröffentlicht im Februar 2000, handelt es sich bei 'Daisies Of The Galaxy' um das dritte Studioalbum der amerikanischen Rockband Eels um Mastermind Mark Oliver Everett.
War der Vorgänger - aufgrund schwerer persönlicher Schicksalsschläge des Sängers - noch düster und verzweifelt, so ist das neue Album das komplette Gegenteil - größtenteils fröhlich-freundliche Songs, die sich alle im drei-Minuten-Format bewegen.

OCEAN BREEZE" (originally released June 1, 1982): 180g clear green vinyl Remastered and cut by Alex Wharton (Abbey Road Studios, London)

Described as “the best take from the best concert” (from the original obi).
This live album captures performances from Takanaka’s 1980–81 "POWER PLAY ’80 & ’81" tour, featuring a medley of classics such as "BELEZA PULA,"
"Tokyo Reggae," "TAJ MAHAL," and "MAMBO NO.5 (DISCO DANGO)," as well as selections from "The Rainbow Goblins" and his debut album "SEYCHELLES."
A dynamic showcase of Takanaka’s
live brilliance.

Musicians: Hirokuni Korekata (guitar), Kiyosumi Ishikawa (keyboards), Mimi Kobayashi (keyboards), Akihiro Tanaka (bass), Masahiro Miyazaki (drums), Hiroki Sugawara
(latin percussion), Makoto Kimura (latin percussion)

"SAUDADE" (originally released September 10, 1982): 180g clear salmon pink vinyl Remastered and cut by Alex Wharton (Abbey Road Studios, London)

Produced by Narada Michael Walden and recorded at THE AUTOMATT in San Francisco, featuring T.M. Stevens on bass and Sheila E. on percussion.
A danceable, relaxed masterpiece where Takanaka’s ultimate resort-guitar sound truly comes alive.

"CAN I SING?" (originally released October 5, 1983): 180g clear blue vinyl Remastered and cut by Alex Wharton (Abbey Road Studios, London)

Takanaka’s 10th original studio album, showcasing his signature “singing guitar.”
With guest appearances by Takao Kisugi (vocals), Yuji Toriyama (rhythm guitar), Yoshihiro Naruse (Casiopea; bass), and Daiji Okai (Yonin Bayashi; drums).
Blending techno-based sequencing with Takanaka’s warm, expressive guitar sound, the album radiates energy and melodic joy.

Die gefeierte schottische Band The Twilight Sad kehrt mit IT’S THE LONG GOODBYE zurück, ihrem lang erwarteten sechsten Studioalbum, das über Rock Action Records erscheinen wird.
Das Album ist eine Erzählung von Verlust und persönlicher Krise, verwurzelt in konkreten Erfahrungen. Mit dringlichen, gitarrenreichen Arrangements von Andy MacFarlane und dem unverwechselbar rohen, leidenschaftlichen Gesang von James Graham markiert IT’S THE LONG GOODBYE einen weiteren Höhepunkt im Werk der Band und unterstreicht ihre Fähigkeit, gelebte Erfahrungen in tief empfundene Musik zu verwandeln.

Mit der furiosen Single „WAITING FOR THE PHONE CALL“ und einem Gastauftritt der legendären Robert Smith von The Cure wurde IT’S THE LONG GOODBYE in den Battery Studios in London mit Andy Savours (My Bloody Valentine) aufgenommen und von Chris Coady (Yeah Yeah Yeahs, Slowdive) gemischt.


Beloved Scottish band The Twilight Sad make their long-awaited return with IT’S THE LONG GOODBYE, their sixth studio album released via Rock Action Records. IT’S THE LONG GOODBYE is a cogent story of loss and personal crisis, rooted in specific experience. Set to urgent and guitar-rich arrangements from Andy MacFarlane, with James Graham’s distinct, raw and impassioned vocals, the result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music.

Including the blistering single WAITING FOR THE PHONE CALL and featuring the legendary Robert Smith of The Cure, IT’S THE LONG GOODBYE was recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive).

Die gefeierte schottische Band The Twilight Sad kehrt mit IT’S THE LONG GOODBYE zurück, ihrem lang erwarteten sechsten Studioalbum, das über Rock Action Records erscheinen wird.
Das Album ist eine Erzählung von Verlust und persönlicher Krise, verwurzelt in konkreten Erfahrungen. Mit dringlichen, gitarrenreichen Arrangements von Andy MacFarlane und dem unverwechselbar rohen, leidenschaftlichen Gesang von James Graham markiert IT’S THE LONG GOODBYE einen weiteren Höhepunkt im Werk der Band und unterstreicht ihre Fähigkeit, gelebte Erfahrungen in tief empfundene Musik zu verwandeln.

Mit der furiosen Single „WAITING FOR THE PHONE CALL“ und einem Gastauftritt der legendären Robert Smith von The Cure wurde IT’S THE LONG GOODBYE in den Battery Studios in London mit Andy Savours (My Bloody Valentine) aufgenommen und von Chris Coady (Yeah Yeah Yeahs, Slowdive) gemischt.


Beloved Scottish band The Twilight Sad make their long-awaited return with IT’S THE LONG GOODBYE, their sixth studio album released via Rock Action Records. IT’S THE LONG GOODBYE is a cogent story of loss and personal crisis, rooted in specific experience. Set to urgent and guitar-rich arrangements from Andy MacFarlane, with James Graham’s distinct, raw and impassioned vocals, the result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music.

Including the blistering single WAITING FOR THE PHONE CALL and featuring the legendary Robert Smith of The Cure, IT’S THE LONG GOODBYE was recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive).

For more than 25 years, Black Label Society has stood as one of heavy music’s most unshakeable pillars, delivering album after album of blues-soaked grooves, hard-hitting riffs, and soul-baring ballads. “Engines of Demolition” makes no exception to the steady rule of unrelenting commitment to pure, uncompromising, hard rock.



In 2022, Wylde was invited to honor his fallen brothers, the late great Dimebag Darrell Abbott and his brother Vinnie Paul, as part of Pantera Celebration. Writing and recording with Black Label Society over these last four years is when Engines of Demolition was born. Engines of Demolition follows the release of four singles, “The Gallows” (2024), "Lord Humungus" (2025), “Broken and Blind” (2025) and “Name In Blood” (2026), and marks the first full-length album release since Doom Crew Inc. (2021).



Black Label Society is the pure expression of the paradox of Zakk Wylde’s darkest, loudest riffs and softest soul crushing ballads. BLS is a relentless heavy, bluesy, unhinged hard-rock-metal circus quartet summoning caffeine-fueled cacophony on records and the stage. BLS songs are odes to celebration and mourning from the darkest depths to the highest of highs.



A charismatic hard rock and metal marauder recognized as a living legend and guitar icon, Wylde rose to prominence when Ozzy Osbourne chose him as his loyal axe man. Multi platinum albums, countless guitar magazine covers, Worldwide sold out tours, his own guitar and coffee brands add to Wylde’s ever-growing legacy. He gets as much joy from fronting his Black Label Society as he did playing on stage with his hero, Ozzy Osbourne, to his Black Sabbath cover band, Zakk Sabbath.


Seit mehr als 25 Jahren ist Black Label Society eine der unerschütterlichsten Säulen der Heavy-Musik und liefert Album um Album bluesgetränkte Grooves, knallharte Riffs und gefühlvolle Balladen. „Engines of Demolition“ fügt sich nahtlos ein in das unerbittliche Bekenntnis der Band zu purem, kompromisslosem Hardrock.



Im Jahr 2022 wurde Wylde eingeladen, im Rahmen der Pantera Celebration seine verstorbenen Brüder, den großartigen Dimebag Darrell Abbott und seinen Bruder Vinnie Paul, zu ehren. Während er in den letzten vier Jahren mit Black Label Society Songs schrieb und aufnahm, entstand „Engines of Demolition“. Das Album folgt auf die Veröffentlichung von vier Singles, „The Gallows“ (2024), „Lord Humungus“ (2025), „Broken and Blind“ (2025) und „Name In Blood“ (2026) - und ist das erste Studio-Album seit Doom Crew Inc. (2021).



Black Label Society ist der pure Ausdruck des Paradoxons von Zakk Wyldes dunkelsten, lautesten Riffs und sanftesten, herzzerreißenden Balladen. BLS ist ein unerbittliches, bluesiges, verstörendes Hardrock-Metal-Zirkusquartett, das auf Platten und auf der Bühne eine koffeinhaltige Kakophonie hervorruft. BLS-Songs sind Oden an das Feiern und Trauern, von den dunkelsten Tiefen bis zu den höchsten Höhen.



Wylde, ein charismatischer Hardrock- und Metal-Musiker, der als lebende Legende und Gitarrenikone gilt, wurde bekannt, als Ozzy Osbourne ihn zu seinem treuen Gitarristen machte. Multi-Platin-Alben, unzählige Titelseiten von Gitarrenmagazinen, weltweit ausverkaufte Tourneen, seine eigene Gitarren- und Kaffeemarke tragen zu Wyldes ständig wachsendem Vermächtnis bei. Er hat genauso viel Freude daran, seine Black Label Society zu leiten, wie er sie hatte, als er mit seinem Helden Ozzy Osbourne auf der Bühne stand oder mit seiner Black Sabbath-Coverband Zakk Sabbath spielte.

Die experimentellen Hip-Hop-Legenden dälek kehren mit ihrem neuesten Album ,Brilliance of a Falling Moon" zurück. Der Titel stammt aus einem Abschnitt von Erik Larsons Roman ,In The Garden of Beasts" aus dem Jahr 2011. Das Album zeichnet ein feuriges Porträt des Lebens und Widerstands im faschistischen Amerika. ,Brilliance of a Falling Moon" wurde von Will Brooks (alias MC dälek) und Mike Mare konzipiert, komponiert und produziert und ist ein weitläufiges, kompromissloses Album, das den politischen Ton der Gegenwart widerspiegelt. Aufgenommen in den Deadverse Studios der Gruppe im Laufe der Jahre 2024 und 2025 aufgenommen, werden die Beats von ,Brilliance of a Falling Moon" von brutalen, staubigen Drum Breaks angetrieben und sind in eine bedrohliche, jenseitige Atmosphäre gehüllt. Brooks' Reime zielen auf alles ab, von der Unterdrückung von Informationen durch den Staat über den Kolonialismus bis hin zu Trumps Dämonisierung von Einwanderern, und sie brennen geradezu vor Empörung über den aktuellen Zustand der Welt.

“France absolutely engage the body... but the spectacle is one for your mind, especially as you start to wonder how much of what you’re hearing is really there.” The Quietus

Legendary hurdy-gurdy-powered kraut/psych/folk/drone band France have announced a new album ‘Good Thoughts. Bad Thoughts’ on The state51 Conspiracy label; capturing a wild performance at The state51 Factory in East London - part of their very first tour of England. They played Liverpool Psych Fest as a one off some years back.

Forming 20 years ago as a trio in Valence, France, for this performance, were Jeremie Sauvage on bass, Yann Gourdon on electrified hurdy-gurdy, and Cyril Bondi (of La Tene and Cyril Cyril on drums (stalwart Mathieu Tilly was taking some much needed time off).

This album sees the band plunge into the depths of the human psyche, backed up by Hugo Hyart’s deep, all-over cosmic doodles and an unhidden homage to the Parliafunkadelicment state of mind : Uniting, dancing, staying creative and open minded despite the tribulations of life. Dedicated to the feeling of good (and baby they’re good... at being good).

On the night France were recorded by Hot Chip’s in-house engineer James Crump who subsequently mixed the record at Hot Chip’s studio in East London. The album was mastered by Richy Hughes at Binary Feedback.

The Fall were an English post-punk band, formed in Manchester in 1976. The band existed in some form ever since, and was essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music went through several stylistic changes over the years, but is often characterised by an abrasive guitar-driven sound and frequent use of repetition, and was always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band was noted for its prolific output: and released over 25 studio albums, and more than triple that counting live albums and other releases. They have never achieved widespread public success beyond a handful of minor hit singles in the late 1980s, but maintained a strong cult following. The band were long-associated with BBC disc jockey John Peel, who championed them from early on in their career and cited The Fall as his favourite band, famously explaining, "They are always different; they are always the same.