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London duo Kassian trade darkness for daylight on Gradients, their third EP for !K7 Records

The EP arrives as a bridge between last year's debut album and a new live show and sophomore LP, due in 2027

As Kassian, Warren Cummings and Joe Danvers continue to sit apart from any one scene. Their fruitful relationship with !K7 has spanned eclectic and global club cuts, including the spatial breaks and bass of 2024's best-selling Supercontinent EP. 2025's debut album, Channels, emerged from lockdown so leaned slow, downtempo and introspective, but this new EP points toward a clubbier, more physical direction that will carry through into album two.

Crucially, the record was written and played live on an array of studio gear rather than assembled piece by piece in the box. It's a way of building towards their first fully live show in 2027 - a hands-on, jam-first approach that leads to "happy accidents" and the unpredictable textures that hardware throws up and no amount of in-the-box planning can replicate.

Gradients is built for the floor without playing to trends and marks some of the duo's most melodic work to date. Rather than sitting purely in heads-down territory, the EP folds in hooks and vocal fragments that lift you out of the smoke and the shadows of the club. The low ends are still rooted in techno with potent drums and bass, but deft vocal hooks and subtle melodies bring a brightness that deliberately steers away from the darker, meaner aesthetic dominating much of dance music right now.

Vocal touches throughout nod to what's going on in the wider underground without tethering to tried and tested tropes. Opener 'Blush' rides warm, soft yet bold melodic riffs, looping in arcs over a hunched, speedy tech house groove. 'Ritmo' is a muscular bouncer with spring-loaded bass, 'Inner Dance' has lurching drums and a cavernous rhythm with vocals that make a playful nod to sound system culture. Last but not least, 'Sweat' is the brightest and most bubbly cut on the EP, with a tight techno low end infused with a velvety whispered vocal.

The Gradients EP is a bright, hardware-built prelude to Kassian's next chapter and a typically well-crafted four-tracker that pairs physical weight with classy emotional release.

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.

“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.

Das zweite Album von Sleepytime Gorilla Museum entstand zwischen 2002 und 2004 und spiegelt die politisch und gesellschaftlich aufgewühlte Zeit nach der Jahrtausendwende wider. Die Band verarbeitete diese Eindrücke in ihrem charakteristischen Mix aus Avant-Rock, experimenteller Komposition und theatralischer Intensität. Während der Entstehung stieß Schlagzeuger Matthias Bossi zur Band und prägte den Sound maßgeblich mit. Ein Höhepunkt des Albums ist der Song ,Phthisis", der in einem Studio in den Hollywood Hills aufgenommen wurde und zu den bekanntesten Stücken der Band zählt. Die nun erstmals in den USA auf Vinyl erhältliche Neuauflage wurde von Bassist und Produzent Dan Rathbun remastert und unterstreicht den Stellenwert des Albums als eines der zentralen Werke im Katalog von Sleepytime Gorilla Museum.

Red w/ black splatter vinyl. Savage Grace return with Underworld, their fourth studio album and first new full-length since 2023's acclaimed Sign of the Cross. Led by founding guitarist Christian Logue and featuring a powerful new lineup of Sebastian Hauser (vocals), Cristian Blade (bass), and Marcus Dotta (drums), Underworld delivers classic high-speed power/speed metal intensity with modern fire.

Blue w/ black splatter vinyl. Following its initial triumphant 2023 comeback wave, their critically acclaimed studio album Sign of the Cross is treated to the ultimate deluxe treatment: a stunning Blue with Black Splatter Double LP package and a refreshed CD pressing.

Es ist ihr drittes Studioalbum und das erste, das bei Fat Wreck Chords erschien. Mit der Verbindung von Punk und Hardcore schufen Strike Anywhere mit Dead FM einen musikalischen Stil, der eine klare Alternative zum Mainstream-Pop-Punk bot und die Underground-Szene des folgenden Jahrzehnts maßgeblich prägte. Das von Brian McTernan produzierte Album hebt sich aus der Masse politisch orientierter Veröffentlichungen hervor, indem es komplexe politische, ökologische und gesellschaftliche Themen mit zutiefst persönlichem Songwriting verknüpft. Damit setzte das Album Maßstäbe für den modernen melodischen Hardcore. "14 break-neck hardcore tracks laden with a passion rarely achieved in modern music. Seriously, this is going to melt your face_ with love." -Fat Wreck Chords 2006 Erstmals seit Erstveröffentlichung reissued, also genau 20 Jahre nicht neu aufgelegt gewesen! Für Fans von The Flatliners, A Wilhem Scream, Rise Against, Avail. Grape Coloured EU Vinyl-LP (Auflage 500), CD noch erhältlich.

“Trust me, you will pogo, skank, sing and possibly dance like your f*cking Dad on spice.” Party Eternal is the fourth studio album by the Brighton-based punk/ska band The Bar Stool Preachers. The album represents a massive turning point for the seven-piece, both creatively and structurally. It’s blisteringly good. Combining the best of brit-pop, ska, rock and indie ‘Party Eternal’ is exactly the tonic for the times. In parts scathing, and in others total escapism, this rowdy septet have written the greatest party punk album you’ll hear all year. Renowned for their relentless touring schedule, The Bar Stool Preachers have played stages around the globe, from grassroots venues to major festivals like Rebellion and Punk Rock Bowling. Their heartfelt lyrics and magnetic stage presence have earned them a reputation as one of the most engaging live acts in the punk scene today. Whether delivering politically charged messages or uplifting party anthems, The Bar Stool Preachers continue to inspire and unite audiences, carrying the torch of punk’s rebellious spirit into the modern era. Featuring the single ‘Pick A Side’ (the profits of which were donated by the band to Medical Aid for Palestinians), ‘This is Goodbye’ featuring Aussie Celtic Punk masters The Rumjacks and ‘Sick World’ which stars a guest turn from the genre-shattering and quite legendary Fishbone.

Blue System is the studio project founded by Dieter Bohlen after the break-up of the iconic synth-pop/Eurodisco duo Modern Talking. Bohlen, prolific as he is, took care of composing, writing, producing, mixing, arranging, and of course singing, while hiring session musicians for additional voices and instruments. The project ended up producing 13 albums over a span of about 10 years before being retired in favour of Bohlen's many other projects.

Hello America is the seventh album, released in 1992. It contained 11 new tracks all penned by Bohlen, of which "I Will Survive" and "Romeo & Juliet" were released as singles. The album eventually peaked at #29 on the German Albums chart. Now, after almost 25 years, we're reissuing it on vinyl for the first time.

Hello America is available as a limited edition of 2000 individually numbered copies on blue vinyl and includes an insert with lyrics.

2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Mutant präsentiert in Zusammenarbeit mit Hollywood Records und 20th Century Studios stolz die erste Veröffentlichung der Filmmusik von Sarah Schachner und Benjamin Wallfisch zu „PREDATOR: BADLANDS“ auf physischen Tonträgern.

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'.

,Yaphet" ist das neue Album des Rappers Curly Castro - auch bekannt als eine Hälfte des dynamischen Duos Shrapknel - das am 18. September 2026 bei Backwoodz Studioz erscheint. Auf ,Yaphet" lässt sich Castro vom Blaxploitation-Filmgenre der 1970er Jahre inspirieren; die schwarzen Helden und Antihelden jener Zeit dient ihm als Sprungbrett für seine filmische Lyrik. Die Flows wechseln so mühelos wie Kamerawinkel, die Strophen sind gespickt mit Anspielungen und Zweideutigkeiten - eine Rap-Meisterklasse, die man endlos wiederholen kann. Aber ,Yaphet" ist auch Castros erstes Soloalbum seit ,Little Robert Hutton" aus dem Jahr 2021, und hinter dem Feuerwerk spiegelt dieses Album die Tiefe seiner Erfahrungen in den dazwischenliegenden Jahren wider. ,Ich hatte nicht vor, so ehrlich über mein Leben zu sein, aber genau das ist dabei herausgekommen, und das Album ist dadurch besser geworden", erklärt Castro, ,vom Tod meiner kleinen Tochter über den Tod meines Vaters bis hin zur Konfrontation mit meiner eigenen bevorstehenden Sterblichkeit - das sind meine verwundbarsten Klingen, die meine tiefsten Wunden aufreißen." Genau wie Castro marschiert auch diese Platte im Takt ihrer eigenen Trommel, und täuscht euch nicht: Es gibt jede Menge Trommeln, mit denen sich der erfahrene MC messen kann, wie nur er es kann. Komplett produziert vom Milwaukeeer Beatmaker Locust, ist ,Yaphet" ein schwungvolles, vielseitiges Hörerlebnis, das seinen Einflüssen zunickt, ohne jemals zurückzuschauen. Castro wird von einem Wirbelwind der Besten des Genres begleitet: billy woods, PremRock, Fatboi Sharif, Brian Ennals, SKECH185, Blueprint, AJ Suede, shemar, ALASKA, Sunmundi, blackchai und Margel the Sophant.

a 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

[a] 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go. Working with frequent collaborators Carlos Nino, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa. Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Nino, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators.

Belfast artist ffolliott draws on family archive and analogue sounds for debut album full of life and texture.

In a world awash with AI slop, here is the antidote. Written and recorded over five years in a Belfast home studio, ffolliott’s debut album Gree leaves the hiss, crackle and instability of life intact - pairing a deeply personal record with decades of artwork and sketches from his late father’s archive.

Released via Kitto Records, Gree is built from vinyl samples, analogue equipment, and intimate guitar with vocals laced with fragments of childhood memory. The album also features unexpected contributions from Grammy Award winning artist Kaidi Tatham. Gree is just the second release from the idiosyncratic artist ffoliott, following IDKWHY, which was released quietly as part of Rhythm Section's Shouts 2021 compilation, and went on to garner millions of streams and support from tastemakers across KCRW, NTS and BBC Radio.


“I generally found that the more I leaned into anything I didn’t like about my music, the more I would end up writing songs that meant a lot to me.” - ffolliott

Trondheim's progressive flagship Arabs in Aspic delivers yet another long-awaited release on the renowned label Karisma Records, marking their strong partnership with the brand-new studio album "Sorgens kapittel". This will be a highly special and emotional release for the band. The album is being released on what would have been the 50th birthday of the band's longtime organist and vocalist, Stig Arve Kvam-Jorgensen, who passed away suddenly in 2025. The album title "Sorgens kapittel" sets a deep and personal frame around the band's newest work, serving both as a processing of the loss and a tribute to his musical legacy.

Mit INSTINCTA, ihrer Debüt-EP auf Sony Classical, zeigt sich Suena von einer völlig neuen Seite. Die gefeierte Produzentin und Songwriterin hinter Erfolgen von Apache 207, Herbert Grönemeyer, Capital Bra und Ikkimel kehrt zu ihren musikalischen Wurzeln zurück und präsentiert erstmals eigene Kompositionen für Klavier und Streicher, die in den renomierten Emil Berliner Studios eingespielt wurden.Dabei verbindet Suena in Songs wie Primapulsa, Calma oder Adulta die Eleganz klassischer Komponisten wie Chopin und Debussy mit einer modernen, cineastischen Klangsprache sowie den feinen Produktionstechniken ihrer Pop-Karriere. Das Ergebnis ist ein emotionales Hörerlebnis voller Melodie, Hoffnung und zeitloser Schönheit, dass sich zwischen moderner Klassik und Filmmusik bewegt und zum Innehalten, Träumen und Entspannen einlädt. Als Special Guest hat sie Esther Abrami eingeladen, die sie bei Victoria auf der Geige begleitet.INSTINCTA ist die perfekte Begleitung für alle, die die poetischen Klangwelten von Ludovico Einaudi, Yiruma oder Ólafur Arnalds schätzen.Die Bubblegum-Pink Colour Vinyl von INSTINCTA enthält einen handsignierten Artprint von Suena.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go.


Working with frequent collaborators Carlos Niño, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa.


Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Niño, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators

Produced in 2002 by Dj Herbie.

This reissue of the original (remastered at HOG Studio)

also contains an unreleased version remixed by Par-T-One.

'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'

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

After inaugurating Saibai with the Samurai Music sub label's first release in 2025, Brendon Moeller returns with a new six-track excursion into the realm of splintered dubwise electronics. 侍栽培六 arrives alongside a partner release on Samurai Music, offering a subtle distinction of expressive, internal reflections that widen the landscape of Moeller's unique, prolific take on experimental soundsystem music. There are codes of classic dub that creep through the moody hinterland shaped out across these new works, and they inject warmth into the relatively forbidding atmospheres Moeller shapes out with eerie drones and chasmic reverb decays. The bassline on 'Disintegration Suite' has a steppas-like propulsion begging out for a mammoth rig loaded with heavyweight subs, while 'Fate's Rhythm' bristles with skeletal percussion rattling in the middle distance. 'Signal Path's synthetic murmurs of melodica and liberal spring reverb come straight from the Perry-Tubby school of sound sorcery. Of course, these ancient inflections are only part of the picture. Moeller's affinity for head-nodding half-time immersion and tense scene-setting define 'Dislocation' while his techno instincts guide the psychoactive arps modulating through 'Magnetic Sleep'. Every track has its own nuanced complexities, reference points and alchemical fusions bedded into a cohesive, brooding universe of sound that exponentially expands around his studio. Alongside the steely structures of Codebreaker, 侍栽培六 adeptly pushes at the observable edge as he leads us into unexplored space.

For two decades, The Oscillation has occupied its own space within the psychedelic underground, continually reshaping a sound built as much from texture, repetition and atmosphere as it is from conventional songcraft. On 'Interference', released October 30th 2026 via Fuzz Club, Demian Castellanos pushes that approach further than ever, creating what he describes as "a painting of sound rather than music”. It’s an album where noise and melody constantly collide, dissolve and reform into something strangely beautiful: “I wanted it to be accessible but also quite extreme, a sort of beautiful noise. I did my best to push out the parameters whilst trying not to allow it to disintegrate into something with no meaning or focus.” Chasing an elusive balance between accessibility and abstraction, the result is a record that feels simultaneously immediate and disorientating: dense layers of drones, feedback and motorik rhythms give way to unexpected moments of warmth, colour and even uplifting euphoria. Across its runtime, chaos never overwhelms; instead it becomes another instrument, carefully sculpted into hypnotic, immersive compositions. Much of the album emerged through instinct rather than intention. Fragments originally conceived as intros, outros or abandoned ideas gradually eclipsed the songs they belonged to, with tracks revealing themselves organically through a process Castellanos likens to "playing Chinese whispers with musical instruments." Elsewhere, two long-forgotten compositions – ‘Stasis’ and ‘When You Close Your Eyes’ – finally found their place after lying unfinished for almost twenty years. Recorded and mixed by Castellanos at his home studio in the Czech Republic, ‘Interference’ also benefits from a key collaboration with Lorena Quintanilla of Mexican band Lorelle Meets The Obsolete, who provides a transformative presence. Her haunting vocal on ‘La Alusion’ (which she also wrote the lyrics and melody for) became the breakthrough moment that crystallised the album, turning an instrumental sketch into a dreamlike centrepiece and helping shape the final sequence. She also lends her voice to ‘Isolation Freeway’, adding another layer of mystery to an album that continually blurs the line between structure and dissolution. Perhaps most remarkably, ‘Interference’ was created during a period in which Castellanos had largely stopped listening to music altogether: “My hi-fi broke a couple of years ago so I kind of wanted to see what would happen if I didn’t listen to too much music.” Instead of consciously absorbing outside influences, he trusted instinct, memory and experimentation to guide the process. The result is one of The Oscillation's most adventurous and emotionally resonant records to date: a vivid collision of hypnotic repetition, spectral beauty and controlled sonic disruption that confirms Castellanos remains one of modern psychedelia's most singular voices.

In Dead Deities, SATANIC PLANET’s new album for Relapse Records, we see a band coming into its own while offering an aggressive, pitch-black, deeply surly call-to-arms against autocracy in the age of Christian Nationalism. Lucien Greaves (The Satanic Temple co-founder and spokesperson), Luke Henshaw (Planet B, Sonido de la Frontera, First Power Crew, Variations In the Key of the Afterlife), Dave Lombardo (Slayer, Misfits, Mr. Bungle, Dead Cross), and Justin Pearson (The Locust, Swing Kids, Deaf Club) are now a fully together-in-the-studio band with razor-sharpened focus, creating a sound and lyrical catalog of ideas that Greaves says is both more personal and even closer aligned to the goals of The Satanic Temple, which through art, action, and activism seeks to “encourage benevolence and empathy, reject tyrannical authority, advocate practiced common sense, oppose injustice, and undertake noble pursuits.” The Satanic Temple and SATANIC PLANET are here to empower all those who are needed in the ongoing battle against theocracy, apathy, and inequality. Dead Deities begins as a brooding, doomy soundscape with backwards ritualistic vocals that churn forward like a barbaric horror flick scene before launching into the aptly named “Antichrist,” with a hypnotic, screamy post-post-post-hardcore intro that melds into a slow, nasty, heavy vision of what pop music might sound like in Hell. This 11-track stygian brute of an album is a journey through modern dark music with tolling bells, blackened synth, diabolical noise interludes, drums as heavy as a mountain, and group vocals torn straight out of your best-worst nightmares.

Musique Pour La Danse presents a raw, euphoric, and totally essential document of British rave history. LIVE IN MANCHESTER captures like nothing else the pure energy and essence of an era.

Featuring the unstoppable duo Mark Franklin and Nigel Champion, and vocalist Saffron, this legendary 1992 live set delivers iconic tracks like "Anthem", "Adrenaline", and "Malfunction" in their most ecstatic form and many exclusive tracks.
Often copied and sampled, never surpassed, because it simply can't be. If you're only owning one rave record, this is the one.

Includes liner notes by Matt Anniss, re-designed in Büro Destruct with an historical collectible flyers poster 12"x36", with the help of Phatmedia.
Newly mastered and cut at Transition Studios for maximum impact. Simply the best thing for your warehouse soundsystem.

Listen to the full recording

Zweite Auflage 2026 -Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork, Vinylfarbe Starlight Yellow! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

Prolific British multi-instrumentalist William Dorey makes music emphasising traditional means of recording under the Skinshape moniker, referencing influences ranging from Ennio Morricone to The Beatles, and a variety of genres including but not limited to retro funk, soul, reggae, psychedelic rock, African music and folk. Far from carrying an anything goes attitude, Dorey's is an evocative melting pot moulded in an orderly fashion, creating output that keeps categorisation open-ended. Whilst tackling a busy tour schedule over the past 18 months, Skinshape has continued to find time to make music in his studio based in North London. The latest endeavour is titled Chapman's Pool - named after a bay on the Jurassic coast in Dorset, located walking distance from where Dorey grew up. Chapman's Pool carries a sense that Skinshape is reconnecting with the sound which formed his musical identity, drawing inspiration from spaghetti westerns, trip-hop, `60s+'70s Ethiopian Jazz, '80s South African bubble gum and so on, all while the multiple years of recording, songwriting and production experience are clearly audible.

It's hard to pin down the age of chest's music, as it seems to be in a state of constantflux - a fusion of spontaneous energy and timeless electricity. The band didn't choose this name by chance: for years, its members have been breathing music through every pore of their bodies; they bonded amidst the darkness and vibrations of Supersonic, the heart of the independent music scene in Paris, where they met and have all worked. Even before releasing a single record,chest. were spotted by NME,which ranked them among the 100 to follow last year in 2025. A debut EP in February 2025, All Good Things End (Howlin Banana), further boosted the band's credibility and international popularity at breakneck speed. chest. opened for DITZ, Jehnny Beth, Heavy Lungs and KNIVES, who welcomed them with open arms onto a bustling Anglo-Saxon music scene. They're spotted at La Maroquinerie, Rock en Seine, ESNS and across the UK. chest. come of age without ever going through adolescence. In autumn 2025, chest. began recording their debut album at La Frette studio, known for having hosted sessions by Nick Cave and the Arctic Monkeys. The band, with a line-up featuring three sound engineers, self-produced the album there and opened themselves up to new inspirations without, however, straying from the powerful and melodic noise rock of their early days. Their sound becomes even more complex and personalised, revealing perfectly assimilated influences from industrial, techno and shoegaze. chest. embodies the future figurehead of a French rock scene that is no longer afraid of anything. A band capable of bringing people together without compromising their artistic standards.

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

Ein Deluxe-Box-Set zum 45. Jubiläum von Mötley Crües Debütalbum „Too Fast For Love“. Es enthält den
„Heiligen Gral“ für alle Fans: die ursprüngliche Version des Albums von Leathür Records. Sie unterscheidet
sich durch einen anderen Mix und eine abweichende Tracklist. Ebenfalls enthalten sind die Version von
Elektra Records aus dem Jahr 1982, die legendären, bislang unveröffentlichten Live-Aufnahmen aus dem
Perkins Palace (1982), ihre allererste Studiosession vom März 1981 sowie eine Demo-Session – ergänzt
durch Nachbildungen ihrer ursprünglichen 7-Zoll-Single und der Demo-Kassette. Ein 100-seitiges Fotobuch
im Hardcover-Format (ca. 30 x 30 cm) präsentiert zahlreiche bisher unveröffentlichte Fotos von Don Adkin
und Kevin Estrada, engen Vertrauten der Band, sowie Aufnahmen seltener Erinnerungsstücke aus dem Jahr
1981. Zudem sind Nachbildungen der frühen Pressemappe, eines Songtextbuchs, eines Posters und eines
Autoaufklebers enthalten.

„Rejoice“ ist eine ganz besondere Zusammenarbeit zwischen Tony Allen, dem legendären Schlagzeuger und
Mitbegründer des Afrobeat, und Hugh Masekela, dem Trompetenmeister des südafrikanischen Jazz.
Die beiden weltberühmten Musiker, die sich in den 1970er Jahren durch ihre jeweiligen engen Verbindungen
zu Fela Kuti kennengelernt hatten, sprachen jahrzehntelang davon, gemeinsam ein Album aufzunehmen.
Als sich ihre Tourneepläne im Jahr 2010 in Großbritannien überschnitten, bot sich die Gelegenheit, und
Produzent Nick Gold nutzte den Moment, um ihr Zusammentreffen aufzunehmen. Kurz nach dem sehr
traurigen Tod von Hugh Masekela im Jahr 2018 und mit neuem Elan holten Tony Allen und Nick Gold
– mit dem Segen und der Beteiligung von Masekelas Nachlassverwaltung – die Originalbänder hervor und
stellten die Aufnahmen im Sommer 2019 fertig; dies geschah in jenem Londoner Studio, in dem auch die
ursprünglichen Sessions stattgefunden hatten.
Das von der Kritik gefeierte Album wurde vom „Guardian“ als „bemerkenswert stimmige Mischung aus
Swing und Afrobeat“ beschrieben, die „einige von Allens bisher besten Arbeiten am Schlagzeug sowie
Masekelas unnachahmliche Bläsermelodien“ präsentiert.
Anlässlich des 40-jährigen Jubiläums von World Circuit Records erscheint diese Veröffentlichung nun auf
„Splatter-Vinyl“ in den Farben Orange, Pink und Weiß.

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."

„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.

„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.

„The Who By Numbers“, das Anfang Oktober 1975 erschien, ist das siebte Studioalbum von The Who
und stellte einen Wendepunkt für die Band dar, da die Songs größtenteils introspektiver und persönlicher
waren als ihre bisherigen Veröffentlichungen. Das Album war ein kommerzieller Erfolg und erreichte Platz
8 der US-Billboard-Charts sowie Platz 7 in Großbritannien, was zum Teil auf den Erfolg eines der leichteren
Stücke des Albums zurückzuführen war: „Squeeze Box“ wurde zu einem internationalen Hit und schaffte
es in Großbritannien in die Top Ten, in den USA in die Top 20 und in Kanada auf Platz 1.
50 Jahre später wird „The Who By Numbers“ im Oktober dieses Jahres als Super-Deluxe-Edition-Box
mit 5 CDs und 1 Blu-ray neu aufgelegt. Diese enthält ein 100-seitiges Hardcover-Buch mit Fotos, Erinnerungsstücken und exklusiven Anmerkungen von Pete Townshend und dem Who-Experten Andy Neill, 92
unveröffentlichte Titel und Mixe, brandneue Atmos-, 5.1- und Stereo-Mixe von Pete Townshend, 11 von
Petes Original-Demos für das Album, Aufnahmesessions aus den Ramport- und Shepperton-Studios, frühe
Mixe, Guide-Vocals, die bislang umfassendste Version von „Live At Vetch Field, Swansea, Wales, 12. Juni
1976“ sowie auf der Blu-ray Audio- und Videomaterial von einem bisher unveröffentlichten Who-Konzert,
das auf 2-Zoll-Videoband im Metropolitan Stadium in Pontiac, Michigan, aufgenommen wurde.

„Glitter“ ist das achte Studioalbum von Mariah Carey und dient als Soundtrack zum gleichnamigen Film
aus dem Jahr 2001. Das im September 2001 veröffentlichte, schillernde Album verbindet retro-inspirierten
Disco, Funk, R&B, Hip-Hop und Pop und fängt den pulsierenden Sound der frühen 1980er Jahre ein,
während es gleichzeitig Careys unverwechselbaren Gesang und ihr Songwriting zur Geltung bringt. Mit
Songs wie „Loverboy“, „Never Too Far“ und „Lead The Way“ beschäftigt sich „Glitter“ mit Themen wie
Liebe, Ehrgeiz, Liebeskummer und Selbstfindung. In den letzten Jahren hat das Album eine treue Fangemeinde gewonnen und wird heute weithin für seine nostalgische Produktion, seine kraftvollen Balladen
und die kreative Verschmelzung von klassischem Disco mit zeitgenössischem R&B und Hip-Hop geschätzt.
Anlässlich seines 25-jährigen Jubiläums wird das Album zum ersten Mal seit seiner ursprünglichen Veröffentlichung auf Vinyl neu aufgelegt, gepresst auf 2LP in fuchsiafarbenem Vinyl.

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.