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Released first as three EPs, 9PM, 12AM and 3AM, each explores a different moment of the night, from the anticipation of getting ready, to the unifying energy of the dancefloor, and finally the conversations and reflections that linger long after the music stops. Together, they culminate in The Night's Not Dead, a complete body of work that celebrates nightlife as far more than a party.

Reissued Rise Against: Revolutions Per Minute (2026) anlässlich der aktuellen Feierlichkeiten zum 35-jährigen Jubiläum von Fat Wreck auf violettem Vinyl gepresst! Ursprünglich 2003 über Fat Wreck Chords veröffentlicht, entstand das zweite Album von Rise Against "RPM" inmitten von Tourneen durch die USA, Kanada und Europa. Nach einigen Wochen im Studio Blasting Room Studio, wo sie gemeinsam mit Bill Stevenson (Descendents) und Jason Livermore die Aufnahmen einspielten, präsentierte sich das Quartett mit diesem von der Kritik gefeierten zweiten Studioalbum. Revolutions Per Minute verbindet auf meisterhafte Weise die rasante Energie des Punk mit scharfen, eingängigen Melodien. Tim McIlraths leidenschaftlicher Gesang transportiert gesellschaftskritische Texte in herausragenden Songs wie "Like the Angel" und "Black Masks & Gasoline". Das Album prägte den Punk der 2000er Jahre maßgeblich, schlug die Brücke zwischen rohem Underground-Hardcore und Mainstream-Rock und gilt heute als Meisterwerk des Genres sowie als das definitive Underground-Werk der Band. Band credited with creating a new sound - branch of melodic hardcore and political punk Rise Against's sophomore breakout album, produced by Bill Stevenson and Jason Livermore at Blasting Room Band has amassed 2 platinum records and 5+ gold records in multiple countries and 5+ Top-Charting Alternative Rock Radio hits Features hit singles "Heaven Knows", "Black Masks & Gasoline" and "Leaving Jesusland" Known for their progressive politics, veganism, and outspoken views

British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.



That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.



Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.



Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.



That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.



While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.



For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.

Theory Therapy presents “Smoker’s Choice,” the second release and first full-length from Alien D, the project of New York producer Daniel Creahan. Following last year’s “For the Early Hours of a World in Bloom” EP, the record takes on a decidedly more spacious, inward bent, with softened rhythms and arrangements given more room to breathe, folding electronics and acoustic composition into a shifting, ethereal wash.

Featuring a range of collaborations across the record, including guest vocals from his wife Ellen, Creahan’s electronics serve as a base for a series of dubwise interpolations of his collaborators’ work, from washed-out zither and bowed banjo to scorching saxophone leads.

There’s a particular pleasure in the obfuscation here, each instrument buffed into a mass of sound. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water.

“Smoker’s Choice” finds its depth in these small shifts, with dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. The record feels like a snapshot of several forces moving in slow motion – a landscape of drifting forms and blurred boundaries, where nothing feels entirely fixed.

The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.

This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.

Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Originally released in the fall of 2009, Love 2 was entirely written and produced by Air in their Atlas studio in Paris and marked a return to the band's trademark atmospheric and dreamy sound.

New York's contemporary deep house guardian Fred P has a smoky, spiritual sound that is always inescapably immersive and evocative. For this new EP on Base, he kicks off with something brighter and more extroverted: 'Pardon Me' has long been a staple of his sets and balances his signature musicality with a more playful sax lead and bold rhythm that will get floors bumping. 'Freedom Fam' has one of his classic spoken word monologues drifting next to starry cosmic keys like a voice from the heavens. 'In The Light (Still Wanting)' rewires soulful house in his own vision - deep, insular, brilliantly humid. 'Factory Sound (Edit 1)' is as peak as Fred gets - a driving, musical house rhythm that twists and turns freely as sustained chords layer in some of that trademark emotional pull. Superb.

One of the biggest electronic tracks of 2001, "Diabla" was championed by some of the world's most influential DJs, including Pete Tong, Dave Clarke, Sven Väth, and many more. Widely regarded as a true classic and a genre-defining record, Diabla successfully bridged the gap between house and techno, earning its place as a timeless dancefloor anthem.

This fully licensed reissue arrives courtesy of Armada and the original label, Soma Quality Recordings. The package features a brand-new interpretation from Joris Voorn alongside the much-loved Heavenly Mix and Revisited versions, rounded off with the legendary remix from Kevin Saunderson.

Lars Sandberg, better known as Funk D'Void, has been at the forefront of the global electronic music scene since the mid-1990s. Beginning his DJ career at just 15 years old, Lars discovered his passion for music early in life. Raised by his mother, a professional concert pianist, he always knew music would define his future. Over the decades, Funk D'Void has built a reputation as one of electronic music's most respected DJs and producers, consistently delivering innovative productions and unforgettable sets around the world.

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2 in 2023, Cosmocities returns in 2026 with two new chapters in its acclaimed compilation series dedicated to the rich heritage and continuing evolution of Japanese electronic music.

Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 4 further explores the depth, sophistication and diversity that have long made Japan's electronic underground one of the world's most inspiring musical landscapes.

Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers.

Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit.

On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood.

The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors.

Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination.

A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music.

‘Unfindable Ring', out October 23 on Bayonet Records, is an adventurer’s epic. The arc of the journey, like any good Spirited Away or Neverending Story, lands its wide-traveled protagonist right back at home before bedtime. Grumpy, like many great hero tricksters before him, has always been a project of juxtaposition: upbeat radio-ready hits whose buoyant, goofy hooks belie the dark thoughts they describe. Much of this, Schmitt acknowledges, owes its due to the matter-of-fact morbidity of the trans experience in America. It’s from these experiences—personal, romantic, political, and existential—that the tale of ‘Unfindable Ring’ unfolds.
Ambition and play have always defined the Grumpy sound. Late last year, the Fader praised their “demented, hooky” EP, “Piebald,” whose innovative fuzz-pop confections earned them coverage in NPR and the New York Times. Stereogum heralded them as “wonderfully weird,” and Paste designated them “the best of what’s next.”” Through boisterous collaborations with the likes of Sidney Gish and Claire Rousay, they’ve effortlessly ingratiated themselves with the titans of DIY, and, more recently, Schmitt has become an unlikely favored collaborator of chart-topping country giant Zach Bryan, who named his new record––which prominently features Schmitt’s harmonies–– conspicuously, ‘With Heaven On Top.’
In Grumpy, Heaven Schmitt is joined by Anya Good, Ellie Long (Kid Lake), Austin Arnold, Diego Clare (D.A. Crimson), and Lane Rodgers, who each contribute to every step of the process—engineering and recording, mixing, drafting artwork, producing, and making music videos. A kind of interdisciplinary thieves’ guild, the project, while once Schmitt’s solo eponym, is a labor of communal love.
“We are living these happy lives, and there are people we come across who don’t know us at all who want us to die,” Schmitt, explains. Often the visibility of the joy itself is what prompts the vitriol––“I’m so happy I could die,” Schmitt belts over and over on the chorus (a familiar figure of speech, sure, but one which, upon any scrutiny, shows Schmitt’s hand in the macabre.) A middle finger to fate, Good started asking, “What are you going to do with your One Beautiful Life?” Grumpy is going to keep playing, touring, searching, finding.

Muss sich alles ständig so schwer anfühlen? Claud Mintz ringt ständig mit dieser Frage. Und zwar nicht in Form von höflichen kleinen Wortgefechten, sondern in Form von großen, langwierigen, existenziellen Kämpfen - von der Art, die einen letztendlich dazu bringen könnte, den Kurs des gesamten Lebens zu ändern. Die 10 Songs auf seinem facettenreichen und glanzvollen dritten Album ,Me and the Music" zeigen den 27-jährigen Singer-Songwriter und Produzenten aus Brooklyn, wie er sich mit dieser Frage auseinandersetzt und schließlich triumphierend zu etwas gelangt, das einer Antwort nahekommt: Die Dinge können schwer sein, aber das bedeutet nicht, dass man keinen Spaß haben kann. Das Leben kann schwer sein, aber das Bier in Ihrer Hand ist es nicht - warum sollten Sie es nicht für einen Moment in die Höhe recken, mit den Freunden um Sie herum mitsingen und Ihre Sorgen für die Dauer eines perfekten Indie-Pop- Songs vergessen? ,Me and the Music" ist Clauds erstes Album seit drei Jahren, seit dem 2023 erschienenen, hochgelobten ,Supermodels". Sowohl ,Supermodels" als auch ,Super Monster" aus dem Jahr 2021 waren weitgehend inspiriert von ,dieser einen unklaren Beziehung", von der er irgendwann während des Schreibens von ,Me and the Music" erkannte, dass sie ,eigentlich nie wirklich etwas war". ,Supermodels" war ein so ernstes Album, und ,ich habe einfach so lange in meinen Gefühlen geschwelgt", sagt Claud. ,Es gibt einen Unterschied zwischen Aufrichtigkeit gegenüber dem Leben und dem Leben zu ernst zu nehmen." Diese Erkenntnis veränderte alles: Im Titelsong von ,Me and the Music" singen sie: ,Das ist der letzte Song, den ich von dir ruinieren lasse", und das meinten sie auch so. Nachdem Claud diesen Song geschrieben hatte - in den berühmten Electric Lady Studios zusammen mit ihren Freunden Hank Heaven und Annie DiRusso -, begannen sie, sich völlig befreit zu fühlen. ,Dadurch wurde viel Bedauern losgelassen, das ich mit mir herumgetragen hatte, und es ermöglichte mir, zu denken _ das macht so viel Spaß", sagen sie. ,Musik zu machen macht so viel Spaß." Das Markenzeichen von Me and the Music sind also Songs, die die Komplexität des Erwachsenwerdens und des Lebens in der Welt einfangen, ohne dabei den Sinn für Verspieltheit oder Spaß zu verlieren. Es ist ein typisches ,Slice-of-Life"-Album , das neue Romanzen, Insider-Witze, Gap-Werbespots, die Band ,America" und das Land Amerika thematisiert und all diese Dinge mit Sorgfalt und Rücksicht behandelt. Die Lead-Single ,She Doesn't Love Me" von ,Me and the Music" ist in vielerlei Hinsicht der Kern des Albums - ein leichtfühliges Lied darüber, wie es ist, in den 2020er Jahren in Amerika queer und trans zu sein. (Es ist eine kraftvolle, mitreißende Hymne, die vor Schmerz nicht zurückschreckt - und trotzdem Lust macht, wie Claud in dem Titel singt, die ,Biere in die Luft zu recken".) Als Claud den Song gemeinsam mit Heaven und DiRusso schrieb, waren sie fest davon überzeugt, dass es ein Yacht-Rock-Song werden sollte; das Demo klang letztendlich dennoch ,Lo-Fi und Indie". ,Me and the Music" wurde von Claud und John Congleton (Alvvays, St. Vincent) produziert und bedeutet für Claud, dass sich der Kreis schließt: Mit diesem Album hatte Claud endlich das Gefühl, als Produzent selbstbewusst genug zu sein, um die Rolle des Co-Produzenten zu übernehmen (und hat seitdem eine Reihe viraler Singles von Romy Mars produziert). Die Zusammenarbeit ist natürlich ein wesentlicher Bestandteil von Clauds Arbeit - wer wären wir ohne unsere Freunde? Neben Claud gehört er zu einem Viertel zu Shelly, einer Band, die er gemeinsam mit Clairo, Noa Getzug und Josh Mehling gegründet hat. Auf ,Me and the Music" arbeitet Claud bei dem Titel ,The Legend" erneut mit ihrem langjährigen Kollaborateur Dan Nigro (Olivia Rodrigo, Chappell Roan) zusammen. Der Song thematisiert das Gefühl, tief in jemanden verliebt zu sein, der nicht mit einem gesehen werden möchte, sagt Claud: ,Es geht gewissermaßen um eine beschissene Beziehung und den Wunsch, die Liebe zur Schau zu stellen, ohne jedoch dazu in der Lage zu sein ", erklären sie. Doch wenn es auf ,Me and the Music" ein echtes Liebeslied gibt, dann ist es ,I Owe You", ein Dream-Pop-Road-Song, der hingebungsvoll und facettenreich ist. Er fängt den Geist von ,Me and the Music" als Ganzes ein: die Dinge Tag für Tag zu nehmen, Bilanz über das zu ziehen, was einen umgibt, und die schönen Dinge anzunehmen, wenn sie sich bieten. Das fühlt sich gar nicht so schwer an.

Doppel-LP auf limitiertem ,Bullseye Splatter"-Vinyl. Seit 25 Jahren haben die Yeah Yeah Yeahs eines der beliebtesten Repertoires des modernen Rock aufgebaut. ,Hidden In Pieces Live at the Royal Albert Hall" versammelt Songs aus ihrer gesamten Laufbahn und interpretiert sie neu durch intime Arrangements mit Streichern, Klavier und Kontrabass. Aufgenommen an zwei Abenden in der Londoner Royal Albert Hall und angereichert mit Songs von Auftritten aus San Diego, Chicago, New York und Mexiko-Stadt präsentiert das Album Karen O, Nick Zinner und Brian Chase, die Songs aus jeder Ära der Bandkarriere in einem neuen Licht präsentieren. Entstanden im Rahmen der ,Hidden In Pieces"-Tour der Band und mit Arrangements des Musikdirektors, Arrangeurs und Dirigenten Jherek Bischoff, reicht die Sammlung von Klassikern wie ,Maps", ,Gold Lion" und ,Zero" bis hin zu neueren Highlights wie ,Blacktop" und ,Spitting Off the Edge of the World".

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Timeless is a brand-new 10-track compilation featuring rare and unreleased studio recordings from Prince’s legendary vault. This unprecedented album encompasses tracks spanning every phase of Prince’s illustrious career, from 1977 to 2016. The project has been meticulously mastered by Grammy-nominated engineer and producer Chris James, a former Prince engineer whose notable credits include HITnRUN Phase Two, Art Official Age, and Plectrumelectrum. Timeless will be available on CD & black vinyl, providing profound insights into Prince’s creative process and musical evolution.

Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.

LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.

LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.

Turn back the clock to an unforgettable era, with 32 huge hits from 1980–1984 brought together across 2LPs.

LP1 launches with Wham!’s feel-good ‘Wake Me Up Before You Go-Go’, before Duran Duran’s ‘Is There Something I Should Know?’ and Eurythmics’ ‘Sweet Dreams (Are Made of This)’ capture the contemporary sound of the new decade. The Human League’s ‘Don’t You Want Me’, Soft Cell’s ‘Tainted Love’ and Heaven 17’s ‘Temptation’ continue an outstanding run of synth-pop classics, with Blondie and Frankie Goes To Hollywood completing Side One. Culture Club open Side Two with ‘Do You Really Want To Hurt Me’, followed by colourful 80s favourites from Adam & The Ants, Altered Images and Kajagoogoo. Haircut 100’s ‘Love Plus One’ and ABC’s ‘The Look Of Love’ lead into Dollar and Bucks Fizz, rounding out a side packed with pure pop nostalgia.

LP2 starts in suitably anthemic style with Spandau Ballet’s ‘Gold’, alongside Elton John’s uplifting ‘I’m Still Standing’ and Billy Joel’s ‘It’s Still Rock and Roll to Me’. The Cars’ ‘Drive’ and Bonnie Tyler’s epic ‘Total Eclipse of the Heart’ bring some of the decade’s biggest power-pop moments, while Laura Branigan’s ‘Self Control’ and Matthew Wilder’s ‘Break My Stride’ pave the way for Dexys Midnight Runners’ ‘Come On Eileen’. Side Two brings another burst of ’80s energy with Ray Parker Jr.’s ‘Ghostbusters’, Chaka Khan’s ‘I Feel for You’ and Billy Ocean’s ‘Caribbean Queen’. Diana Ross’ ‘Upside Down’ is followed by favourites from The Police, Pretenders and The Jam, before Roxy Music’s ‘Jealous Guy’ provides an elegant finale to this celebration of 1980–1984.

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

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

Ilija Rudman is marking the 30th release on our musical town of Sakskøbing. The Croatian artist has told this particular story how he wanted with 4 tracks crucially being together on this disc so it would be a complete tale of “Egg of the Sun”. From heavenly pads & guitar riffs he has given birth to this particular disc which is ready to enter into the vast world of music. The artist has been putting out discs since the early 2000’s and has developed a vast discography behind his name that only deserves respect and admiration whether he is working solo or in collaborations with other musical souls. The label is welcoming a true visionary to its roster and it can only yield the feelings of excitement, admiration and proudness. The egg is so close to the sun like Icarus used to be in his time however instead of burning it only shines with brilliance.

$uicideboy$’ Stop Staring at the Shadows continues to stand out as a defining project in the duo’s catalog, showcasing the dark, atmospheric production and raw, introspective lyricism that have helped establish them as one of the most influential acts in the underground rap space.

The project further cemented their ability to connect with a highly dedicated global fanbase while pushing their sound deeper into the mainstream.

The release has become a fan favourite, with tracks such as ...And to Those I Love, Thanks for Sticking Around continuing to generate strong streaming activity, social engagement, and renewed discovery years after its original release. Its heavy production, emotionally charged themes, and distinctive $uicideboy$ aesthetic have given the project lasting catalog value and a strong connection with their core audience.


















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[d] A4 [Whispers Indistinctly]




[d] A4 [Whispers Indistinctly]

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.

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

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

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

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

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography - thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Coming from deep within the city that brought us Master P’s legendary No Limit Dynasty and Lil Boosie comes an artist who uniquely encapsulates the crossing point between lowslung Hip Hop and forward thinking, emotive electronic music. 22-year-old New Orlean’s based Suicideyear AKA James Prudhomme brings his own Southern Gothic perspective to the table with new album ‘Color The Weather,’ set for release on July 6th via LuckyMe. Although not his debut album per se - 2015’s ‘Japan’ on OneOhTrix Point Never's Software label was a collection of previously released beats – ‘Color The Weather’ represents the first time Suicideyear has specifically sought to create a complete body of work, further developing different textures and sounds that were hinted on last year’s critically acclaimed ‘Hate Songs’ EP. Within these tracks lie the ghosts of Prudhomme’s past - a difficult childhood truncated in his teens by his family home burning down. When he left Baton Rouge for his new home in New Orleans he found himself further entrenched in the Southern Rap scene whilst he soaked up the avant-garde electronic music he found online. Balancing his tender instrumentation alongside some of the tightest drum programming in the game - these tracks twist and turn - new elements are built and destroyed constantly encompassing a huge emotional range. On the records’ two vocal features he expounds on this innovative and ambitious duality – Domino Records own Georgia filling the track with longing and hope whilst Prudhomme deconstructs the track around her. The Casey MQ featured ‘Said and Done’ goes further - the last third of the track slowing to a codeine induced haze paying a nod to the Chopped and Screwed sound of James youth. “​Color The Weather is about the ability to build or form security after trauma/betrayal & building personal coping mechanisms to get through said traumas. Doing what it takes to control your life when powers are working against it. The total resilience of the human spirit.​” James Prudhomme

Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.

Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.

Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.

Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.

The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.

Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.

x C2. LIFE DURING WARTIME (ALTERNATE VERSION) 2026 REMASTER
z C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]





[xm] E3. CITIES (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]

[xq] F1. MIND (LIVE AT BERKLEE PERFORMANCE CENTER, BOSTON, MA, AUGUST 24, 1979) [2026 REMASTER]










[yl] I1. ARTISTS ONLY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]
[yn] I2. STAY HUNGRY (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]





[yz] J4. AIR (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zd] K2. LOVE GOES TO A BUILDING ON FIRE (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

[zh] L1. MEMORIES CAN’T WAIT (LIVE AT CAPITOL THEATRE, PASSAIC, NJ, NOVEMBER 17, 1979) [2026 REMASTER]

Dr Packer returns to the operating table, slicing into Vladimir Cetkar’s finest with surgical precision, delivering a set of refined, dancefloor-ready reworks

a A1: Don’t Make Me Wait Dr Packer's Galaxy Dub
b A2: Ocean of Dub [Dr Packer's Ocean Of Dub Mix]

[a] A1: Don’t Make Me Wait [Dr Packer's Galaxy Dub]
[b] A2: Ocean of Dub [Dr Packer's Ocean Of Dub Mix]

[a] A1 | Don’t Make Me Wait [Dr Packer's Galaxy Dub]
[b] A2 | Ocean of Dub [Dr Packer's Ocean Of Dub Mix]

[a] A1 | Don’t Make Me Wait [Dr Packer's Galaxy Dub]
[b] A2 | Ocean of Dub [Dr Packer's Ocean Of Dub Mix]

x C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]













[x] C2. LIFE DURING WARTIME (ALTERNATE VERSION) [2026 REMASTER]
[z] C3. DANCING FOR MONEY [2026 REMASTER]
[xb] C4. CITIES (ALTERNATE VERSION) [2026 REMASTER]

In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".

- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.

For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse

2026 Repress
Nothing more to say!