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A1. More Jah Songs ft Tena Stelin A2. Tell The World ft Solo Banton B1. More Jah Melodies B2. Chasm Of Dub

It’s a properly transcendent Kalahari debut as S.A.M. makes nods to ’90s Eurodance and deeper, spiritual invocations.

At the helm of multiple labels, but this marks a Kalahari debut for the Danish artist. Sometimes anthemic, sometimes operating from a more meditative space, but always serving as an outlet for ecstatic release. Rapturous big room ascension into more contemplative territory.

Channelling some divine NRG in the vocal hooks, like much of their work, an air of blissed intent cloaks the whole thing. This is a suite of tech and deep house that strikes a balance between the introspective and direct, the metaphysical and corporeal.

Pitting sonic immersion against forward momentum has almost become a blueprint for any Kalahari release, and here, we bear witness to a prime example. Heady stuff.

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Laurant Webb, Dave Coker, Justin Bailey and Dave Pine were the driving forces behind Strange Weather Studios. Based in Southeast London, the studio served as a creative hub, playing a pivotal role in shaping the sound of a groundbreaking genre. Alongside close friends and collaborators, they produced a series of influential records that have left an indelible mark on the music landscape.

This release is a heartfelt tribute to Strange Weather Studios and the talented individuals who brought its magic to life. It also honours the studio’s production partners though iconic projects such as Housey Doingz, 7th Voyage, Space Bunny, Get Fucked and Green Eyed Monster. These projects that were instrumental in forging the signature, original London Tech House sound.

The tracks on this record have been handpicked by Laurant Webb and Yossi Amoyal, meticulously restored and remastered from the rare original DATs.

This release marks a significant milestone for London Tech House, symbolising a collaboration between its key pioneers and a label that evolved alongside the genre. It’s an organic partnership that celebrates the past and looks towards the future. A project we’re incredibly proud to share with you

2025 Repress

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

Hold Jah Strength

A special Spain-based collaboration between Bukkha and Boadub Music, with rich, uplifting saxophone courtesy of Jahwind, Hold Jah Strength is a powerful, sound system-ready release built to move the dance.

Tested and approved on heavyweight systems, the tunes hit with clarity, depth and that unmistakable dub energy. Jahwind's saxophone lifts the riddim beautifully, adding warmth and soul to an already infectious production.

Slow Leaves ist das Soloprojekt des in Winnipeg ansässigen Songwriters und Produzenten Grant Davidson, dessen Werke Folk und Psych-Rock mit einer zurückhaltenden emotionalen Präzision verbinden und ihm eine treue internationale Fangemeinde eingebracht haben. Mit Veröffentlichungen bei Birthday Cake Records hat Slow Leaves über 3,5 Millionen Streams gesammelt, wird regelmäßig im Radio in Kanada, Deutschland und den Niederlanden gespielt und tourt durch Kanada, Großbritannien und Europa. The Ruins of Things Unfinished ist Davidsons sechstes Album mit neuem Material und seine bisher unmittelbarste Aufnahme. Das Album wurde größtenteils live mit dem Produzenten Kris Ulrich aufgenommen und fängt die Intimität und emotionale Tiefe der Songs von Slow Leaves mit einem neuen Gefühl von Präsenz und Wärme ein. Das Album beschäftigt sich mit vererbten Traumata, Ambitionen, Elternschaft und der stillen Arbeit der Selbstreflexion und bezieht seinen Titel aus Fernando Pessoas Zeile ,Ich bestehe aus den Ruinen unvollendeter Dinge".

mclusky sind eine Band, die eine Band war, keine Band war und nun wieder eine Band ist. Sie wurde Ende der 90er Jahre gegründet und löste sich 2005 nach drei Alben zum ersten Mal auf. Meinungen zu diesen Alben finden sich im Internet. Der Weg zurück zur Band begann 2014, als die Band sporadische Konzerte spielte, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Rückschlägen, die man als die schönsten Seiten des Lebens bezeichnen kann, veröffentlichten sie 2025 ihr erstes Album seit zwanzig Jahren. sporadische Konzerte gab, um Geld für einen lokalen Veranstaltungsort zu sammeln, der von der Schließung bedroht war. Nach einigen Missgeschicken, die man als Teil des Lebens in seiner schönsten Form bezeichnen kann, veröffentlichte die Band 2025 ihr erstes Album seit zwanzig Jahren. Nun, im Jahr 2026, setzt sie ihre musikalische Reise mit weiterer neuer Musik in Form dieses 6-Song-Mini-Albums fort. Der Zeitpunkt dieser Veröffentlichung fällt mit einer US-Tournee im Frühjahr 2026 zusammen, die nach ihrer Australien-Tournee im Januar und einer Reihe weiterer Tourneen aus dem vergangenen Jahr rund um den Globus stattfindet. Die Rückkehr der Band wurde mit Begeisterung aufgenommen, insbesondere von der Presse, wo Medien wie NPR schwärmten: ,Progressiver, ungewöhnlicher, frecher Post-Punk mit echtem Sinn für Humor und Grandiosität. Diese Musik ist einfach voller Kreativität", und Pitchfork sagte: ,Mclusky, bekannt für ihre explosiven Live-Auftritte, klingen auf ihrem Comeback-Album genauso laut... Viel Spaß dabei." Das Album enthält vier neue Songs, die im Herbst 2025 aufgenommen wurden, sowie einige Songs aus ihrer nur digital erhältlichen Comeback-EP aus dem Jahr 2023.

Jede Band, die was drauf hat, hat ein Mitglied, das mal in einem Plattenladen gearbeitet hat. Bei METZ, dem mutigen Noise-Rock-Trio, das zwischen 2012 und 2024 fünf Alben bei Sub Pop rausgebracht hat, war das Sänger und Gitarrist Alex Edkins. Während seines Studiums verkaufte Edkins in seinem Heimatort Indie-Rock- und Hardcore-Platten und wurde zu einem begeisterten Schüler des Rock ,n` Roll, von den psychedelischen 1960er Jahren bis zu den DIY-1990er Jahren und darüber hinaus. Hoopla, das eingängige, melodische zweite Album aus Edkins' Soloprojekt Weird Nightmare, mischt und kombiniert diese Einflüsse auf unterhaltsame und mitreißende Weise und zeigt seine ausgefeilte musikalische Intelligenz. ,Hoopla" sprüht vor Hooks und Ohrwürmern und ist genau die Kassette, die nie aus dem Autoradio genommen wird, sondern immer wieder gespielt wird und den Sommer begleitet. ,Hoopla" ist neu und nostalgisch zugleich und wird deine Ohren erfreuen. Das selbst produzierte und ausgesprochen lo-fi Debütalbum von Weird Nightmare wurde während der Pandemie zu Hause aufgenommen und 2022 von Sub Pop veröffentlicht. Weird Nightmare zeigte Edkins' Indie-Rock-Sensibilität mit einer Vorliebe für unverkennbare Hooks und mitreißende Refrains zum Mitsingen. Auf dem neuen Studioalbum Hoopla, das gemeinsam mit Jim Eno von Spoon produziert und in Seth Manchesters Machines with Magnets aufgenommen wurde, erweitert Edkins die Dimensionen von Weird Nightmare noch weiter. Neue musikalische Texturen wie Klavier, Glocken und Kastagnetten verschmelzen mit Edkins' geradlinigem Songwriting und verleihen diesen Stücken einen glänzenden Schimmer. Es ist, als würde ein beliebter Indie-Regisseur mit seinem ersten Studiofilm einen Schritt nach vorne machen. Wenn das Debütalbum Weird Nightmare ein Underground-Publikumsliebling war, ähnlich wie Richard Linklaters Slacker, dann ist Hoopla Edkins' Dazed and Confused. ,Hoopla" glänzt mit sonnigem Gitarrenpop und wurde mit genau der richtigen Menge an Fuzz und Crunch produziert. Die unmittelbare, schnörkellose Aufnahme versetzt dich direkt ins Studio mit Edkins und seiner Rhythmusgruppe: Loel Campbell am Schlagzeug und Bassist Roddy Kuester. Das ist Power-Pop der Extraklasse; diese scharfen Adrenalinstöße könnten sich nahtlos in einen Radio-Rock-Block zwischen The Replacements und Elvis Costello & the Attractions einfügen. Oder passen genauso gut zu Sharp Pins, Ratboys und Alvvays. Im Kern ist dieses Album ein optimistischer, leuchtender Lichtblick in unserer seltsamen Zeit. Mit Weird Nightmare möchte Edkins euch wissen lassen, dass er die Welt immer noch liebt, und er lädt die Hörer von Hoopla ein, dasselbe zu empfinden. Nutzt diese Chance, um einen Funken der Magie des Pop in unserer verbrauchten alten Welt zu ergreifen. Ihr habt es verdient.

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! 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.

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! 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.

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

VERY LIMITED BLACK VINYL WITH DOUBLE-SIDED INSERT (NON-RETURNABLE)

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11
melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He
describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and
emotional cues into unfamiliar topographies of “alien country.”

Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled
broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and
technology, shimmering like northern lights over the badlands.

Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”

Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.

Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.

Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.

The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.

The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.

In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.

Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.

Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.

What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?

Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.

Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.

With Heat, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

The year was 1985. The reformation of Sweet was under way. I had been hanging out with Mick Tucker and we’d talked about putting together a “new” Rock line-up of Sweet after the hiatus of the original band. I had recruited Phil Lanzon on keyboards and Mal McNulty on bass, now we needed the Voice! Paul Mario Day walked in and we looked no further. Paul was the original singer with Iron Maiden and had a stint with the band More before he joined Sweet. Our first dates were in Australia, total sell-outs which boded well for the future. Europe followed suit and 3 sold out nights at the original Marquee Club in London produced a live album, video and DVD. “Live at the Marquee” did well in various charts around the world and Paul’s vocal performance has stood the test of time. There were also tracks recorded at Pacific Studios in London which feature Paul’s incredible vocals. These recordings were meant to be the start of a new phase for Sweet but due to a management dispute only 4 tracks were released. Sadly Paul is no longer with us but the legacy is right here for everyone to appreciate.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.

Acony Records präsentiert stolz das Debütalbum von Old Crow Medicine Show, das erstmals auf Vinyl erhältlich ist. O.C.M.S. wurde ursprünglich auf analogem Tonband in den Woodland Sound Studios in Nashville, Tennessee, aufgenommen und enthält einige der zeitlosesten Songs von Old Crow, wie „Take ‘Em Away“, „CC Rider“ und den mit Platin ausgezeichneten Titel „Wagon Wheel“. Das Album, ursprünglich produziert von David Rawlings, wurde liebevoll für Vinyl auf Rawlings’ maßgefertigten Ortofon-Verstärkern mit einem Neumann VMS-80-Schneidesystem gemastert, bei der brandneuen Paramount Plating and Pressing in Denver, Colorado, plattiert und gepresst und wird in einer luxuriösen Gatefold-Hülle von Stoughton Printing präsentiert.

Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. They signed to the legendary British blues label Blue Horizon in 1967.

O.K. Ken? is the band's second studio album from 1969 and reached #9 in the UK Albums Chart. The record was Perfect's last album as a member of Chicken Shack; she would join Fleetwood Mac a year later in July 1970. Her tune "Get Like You Used to Be" from the album became a staple of Fleetwood Mac's live act until 1975.

O.K. Ken? is available with the original UK cover, as a limited edition of 1000 individually numbered copies on red vinyl.

8 years after their last LP Kites, Submotion Orchestra return with their long awaited sixth studio album, the remarkable Passed Me By. A deeply personal journey into memory, creativity, and the passing of time, it shows the band continuing to push their signature electronic sound forward, and the result is some of the boldest and most emotional territory of their storied career. 

The album sees the band dive further into the synth-led, minimalist electronic textures and driving beats explored on the 'Five Points' EP, creating hypnotic analogue patterns alongside the post-dub spaciousness and celestial effects of their earliest work. With Ruby Wood's always-emotional vocals soaring over the top, the tracks effortlessly glide through genre and mood, resulting in the widest range of expression and emotion found in a Submotion album yet. 

Synopsis: Tsuna, a shy teenager, learns he is destined to become the next mafia boss. Guided by Reborn, a hitman in baby form, he faces countless enemies to protect his friends. Blending humor, action, and personal growth, Hitman Reborn! delivers a unique and thrilling adventure. This album draws on the musical style of quirky Italian mafia films, and includes the main openings and endings from the series.

Mit "We Were Made For These Times" feiern die Klezmatics ihr 40-jähriges Bandjubiläum - und veröffentlichen zugleich ein Album, das die Gegenwart direkt anspricht.

Die Grammy-ausgezeichnete Formation verbindet seit vier Jahrzehnten jiddische Musiktradition mit politischem Bewusstsein, kultureller Verantwortung und einem unverwechselbaren Klang, der Klezmer mit Punk-Energie, Jazz-Improvisation, Gospel und globalen Rhythmen verschmilzt. Das neue Album versteht Klezmer nicht als nostalgisches Archiv, sondern als lebendige Ausdrucksform, die Kraft, Verbundenheit und Widerstandsfähigkeit stiftet. In Zeiten gesellschaftlicher Spannungen, globaler Migrationsbewegungen und öffentlicher Debatten über Zugehörigkeit richten die Klezmatics ihren Blick auf die historische Aufgabe jüdischer Musik: Menschlichkeit einfordern, Gemeinschaft stärken und Hoffnung formulieren. Die Songs reichen von Protest- und Arbeiterliedern bis zu spirituellen Stücken und feiern gleichzeitig Lebensfreude, Glauben und kulturelles Gedächtnis. Texte von Woody Guthrie, Holly Near, Dovid Edelstadt oder Chaim Zhitlovsky treffen auf neue Interpretationen und internationale Gäste - darunter Sofía Rei, Janis Siegel, Joshua Nelson, La Manga, William Parker, James Brandon Lewis und Enver Izmaylov. Im Zentrum steht der Titelsong, inspiriert von Dr. Clarissa Pinkola Estés" Botschaft: Wir sind für diese Zeiten gemacht. Das Album bekräftigt, wofür die Klezmatics seit 40 Jahren stehen: Musik als Werkzeug für Mut, Würde und gemeinschaftliche Zukunft.

Iconic Atlanta quintet SEVENDUST is back with its 15th studio album, ONE, set for release on May 1, 2026 via Napalm Records. The upcoming full-length LP forges ten simultaneously lean and gut-punching tracks out of gargantuan riffs, seismic grooves, and signature soul-stirring hooks, once again produced by Michael “Elvis” Baskette (Alter Bridge, Falling In Reverse, Mammoth). The group, comprised of Lajon Witherspoon (vocals), Clint Lowery (lead guitar, backing vocals), John Connolly (lead guitar, backing vocals), Vince Hornsby (bass), and Morgan Rose (drums), busts down the door with the first single “Is This The Real You”. Its swaggering fretwork alternately wallops and gallops in lockstep with a pummeling rhythm anchored by thunderous drums. The riff rolls and seethes, and the vocals swing from guttural growls into the embrace of a jazz-y chantable chorus.

A hummable lead ties the bridge together. Echoes of a tensely picked single-note set the tone for “Threshold.” Lajon’s delicate delivery gives way to a contentious distortion-boosted refrain. Then, there’s “Unbreakable,” which has all the makings of a clarion call for the collective and a future live staple. Strains of soft piano slip into the undertow of a towering hook punctuated by a promise, “We were meant to be unbreakable… even when we’re at our lowest lows. And if it gets too cold, I’ll never let you go.” The title track succinctly sums up the record as a whole. Bellowing out of a maelstrom of roaring distortion, Lajon’s voice reaches heavenly heights. For over three decades, SEVENDUST have made countless fans feel a part of something special. The group’s community isn’t passive. Members of the “7D Army” make a very active commitment to being part of this family – as evinced by sold-out shows worldwide and innumerable tattoos of the band’s logo and lyrics. Since 1994, the band has quietly built a legacy without parallel, encompassing sales of nearly eight million albums, a GRAMMY® Award nomination for “Best Metal Performance,” three Top 15 entries on the Billboard 200, hundreds of millions of streams, and the fierce loyalty of millions of listeners in every corner of the globe.

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.

AMBOSS ist die neue Band von TOXPACK & BIERPATRIOTEN-Sänger Schulle zusammen mit weiteren Freunden plus Gästen, die in den letzten Jahrzehnten im deutschen Punk- und Oi-Sektor viele heiße Eisen im Feuer hatten. Jetzt haben sie zusammen gleich 20 alte Eisen neu geschmiedet. Ihr Debut-Album erscheint als Doppel-Album mit Liedern ihrer Jugend von Bands aus dem Osten und Westen Deutschlands, sowie als besonderen Bonus ein Cover eines US-Hardcore Klassikers. Die Herangehensweise für "Altes Eisen neu geschmiedet" war dabei von vornherein klar: diese alten, großartigen Klassiker benötigen keine aufpolierte Hochglanz-"Oi!"-Produktion! Roh, ehrlich und brutal war das Motto und das Ergebnis spricht letztendlich für sich. Nicht nur wer noch aus alten Tagen die liebevoll selbst zusammengestellten Tape-Compilations kennt, wird diese prägende Zeit gern erinnern und das Album dafür lieben! Seit Sommer 2025 haben AMBOSS zwanzig Songs ausgewählt, was schon eine Aufgabe für sich war, gefühlt hätten es hundert werden können, die nicht nur die Band prägten sondern auch "Punk-Historie" geschrieben haben: Klassiker, vergessene Schätze und oftmals auch Raritäten von Bands wie u.a. Toxoplasma, Broilers, Daily Terror, Verlorene Jungs, Troopers, Springtoifel, Zusammrottung und Lokalmatadore sowie Madball. Als Gäste sind auf diesem Album vertreten: Dennis (Dreiviertel Noin), Zoppel (Toxpack), Stolp (Maul Halten), Hacker (Shock Troops) und Hinkel (Volxsturm). "Altes Eisen neu geschmiedet" ist auf nur 500 Stück gesamt limitiert, entweder in schwarzem Doppel-Vinyl oder als weiße 2LP erhältlich.