Cerca:the bad

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

This is the first full-length release from South Korea"s beloved pansori psych-pop band available worldwide. The release follows an extremely successful and eventful year for LEENALCHI. They had their first-ever North American tour, opening for Japanese Breakfast at Stern Grove, sessions at KCRW and (rumor has it) KEXP, and in the fall, they"ll be on the East Coast, including opening for Geese at Forest Hills on the very same date this record comes out. LEENALCHI is led by the great composer Jang Young-Gyu, who has undoubtedly scored all your favorite Korean horror movies, including The Wailing, Train To Busan, and the Good, The Bad, The Weird. Sugungga sounds like animals talking to each other over tripped-out bass lines. It gets its name from the old Korean folk tale about a clever and loyal turtle who tries to lure a rabbit underwater and into the lair of a Dragon King who has come down with an illness that can only be cured by the rabbit"s liver. What is the fate of the rabbit? This fall, you will find out.

2026 Repress

Die norwegische Punkband Aktiv Dödshjelp aus Oslo hat sich in den vergangenen Jahren in Ihrer Heimat
durch ihre explosiven Liveshows und nicht zuletzt durch ihre supermelodiösen Songs mit witzigen und
ironischen Texten einen hervorragenden Ruf erspielt. In den 17 Jahren seit ihrer Gründung im Jahre 2007
ist die Band pausenlos im Inland und Ausland getourt und präsentiert nun ihr zweites Album! Aktiv
Dödshjelp haben ihren Sound seit ihrem letzten Album ”Send Dudes” (das in 2025 für den norwegischen
Grammy als bestes Rockalbum nominiert war) perfektioniert und liefern auf dem neuen Album ”The Nasty
Piece” den perfekten Mix aus Punk und Rock. Wer auf norwegische Bands wie Turbonegro, The Good
The Bad and The Zugly und Kvelertak steht, wird Aktiv Dödshjelp lieben!
Für die neue Platte holte sich die Band diesmal Produzent Bendik Markovic Toming-Weston (brenn, TØFL,
Fred again.…) ins Boot, der laut der Band ”eine echte Pop-Hure” ist.
Natürlich haben es nur die stärksten Songs auf The Nasty Piece geschafft. Das Album enthält außerdem
die bereits veröffentlichten Singles „Jakter en Løve“, „Kjøttkverna“ und „Hun som sitter fast“ und mit
”Lazer Tag” den besten Turbonegro-Song, den Turbonegro nie geschrieben haben.

Die Guitar Gangsters könnte man getrost als die "older statesmen" des britischen Punkrocks bezeichnen, obwohl sie nie Teil der ersten Welle in den späten 70er waren. Gegründet Ende der 80er Jahre von den Brüdern Pete und Phil Ley hat die Band den musikalischen Schmelztiegel ihrer Heimatstadt London von Punk, Glam, Rock 'n' Roll bis Reggae förmlich aufgesogen. Ihr Debütalbum "Prohibition" erschien dann 1988 bei Link Records. Mehr als 35 Jahre und über 1000 Shows später haben die Guitar Gangsters noch mehr als genug Munition und Durchsetzungsvermögen um auf der "Revolution Street" ganz klar den Ton anzugeben! Wer ihr neues Album hört, wird keine Zweifel daran haben. Mit einer unglaublichen Spielfreude, treffsicheren Gespür für mitreißende Powerchord-Melodien, eingängigen Riffs, Hooks und stilsicheren Ausflügen quer durch alle Rockepochen ist "Revolution Street" ihr abwechslungsreichstes Album geworden_bleibt dabei aber immer unverwechselbar "Guitar Gangsters", eng verwurzelt im Punk Rock. Von klassisch, zeitlosen 77er Punk ("Suck it" up" / "Fake"), Pub- und Garagerock ("Without Prejudice"), RocknRoll und Glam bis zu dem einmaligen "80er feeling" in dem Gitarrenpop mit Punk und New Wave verschmolz ("Invisible"). Und mit "Car Crashed Heart" präsentiert die Band ein von den 50er/60er inspirierten Song, bei dem man förmlich "The Wanderers" auf der anderen Straßenseite erwartet. Da verwundert es auch nicht, dass mit "Baby Blue" die 70er und ein verlorener Rock-Klassiker von Badfinger neu zum Leben erweckt werden_.natürlich auf Guitar Gangsters-Art! Es gibt viel zu entdecken auf der "Revolution Street"! Nach knapp 45 Minuten Spielzeit endet in bester "The Clash"-Tradition mit "Warzone" das Album. Mit einer lässig-coolen Eleganz und großartigen Songwriting haben die Gentlemen des Punk Rocks ihr 12-er Magazin abgefeuert. Jede Menge Spaß, Singalongs und eine gute Zeit ist dabei garantiert! Die Revolution muss nicht immer blutig-aggressiv sein und Street credibility hat man halt, oder eben nicht. Klassisch schwarzes oder mehrfarbiges Splatter Vinyl am Start!

Die Guitar Gangsters könnte man getrost als die "older statesmen" des britischen Punkrocks bezeichnen, obwohl sie nie Teil der ersten Welle in den späten 70er waren. Gegründet Ende der 80er Jahre von den Brüdern Pete und Phil Ley hat die Band den musikalischen Schmelztiegel ihrer Heimatstadt London von Punk, Glam, Rock 'n' Roll bis Reggae förmlich aufgesogen. Ihr Debütalbum "Prohibition" erschien dann 1988 bei Link Records. Mehr als 35 Jahre und über 1000 Shows später haben die Guitar Gangsters noch mehr als genug Munition und Durchsetzungsvermögen um auf der "Revolution Street" ganz klar den Ton anzugeben! Wer ihr neues Album hört, wird keine Zweifel daran haben. Mit einer unglaublichen Spielfreude, treffsicheren Gespür für mitreißende Powerchord-Melodien, eingängigen Riffs, Hooks und stilsicheren Ausflügen quer durch alle Rockepochen ist "Revolution Street" ihr abwechslungsreichstes Album geworden_bleibt dabei aber immer unverwechselbar "Guitar Gangsters", eng verwurzelt im Punk Rock. Von klassisch, zeitlosen 77er Punk ("Suck it" up" / "Fake"), Pub- und Garagerock ("Without Prejudice"), RocknRoll und Glam bis zu dem einmaligen "80er feeling" in dem Gitarrenpop mit Punk und New Wave verschmolz ("Invisible"). Und mit "Car Crashed Heart" präsentiert die Band ein von den 50er/60er inspirierten Song, bei dem man förmlich "The Wanderers" auf der anderen Straßenseite erwartet. Da verwundert es auch nicht, dass mit "Baby Blue" die 70er und ein verlorener Rock-Klassiker von Badfinger neu zum Leben erweckt werden_.natürlich auf Guitar Gangsters-Art! Es gibt viel zu entdecken auf der "Revolution Street"! Nach knapp 45 Minuten Spielzeit endet in bester "The Clash"-Tradition mit "Warzone" das Album. Mit einer lässig-coolen Eleganz und großartigen Songwriting haben die Gentlemen des Punk Rocks ihr 12-er Magazin abgefeuert. Jede Menge Spaß, Singalongs und eine gute Zeit ist dabei garantiert! Die Revolution muss nicht immer blutig-aggressiv sein und Street credibility hat man halt, oder eben nicht. Klassisch schwarzes oder mehrfarbiges Splatter Vinyl am Start!

Bring home Freya Skye's live fan favourite "bad taste" on 7' translucent red vinyl. After performing the song for audiences across the globe on her sold-out Stars Align Tour, Freya is releasing "bad taste" for the very first time as an official studio recording. This collectible is a must-have for every Skylight -- get yours before it's gone

The album was produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) who became a believer after just a few songs of a ’68 set while the band was touring with Stone Sour last year.

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

Night Luv is a new label founded by Italy's Simplr that wants to bring people together, whether times are good, bad or sad. Drop the needle on this inaugural 7" though and the times will surely be rad: it's a tweaked, chopped, screwed and filtered take on a stone cold soul classic with a smoky vocal fragment and deployed teasingly through the mix. The drums are rough and raw, the synths swirl, and the whole thing has an excitable energy. The K Lost Acid dub, meanwhile, is a little more club-ready with some chunky low-end drum funk.

Released in 1982, Upstairs at Eric's is the groundbreaking debut album by Yazoo. It features the international hits ‘Don’t Go’ and ‘Only You’, alongside fan favorites ‘Goodbye 70s’ and ‘Midnight’ plus the haunting ballad “Winter Kills.” Produced by Eric Radcliffe and Yazoo, the album is a masterclass in electronic pop, blending Vince Clarke’s innovative synth work with Alison Moyet’s idiosyncratic vocals. Pressed on limited edition Crystal Clear Vinyl.

Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.

Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.

Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.

a 1. Ana Moush Kafer 5:03
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

Tramhaus aus Rotterdam wurden nach der Veröffentlichung ihres Debütalbums "The First Exit" (2024) und zahlreichen Shows in ganz Europa (und weit darüber hinaus!) bereits als "DIE holländische Post-Punk-Sensation" beschrieben und wahrgenommen. Im Oktober 2026 erscheint das neue Album "Blister" bei Siluh Records. Die Band bewegt sich seit ihrer Gründung 2020 zwischen treibendem Post-Hardcore und Indierock-/Shoegaze-Anleihen, garniert mit einem Schuss kalkulierter Dissonanz. Dabei verorten sich Tramhaus, über die musikalischen Einflüsse hinaus, explizit als Teil einer organisch gewachsenen, internationalen Szene, eines Netzwerks aus unabhängigen Agenturen, Labels und Veranstaltern mit deren Hilfe die Band nach der Veröffentlichung ihres Debütalbums innerhalb ein, zwei Jahren zum Szene-Tipp und must-see avancierte. Kraftvoll, laut und selbstbewusst gewinnt Blister bei wiederholtem Hören an Format. Das Album besticht durch eine neue Eleganz sowie spürbarem Raumgefühl und enormer Wucht. Dies rührt zum Teil aus einer gewachsenen, detailierteren Produktion her, die auch die vielen Zwischentöne einfängt. Die schwindelerregende Natur des fast zweijährigen, ununterbrochenen Reisens spiegelt sich im Titel des ungeduldigen Eröffnungsstücks "Plovdiv" wider (ein Ort, an dem sie übrigens tatsächlich gespielt haben): Ein Glam-artiger Stampf-Rhythmus und eine federnde Basslinie treiben eine Reihe bedrohlicher Gitarrenriffs voran - Elemente, die allesamt jenen Sound widerspiegeln, mit dem Tramhaus in letzter Zeit die Konzertbühnen in Schutt und Asche gelegt haben. Auch weitere Stücke wie "Rat Race" und "I Was Never Alone" klingen ganz ähnlich. Die langsameren Titel des Albums offenbaren bisweilen eine ,rockistische" Erhabenheit, die sie zuvor lediglich angedeutet hatten: vielleicht im Stil der Pixies oder der späten Nirvana (man höre und staune!) - oder, an anderer Stelle als leises Flüstern, das an Nick Cave and the Bad Seeds erinnert. "Overachiever, Big Believer" und "Sly (Like Ever)" zeichnen sich durch eine beißende, knurrende Grundstimmung sowie geduldig ausgearbeitete Melodielinien aus - Eigenschaften, die im Jahr 1991 zweifellos hervorragend ins musikalische Zeitbild gepasst hätten. An anderer Stelle besticht "Solace" mit seinem offenen Akkordanschlag durch eine lässige Attitüde, die direkt einem Stück der Saints oder der Bad Seeds entstammen könnte. Das Beste wird sich für den Schluss aufgehoben: Bei "Swarm" bricht nach einem monolithischen, an die frühen Pere Ubu erinnernden Bass-Grollen ein grandioses, Sabbath-artiges Riff über den Hörer herein. Es ist ein hymnisches, transzendentes Stück, das in früheren Zeiten ein garantierter Hit gewesen wäre - eine Single, die Teenager auf der ganzen Welt dazu animiert hätte, ihre Air-Guitar-Künste vor Mamas Schlafzimmerspiegel zu perfektionieren. Also, das zweite Album der genau richtig neben dem Mainstream verorteten Postpunk-Niederländer*innen nicht verpassen! Dieses frisch grüne Vinyl ist limitiert (100 Stück weltweit)!

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.

2026 Repress

Hailing from the ancient Russian city of Tambov, on the banks of the Tsna River, the youngest member of the Trip family Vladimir Dubyshkin emerges for a potent debut solo EP. cheerful pessimist is an engaging package of highly anticipated deep, swirling techno tracks that many will recognise from label head Nina Kraviz's DJ sets. Diving straight into the core of a peak time set, Vladimir unleashes five formidable doses of unrestrained energy. Swollen sub bass and thumping percussion forge an unmistakable sense of physicality, whilst spiralling, a melodic leads run circles around the listener. Cheerful pessimist wastes no time warming up, plunging head first into the belly of the beast. A thrilling debut and an essential release for lovers of vibrant techno.

Chase & Status announce their forthcoming album Generic Everything, out 9th October 2026, alongside new single “Gone Too Far” featuring Debbie. The 10-track project brings together an expansive cast of collaborators including J Hus, Little Simz, Skrillex, Giggs, D Double E, Blanco, IRAH, Col3trane and more, continuing the duo’s long-standing ability to connect scenes, generations and sounds across British music.

Generic Everything follows a landmark period for Chase & Status, which has seen “Baddadan” spend over 15 weeks in the UK Top 10 and achieve Platinum status, while “BACKBONE” featuring Stormzy became their first ever UK Number One single. Alongside a BRIT Award for British Producer of the Year, a record-breaking sold-out UK arena tour and their Milton Keynes National Bowl takeover, the duo continue to operate at a career-defining level more than two decades in.

Built around the idea of resisting creative conformity in a world increasingly shaped by algorithms, endless content and more, Generic Everything sees Chase & Status once again refusing to be confined by genre.


Moving between rave, rap, soundsystem culture and electronic music, the album pairs their unmistakable production with some of the most distinctive voices in UK music and beyond, capturing a duo still driven by the instinct to keep evolving, collaborating and pushing their sound forward.

It’s not just since James Bond and the introduction of World Overshoot Day that we’ve known: The world isn’t enough. We need an Extrawelt! Arne Schaffhausen and Wayan Raabe have been tinkering with this celestial body for over two decades, and it seems to be slowly nearing completion. You certainly can’t accuse Extrawelt of lacking ideas. They are, so to speak, the legitimate descendants of the legendary planet designer Slartibartfast from Douglas Adams’ “The Hitchhiker’s Guide to the Galaxy”. No doubt, the downright insanely creative bossa nova-techno bastard “Honey Hunter” will be mentioned in the same breath as Slartibartfast’s award-winning Norwegian coastlines by future civilizations. The other three tracks aren’t half bad either. Take our word for it.
Nicht erst seit James Bond und der Einführung des world overshoot days wissen wir: Die Welt ist nicht genug. Wir brauchen eine Extrawelt! Die Herren Arne Schaffhausen und Wayan Raabe werkeln seit über zwei Jahrzehnten an diesem Himmelskörper und er scheint so langsam bezugsfertig zu sein. Man kann Extrawelt nun wahrlich keine Ideenarmut vorwerfen. Sie sind quasi die legitimen Nachkommen des legendären Planetendesigners Slartibartfast aus Douglas Adam’s “Per Anhalter durch die Galaxis”. Der geradezu irrwitzig kreative Bossanovatechno-Bastard “Honey Hunter” wird von künftigen Zivilisationen in einem Atemzug mit Slartibartfast’s preisgekönten norwegischen Küstenlinien genannt werden. Auch die anderen drei Tracks sind nicht von schlechten Eltern. Glaubt’s und werdet selig.
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Originally released in 2006, "Ballad Of The Broken Seas" has remained a touchstone for fans of Folk and Americana, revered for its haunting melodies, rich storytelling, and the captivating interplay between Isobel Campbell"s ethereal vocals and Mark Lanegan"s gravelly baritone. The album was the first in a celebrated trilogy of albums that Isobel Campbell & Mark Lanegan recorded together, being followed by "Sunday at Devil Dirt" in 2008 and "Hawk" in 2010.

Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.

Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.

Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.

Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:

Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.

“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag

‘Brand New Lover’ is the first single to have been released from Dead Or Alive’s 1986 CBS Records album, “Mad, Bad and Dangerous To Know”, which was also produced by the then globetrotting hit making production team, Stock Aitken Waterman.


This Limited Edition 6-Track 12” Light Blue colour vinyl single cut at 331/3 rpm, launches the parent album’s 40th anniversary celebrations.

„Whut? Thee Album“ ist das Debüt-Studioalbum des legendären Rappers Redman. Das am 22. September
1992 veröffentlichte Album erreichte Platz 49 der Billboard 200 und Platz 5 der Top-R&B-Album-Charts
und wurde später in den Vereinigten Staaten mit Gold ausgezeichnet.
Das Album präsentierte Redmans unverwechselbaren Vortragsstil, seinen bissigen Humor und den rauen
East-Coast-Sound durch herausragende Titel wie „Time 4 Sum Aksion“, „Tonight’s da Night“ und „Blow
Your Mind“.

The Big Bad Shark Is Back With Two Slices Of Signature Rufige From Label Heads Gremlinz & Jesta On Coke White Vinyl.

Asake’s fourth studio album, M$NEY, marks a major evolution in his career, trading the frantic energy of his early hits for a more polished, cinematic sound. The project explores the intersection of material wealth and divine favor, framing his global success as a spiritual journey. Rather than just celebrating the "soft life," Asake uses this record to reflect on the discipline and faith required to maintain his position at the top of the music world.

Sonically, the album expands his signature Fuji-fusion and Amapiano roots with help from long-time collaborator Magicsticks and international producers like DJ Snake. Tracks like "Worship" bring high-octane electronic energy, while "Badman Gangsta" featuring Tiakola offers a sleek, R&B-influenced collaboration. Throughout the project, Asake balances these high-energy moments with orchestral strings and jazz elements, creating a rich, textured listening experience that feels both global and deeply rooted in Lagos street culture.

At its heart, M$NEY is a balance of celebration and introspection. In tracks like "Forgiveness" and "Gratitude," Asake addresses the pressures of fame and the personal growth he has undergone since his debut. He remains grounded in his Yoruba heritage, blending boastful lyrics with sincere thanks for his trajectory. Ultimately, M$NEY proves that Asake is more than a hit-maker; he is a visionary artist documenting his life and legacy with newfound maturity and style.

Killer Groove Records presents a new 7" by Electric Circus, pairing "High Fever" and "Ogres": raw, hypnotic funk built on obsessive bass lines, sharp horns, dub delays and wah-wah guitars.

Both tracks are taken from Rites, the band's second studio album, out November 27 on limited-edition LP, CD and digital. The 7" is limited to 500 copies worldwide and is out September 25.
On the A-side, "High Fever" maps Electric Circus's territory: '70s funk, Afrobeat and psychedelia meet in a steady build toward a climax of synths and groove. The track grew from a bass line written over one feverish weekend and runs as a single continuous rise in tension.
The groove takes its cue from The Meters, locking syncopated accents into place while a punchy horn section cuts through from the opening bar. Dub delays and layered textures then open the arrangement out, trading space with wah-wah guitars and a treated clavinet that sounds vintage without dating the mix. After a darker, nocturnal passage, the saxophone rises over percussion and synths for the climax.

On the B-side, "Ogres" was the first track conceived for the album and the last to be completed. It began as a bass-and-percussion ostinato in an Ethiopian pentatonic scale, modelled on a war march, and grew into a dense groove with psychedelic and trip-hop textures. Its rhythm conjures a twilight bestiary of dark, menacing or perhaps merely curious creatures, building to a tense climax before resolving into a smooth, dreamlike finale that suggests awakening, or re-emergence.

Like the rest of Rites, both tracks started in jam sessions and were recorded in stages: live takes of the core arrangements first, then dedicated sessions for synths, horns and overdubs. Marco Sirio Pivetti engineered at Metrò Rec Studio in Riva del Garda, Gio Solo at Sberdia Studio in Turin. Overdubs were reamped through tube amplifiers and analog outboard. The band co-produced with Pivetti, who also mixed; Riccardo Ricci mastered at Velvet Room Mastering Studio in Brighton.

Electric Circus are based in Turin. They released their debut album, Canicola, in 2018 and have toured the U.S. Scoring Contrecourant (2021), a documentary series shot in Senegal and Mali, led them to Sahel Roots, a duo from the north of the country. The two groups recorded On est ensemble (Mieruba, 2023) remotely between Turin and Bamako, each writing two pieces for the other to finish.

For fans of The Heliocentrics, Calibro 35, BADBADNOTGOOD.

The 1st solo album Indigo by RM of BTS is officially available for the first time on vinyl. Indigo includes different tracks in collaboration with various artists that portray RM's prevailing thoughts. Contents of the album include a 12-inch Vinyl, Outer Jacket, 3 Premium Photo Boards, Booklet, Folded Lyric Poster, Instant Photo and Photo Card.

Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more

Bloodhound Gang’s irreverent brand of comedy-rock and rap-rock is collected here on this essential 1LP hits package, pressed on exclusive Milky Clear vinyl and including a collectible poster. Featuring the band’s biggest and most enduring tracks, the set is led by the international smash “The Bad Touch”, a multi-million-selling single that reached No.1 in Germany, Sweden and several other European territories, while also hitting the UK Top 5. Also included are fan favourites “Fire Water Burn”, “The Ballad Of Chasey Lain”, “Along Comes Mary”, “Foxtrot Uniform Charlie Kilo”, “Uhn Tiss Uhn Tiss Uhn Tiss” and “I Hope You Die”, spanning the band’s most successful era from the platinum-selling Hooray For Boobies through to Hefty Fine. Bloodhound Gang have sold millions of albums worldwide, with Hooray For Boobies reaching No.1 in both Germany and Austria and achieving Platinum certification in the US. Combining the group’s biggest chart hits, cult classics and live favourites, this specially curated single-LP edition delivers the definitive Bloodhound Gang experience in a concise, collector-friendly format.

The new album is inspired by the simultaneously magical and insidious ways that advertising and name-brand technology wraps itself around our memories. It’s an ambivalent ode to the nostalgic pull of commercial jingles and proprietary start-up sounds. The best things in life may be free, but childhood and corporate entertainment products are completely intertwined. The obsession with advertising and consumer technology informs the sonic make-up of the music as a source of raw material out of which the foundations of the tracks were built. Speaking on this impetus for the album Robbie Chater says ““It seems to be bound up with the nature of sampling itself. Once we start digging through forgotten sounds and uncovering their meaning, almost inevitably you get sent down a path of discovery. Every forgotten sound opens another door. And that’s what I love - feeling like a kid again. Diving into this whole world of advertising, looking at how jingles get made, it’s the kind of thing that keeps me interested in sampling as a process, an art form.”

“Bloque 6” (1968), by Juan Carlos Calderón, is a landmark in the history of modern Spanish jazz, quite different from the later phase of his career, when he incorporated elements of fusion under the influence of funk, disco, and even flamenco. For the recording of this album, he was joined by prominent Spanish jazz musicians such as Pedro Iturralde, Vlady Bas, and Pepe Nieto.

In the United States, it was awarded Best International Jazz Album in 1969 and reissued on CD by Blue Note many years later.


First time vinyl reissue.

New edition, red vinyls.


Mazouni is one of the great voices of Algerian exile music. This compilation retraces his years in France from 1969 to 1983, when he brilliantly blended Algerian popular song, yé-yé, rock and traditional music. A sharp yet affectionate chronicler of immigrant life, he recorded classics such as 20 ans en France, Clichy and Mini-Jupe. An essential body of work, bridging cultures and telling the story of immigration through music, with a modernity that remains strikingly relevant today.

Continuing with the next installment Len Faki's Hardspace series, he breathes new life into four distinct tracks, re-imagining them through the signature Hardspace lens: heavy, thumping, and relentlessly propulsive. Spanning decades of sound, these reworks bridge the gap between nostalgic grit and future-facing intensity, proving once again that a strong is often the most effective tool in the bag.
DJ Sneak's 2009 cut Acido sits perfectly between acid-house and techno-leaning aesthetics-a natural fit for a Hardspace edit that amplifies its jacking, loopy groove. Staying closer to techno's roots is Like A Tim's warehouse classic Rashness; here, Faki channels the raw, frantic energy of the original, proving how nuanced changes can generate a completely different, captivating energy as he reshapes the track's dynamic impact and tightens the low-end.
The B-side takes two contemporary cuts further into the red: the Snuff Crew edit ramps up the intensity, stripping back Where's The Bad? to a singular, hypnotic loop for peak-time impact. Finally, Umfang's Complete Your Collection undergoes quite the transformation, adding layered, rhythmic complexity and shifting bass weight to create a trippy but floor-focused drive.

Charles Webster was one of the architects of the early UK house scene but has never got the flowers he deserves. Maybe this first win a new series of reissues from his incredible vaults, will change it. Unreleased Stuff comes on Remote and opens with a louche tech house sound that's deep and emotionally dialled in. 'Don't Work' is great advice for anyone as well as being a humid house roller for the backroom. 'How To Live' brings more of a steamy energy that encourages you to get up on your toes and then 'Bad Year' slows it down and layers in some lovely liquid West Coast chords. Two more brilliantly vibey cuts close an EP that must not be sniffed at.

Recently hailed by The Guardian as "British techno's great survivor," Nigeria-born, UK-based Ibrahim Alfa Jnr continues with the fine form shown on his recent Infinite Black Inside LP with this first EP on his newly minted label Infinite Black Audio. The music was made after the end of a time of bad health, which means there is a feeling of both relief and reflection here. The nameless tracks are all overtly technological in their DNA - spanned synths warp around mechanical kicks on the opener as detuned jazz keys tumble through the mix. ''Track 2' floats on skittish breakbeats, there's moody downtempo on 'Track 4' melodically-inspired hope on 'Track 6.' An adventurous and rewarding EP.

Tears|Ov are Terces Wale (aka D. Wale), L.E. Allen and Lottie Lou Poulet. For real money and in no particular order, they also work odd jobs as digital caterers, shrinking heads, doing laundry and looking up stuff online.

Tears|Ov write: ‘A life on hold! The corporate apology embedded in bad quality, insincere, trashy, patronising hold music it can have no meaning in this stage of Capitalism. There isn’t time - and humility is a waste of money. Still they joke and try to keep us calm, patient and satisfied. This was the starting point for “A Life on Hold” by Tears|Ov - Which quickly drifted into further musings on a collective life that feels forever two steps forward and x-steps back. We wait on hold and reach the top of the queue only for the line to go dead.

Tears|Ov are interested in the ready-made of mainstream media, particularly, the lies, the rub, the promises and the taken for granted. We are the blood plasma of the I in the screens embrace. We seek to find ourselves in that reflection, our real selves – if they even exist – just because it’s kinda fun. You may have seen us on TV, in the bargain basement music section, or some venue in your local area. We take the opportunities the Universe provides.” – Tears|Ov, London, 20 June 2026