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Heaven Tonight is the third studio album by the American rock band Cheap Trick, originally released in 1978 and produced by Tom Werman. Building on the success of their earlier releases, the album further refined the band's signature blend of power pop, hard rock and melodic hooks.

The record features some of Cheap Trick's most recognizable songs, including the massively popular "Surrender" and the single "California Man", both of which helped establish the band's growing international reputation. A Platinum-certified release that enjoyed considerable international chart success, Heaven Tonight is considered one of the standout releases from Cheap Trick's classic late-1970s period and played an important role in shaping the sound that would make them one of the most successful rock acts of their era.

Heaven Tonight is available as a limited edition of 2000 individually numbered copies on violet vinyl and includes an insert with lyrics.

Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances.

Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš.

The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.

Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch.

Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through the shared process of listening and interpreting Turcerová’s relatively open scores. And while these works often grow from long, stretched-out tones, they also foreground forward direction: no note stays in one place, no melody is without action. Instead, Šumum chronicles how the tiniest shifts can lead to major transformation.

Šumum builds from Turcerová’s longheld interests in place and minimalism. Many of the composer’s works explore perception: how a room can shape the music we hear, and how repetition alters a melody. Like the music of Éliane Radigue, Šumum embraces the rainbow of colors that appear when close listening with the wave-like flow of looped melodic and rhythmic patterns. All the album’s pieces observe the subtle changes that happen as music grows.

Group communication yields the constant evolution that defines Šumum. The album feels like a conversation, with each instrumentalist swapping phrases or trading places when the moment feels right. “Straty” builds from a series of strongly accented drones that appear as quickly as they fade away; underneath them is a perpetual rhythm that drives the color of each long held note, from melancholy into radiance and back again. With “Vlny,” pitch eventually disappears, leaving a delicate rhythm, and with “Masy,” a matrix of brassy tones link together and eventually burst. No matter where the music goes, one thing remains true: Šumum invites close listening, and in the process, reveals the beauty of continual motion.

Bei HIGHSIGH - dem Trio aus Ro(b)//ert Lundberg (JOBS), John Dieterich (Deerhoof) und Matt Mehlan (Skeletons) - geht es genauso sehr um den Entstehungsprozess wie um das Endergebnis. Auch wenn der Bandname neu ist, wächst HIGHSIGH aus jahrelanger Freundschaft und Zusammenarbeit des Trios in anderen Konstellationen heraus - dem Zusammentreffen von Deerhoof und Skeletons in der Supergroup Congotronics International, Ro, der bei den Tour- und Aufnahmebands von Skeletons am Bass spielte, John und Matt, die beide auf verschiedenen JOBS-Alben mitwirkten und diese als Toningenieure begleiteten, sowie vielen gemeinsamen Kaffeepausen, Mahlzeiten und Wanderungen. Ihr Debütalbum ,Once Bend" präsentiert sich sowohl als entwaffnend vertraut als auch als seltsam undurchsichtiges Patchwork aus mutiertem Pop und abstrakten polyrhythmischen Klanglandschaften. In einer collageartigen Weise entstanden, brachte jedes Mitglied täuschend reichhaltige musikalische Fragmente ein, die aus anderen Projekten beiseitegelegt worden waren - fast wie kleine Fragezeichen, die die anderen Mitglieder entschlüsseln und interpretieren sollten. Diese Fragmente wurden frei und ohne konkretes Ziel unter den Mitgliedern ausgetauscht; jeder spielte damit herum und bastelte an dem, was er bekommen hatte, fügte Phrasen, Klänge und Texturen hinzu. Die musikalischen Schichten, die dabei entstanden, waren durchweg unerwartet und mitreißend. HIGHSIGH hatte nicht mit einem festen Schema begonnen, doch innerhalb jedes Songs entwickelte sich ein zusammenhängendes Patchwork - geschichtete Gitarren und gestrichener Bass stehen neben träge treibenden Synth-Klängen und knackigen, treibenden Akustik-Drums. Die Band erweiterte ihren Austauschkreis und schickte Tracks an Tim Barnes, Ben LaMar Gay, Max Jaffe, Lia Kohl, Booker Stardrum und Jon Starks, um Schlagzeug-, Cello- und Kornett-Parts einzufügen. Diese rohen Klangteppiche fanden ihre endgültige Struktur und Ordnung durch Texte, von denen einige von der Band selbst geschrieben wurden, andere von Macie Stewart (Finom) und Paige Alice Naylor. ,Textlich interessieren mich einfache Momente der Erkenntnis", sagt Matt Mehlan. ,Wie ist die Umgebung, wie ist das Gefühl?" Dieses Thema zieht sich durch das gesamte Album und verbindet die unterschiedlichen Stimmen, die mitgewirkt haben. Auf ,Once Bend" präsentiert HIGHSIGH ihre selbstgemachten musikalischen Patchwork-Decken - zusammengenäht aus Saiten, Schaltkreisen und Servern auf ganz Turtle Island.

Auf der sechsten LP von Radiator Hospital, ,Distorting Time", spielt Sam Cook-Parrott nicht mit Nostalgie - er geht ihr aktiv aus dem Weg. Im Laufe von fünfzehn Jahren hat er RH von einem Solo-Projekt, das er in seinem Schlafzimmer aufnahm, zu einem vollwertigen Rock-'n'-Roll-Quartett ausgebaut, wobei er am Rande des Mainstream-Erfolgs blieb und sich gleichzeitig einen Ruf als echter Außenseiter der DIY-Szene erarbeitete. Die Veröffentlichung von ,Can't Make Any Promises" im Jahr 2023 brachte Sam an eine Art Scheideweg - doch er war entschlossen, keine Zeit mit Rückblicken zu verschwenden, sondern stattdessen nur auf das zu blicken, was vor ihm lag. Aus heiterem Himmel wurde Radiator Hospital Ende 2025 eine Tour angeboten, was Sam dazu veranlasste, seinen Ansatz zu überdenken und das Gewebe seiner bisherigen Arbeit in eine völlig neue Form zu verwandeln. ,Ich beschloss, etwas Neues live zu probieren, was ich noch nie zuvor gemacht hatte: Ich nahm meine Begleitmusik auf einem 4-Spur-Kassettenrekorder auf und sang dann einfach dazu", erklärt Cook-Parrott. ,Distorting Time" - seine erste Veröffentlichung bei Lame-O Records - besteht aus 13 Songs, die bei Sam zu Hause auf einem 4-Spur-Kassettenrekorder aufgenommen wurden, mit zusätzlichen Elementen, die im Uniform Recording Studio von Jeff Zeigler in Philadelphia eingefangen wurden. Die Songs wirken gleichzeitig sanft vertraut und doch auffallend eigenständig; sie nutzen die Grenzen des 4-Spur-Setups aus und lassen sich gleichzeitig von Bands wie Young Marble Giants und Tall Dwarfs inspirieren. Thematisch beschäftigen sich die Songs mit dem seltsamen Gefühl des Vergehens der Zeit, insbesondere aus der Perspektive eines Künstlers und seines Schaffens.

After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.

The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.

Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.

"Der preisgekrönte Komponist, Produzent und Multi-Instrumentalist Danny Keane kehrt mit „Kinesis“ zurück – einem kühnen, genreübergreifenden zweiten Album, das die Energie von Bewegung, Zusammenarbeit und kreativer Freiheit einfängt. Aufbauend auf jahrelangen Tourerfahrungen mit weltbekannten Größen wie Mulatu Astatke und Anoushka Shankar hat Keane ein außergewöhnliches Ensemble zusammengestellt, um einen facettenreichen, Grenzen überschreitenden Sound zu verwirklichen.


„Kinesis“ verbindet Einflüsse aus Jazz, zeitgenössischer Klassik, Weltmusik und Elektronik und bewegt sich mühelos zwischen hypnotischen Rhythmen, komplexen Taktarten und zutiefst emotionalen Kompositionen. Vom treibenden Puls von „Running“ bis zum intimen, nachdenklichen Abschlussstück „Time To Go“ erkundet jeder Titel Themen wie Reisen, Zeit und persönliche Entwicklung, die alle durch Keanes unverwechselbaren musikalischen Stil miteinander verbunden sind.


Mit Beiträgen führender britischer und internationaler Musiker ist „Kinesis“ ein fesselndes Hörerlebnis – perfekt für Fans von zukunftsweisendem Jazz und globaler Fusion. Als fesselndes und filmisches Album markiert es Keanes Durchbruch als wahrhaft origineller Künstler, der sich nicht an Genres bindet."

Roy Montgomery, a key figure in the experimental underground rock scene, lives in Christchurch, New Zealand, just a short drive from the sea. Avant-garde vocalist and songwriter Martha Skye Murphy is based in London. Though geographically worlds apart, the pair inhabit an intimate and almost tactile shared sonic world. Their collaboration feels transformative, like the gradual shifting spell from night to day.

What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation, from the intimate cracked whispers of 'At Dawn' to the hypnotic drift of 'The Play of Dark and Light'. On the latter, she evokes old maritime folk tales of fishermen lured into the darkness by the sea’s siren call. The song both seduces and warns, finding something magical and frightening in the temptation of drowning. Though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language.

Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees.

The nocturnal and remote nature of the artwork mirrors the process of making Nebular. With Montgomery in New Zealand and Murphy in London, the album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness.

On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless.

TRACKLISTING

Scowl haben sich schnell einen Namen als eine der ausdrucksstärksten und fleißigsten Bands der Rockwelt gemacht. Auf ,Psychic Dance Routine" erweitern Scowl weiterhin die Grenzen ihres Sounds und ihrer künstlerischen Präsenz und bewegen sich nun irgendwo zwischen Hardcore und Alternative. Die Höhepunkte und Herausforderungen des Auftritts - sei es im Studio, auf Tour oder im Leben selbst - wurden zu einem wiederkehrenden Thema auf dieser EP mit fünf Titeln.

Great Television unfolds as a loose, emotionally driven narrative about navigating love, identity, and self-destruction against a backdrop of memory, movement, and Southern imagery. It begins with “Sunset Promenade,” where a deep, possibly lifelong bond offers comfort amid internal turmoil, establishing a desire for connection strong enough to withstand a restless mind. This sense of identity expands in “Girls of Atomic City,” where independence and womanhood are celebrated, though tinged with performance and uncertainty.

As the story progresses, songs like “Okeechobee Mud” introduce instability and intensity, portraying relationships that are passionate but corrosive, where love becomes inseparable from pain. “Thiokol Tripwire” honors the lives lost in the 1971 Thiokol Chemical Explosion and those affected in the south Georgia community of Woodbine. “Razorwire Wall” reinforces this devotion to chaotic love, suggesting loyalty even in destructive circumstances. A turning point arrives with “The Easy Kind,” where Cook reflects on attempts at self-repair, acknowledging her contradictions and rejecting simplicity in favor of a more fractured self-understanding. This awareness deepens in “Caldonia and The Love Convoy” and “In Your Veins,” where freedom blurs into recklessness and love takes on addictive qualities, revealing her complicity in cycles of harm. “19th Nervous Breakdown” provides crucial context, tracing her instability back to a turbulent upbringing marked by neglect and emotional disorder. “Feverfew,” leaves the narrative unresolved, as she recognizes her repeated attraction to destructive paths yet continues to follow them. In contrast, the closing track “Lightly” offers a rare glimpse of pure, protective sisterly love. Altogether, the album portrays a cyclical journey of longing, damage, and partial self-awareness, where clarity emerges but transformation remains uncertain.

2026 Sakura Pink coloured vinyl, 2022 Abbey Road remaster, cut-out artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune. 300 ww copies only!

Sometimes an album title arrives like a voice from across time. For Johanna Samuels, Sorry, Kid began as a message to her younger self, part apology and part recognition. Gathering songs written as far back as 2007 alongside newer work, the album bridges nearly two decades of lived experience.

The record holds 70s tones without leaning on them, drawing from a lineage of melody and restraint while staying fully alive in its own time. It feels lived in, steady, and quietly powerful, like something finally understood without needing to be explained. The result is intimate and fully realized, songs that began as questions now settling into something like resolution.

Re-Press auf neuer Vinylfarbe

Erscheint auf farbigen, limitiertem Vinyl (pink transparent)

**The Butcher Sisters** ist eine energiegeladene Rap-Metal-Band aus Deutschland, die seit ihrer Gründung die Grenzen von Genre und Konvention sprengt. Die Band kombiniert gekonnt harte Metal-Riffs mit aggressiven Rap-Vocals und eingängigen Hooks. Ihre Musik ist laut, provokativ und voller roher Energie, was sie zu einem einzigartigen Act in der deutschen Musikszene macht.
Gegründet wurde The Butcher Sisters von leidenschaftlichen Musikern, die ihre Liebe zu Heavy Metal und Hip-Hop vereinen wollten. Die Bandmitglieder stammen aus verschiedenen musikalischen Hintergründen, was ihrer Musik eine Vielfalt an Einflüssen verleiht, die sich in ihren kraftvollen und dynamischen Live-Auftritten widerspiegeln. MitTexten, die oft gesellschaftskritische Themen ansprechen, kombiniert mit ihrer unverkennbaren musikalischen Härte, haben sie sich eine treue Fangemeinde aufgebaut.
Die The Butcher Sisters sind für ihre kompromisslosen Bühnenauftritte und ihre unbändige Energie bekannt, die das Publikum mitreißt. Mit einer Mischung aus Humor, Kritik und Aggression schaffen sie es, eine Atmosphäre zu erzeugen, die einzigartig und packend ist.
Mit mehreren Veröffentlichungen und einer stetig wachsenden Fangemeinde haben The Butcher Sisters ihren Platz in der deutschen Metal- und Rap-Szene gefestigt und setzen ihre musikalische Revolution mit jeder neuen Veröffentlichung fort.

Bei farbigem Vinyl kann es produktionsbedingt zu Abweichungen in Farbton, Musterung oder Tra

You'd be hard pressed to name a song with the driving, emotional intensity and raw energy of the Hamilton Movement's anthemic ode to heartbreak, "She's Gone." Issued as the B-Side of the band's 1976 single "We're Gonna Party," and distributed in and around Indianapolis, there is no evidence the song garnered significant attention upon release—yet over the past fifty years it has amased a cult of devotees across the globe. But while interest in the group's music remains strong, little information has surfaced about the Hamilton Movement's history, and until now, there have been no official reissues of their work. This collection presents the band's discography, alongside previously unreleased music discovered on tape; it is the Indianapolis soul album that should-have-been.

The keys to the Hamilton Movement's mystery can be found in central Indiana, where promoter Dick Melvin has lived the past few decades, in a rural suburb of Indianapolis, amidst forests and cornfields. Melvin served as the group's manager throughout their entire existence, but his involvement extended far beyond typical managerial duties. He co-wrote and co-arranged the band's music; he produced and released their recordings on his Look Out label. Dick is also the band's archivist. His home is filled with boxes of demo sessions, live tapes, contracts, posters, and promotional photos documenting his work with the Hamilton Movement. He entrusted his archive to Now-Again's care and they've assembled this album under his watch. Dick's story, and the story of his band, are presented in an extensive, oversized booklet with Dick's rarely-seen photos and ephemera and words by Now-Again's Egon and Naptown historian Kylie Long.

Best known as a member of the electrifying 'Hagstone rock' four-piece The New Eves, Winder- Lind 's solo work channels the same raw intensity and liberatory spirit while revealing a more intimate, deeply personal side to her songwriting. Expanding on the world introduced through her 2023 EP The Spirit Is Carnal and first poetry collection Rod Ska Jag Leva (2025), Wild Love is an ambitious and emotionally expansive body of work from one of the most enthralling new voices in music today. Though connected to the fierce communal energy of The New Eves , Wild Love inhabits its own distinct emotional landscape. Across eleven songs, Winder- Lind brings together the wealth of her experiences and passions and reflects them back outwards, distilled with shimmering intensity. The album spells out a liberatory vision which she refuses to compromise, one rooted in emotional honesty, ecstatic expression and unfettered selfhood.

Released worldwide in 2001 as Twilight, the album introduced boa's distinctive blend of atmospheric alt-rock, melodic intensity, and emotional depth. It gained worldwide recognition through "Duvet," featured as the opening theme to cult Japanese anime Serial Experiments Lain, and has since found renewed global attention through a recent viral resurgence. The album explores themes of identity, longing, and connection, balancing introspective lyricism with driving guitars and immersive arrangements. This limited edition celebrates a landmark release that continues to resonate with both longtime fans and a new generation of listeners

Their music draws from the rich traditions of classic guitar pop while maintaining a distinctly contemporary voice. Packed with sharp hooks, jangling guitars, and the melodic urgency that has long defined the band's sound, 'Box' delivers a fresh collection of songs that balance classic power pop craftsmanship with restless modern energy. Across the album's running time, The Jacks channel the spirit of late-70s radio gold and underground college rock while sounding unmistakably like themselves. Recorded with an ear for immediacy and emotional punch, 'Box' moves confidently between driving anthems, bittersweet harmonies, and punchy guitar-pop excursions. The result is an album that feels both timeless and alive -- a record built equally for longtime devotees of the genre and new listeners discovering The Jacks for the first time.

Drone returns for his fourth release on his Evil Sky imprint with Normal Ways, a 4-track EP that further pushes the boundaries of bass-heavy music. The EP blends 2-step, breaks, and dubstep, showcasing Drone’s ever-evolving sound while staying true to his distinctive style.

Opening with Ralph’s Theme, a euphoric breaks-driven track, Drone explores a more melodic and emotional side of his production with soaring synths and vocal chops.

Blurred Vision follows, a bass-heavy 2-step anthem with powerful low-end and driving drums that capture Drone’s signature intensity.

Atom Bomb is a dubstep weapon, a club-focused track loaded with hard-hitting bass and all the weight you expect from Drone’s productions.

Closing out the EP is the title track, Normal Ways — a stripped-back, weighty cut with a deep sub, vocal chops, and grooving percussion, marking a return to a more minimalistic yet dynamic sound. Normal Ways sees Drone push forward into new sonic territories while maintaining his signature style, making this EP another standout release on Evil Sky.

,The Ecstatic", das ursprünglich im Juni 2009 erschien, gilt als wegweisendes künstlerisches Statement von Mos Def (heute bekannt als Yasiin Bey) - ein facettenreiches Comeback, das seinen Status als eine der abenteuerlustigsten und intellektuell engagiertesten Stimmen des Hip-Hop bekräftigte. Das Album erschien ein Jahrzehnt nach seinem gefeierten Debüt ,Black on Both Sides" und wurde weithin als sein stärkstes Werk seit Jahren angesehen; es erntete nahezu einhelliges Lob für seine lyrische Bandbreite, die vielseitige Produktion und den thematischen Anspruch. Musikalisch webt ,The Ecstatic" einen globalen Klangteppich, der von einer Reihe zukunftsweisender Produzenten geprägt ist, darunter Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (von The Neptunes) und Georgia Anne Muldrow. Die daraus entstehende Klanglandschaft ist sowohl in der Hip-Hop-Tradition verwurzelt als auch genreübergreifend und integriert Elemente aus Jazz, Soul, nahöstlichen Einflüssen und experimenteller Sample-Arbeit. Tracks wie ,Supermagic" und ,Twilite Speedball" strahlen eine lebendige, rastlose Energie aus, die den weitreichenden kreativen Spielraum des Albums widerspiegelt. Textlich durchstreift yasiin bey mit seiner charakteristischen Schärfe persönliche, politische und philosophische Themen und setzt sich mit poetischer Dringlichkeit mit sozialer Ungleichheit, westlichem Imperialismus und Fragen der kulturellen Identität auseinander. The Ecstatic setzt eher auf Risiko und Komplexität als auf Nostalgie und bleibt ein ausgereiftes, tief empfundenes Werk, dessen Ehrgeiz, Tiefe und anhaltende Resonanz seinen Platz als herausragender Eintrag im Werk von Mos Def und in der modernen Hip-Hop-Geschichte gefestigt haben.

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

BBE Music’s celebrated J Jazz compilation series reaches its fifth and final volume in early 2026, culminating in a track list that maintains the exceptionally high standard first set with volume one back in 2018. This final volume features a selection of tracks that is as diverse as it is deep, reflecting the rich and varied Japanese jazz scene that spanned from the late 1960s to the late 1980s, a golden era of innovation and creativity. J Jazz volume 5 sees compilers Tony Higgins and Mike Peden dig ever deeper into their respective record collections to reveal tracks that encompass myriad styles including white hot jazz funk fusion from Toshiyuki Honda (Eastern Legacy) and Mikio Masuda (Sonic Barrier), super rare ethnic jazz crossover by Christal Zone - their one-off 45 promo release from 1971, Rai Rai, a deconstructed and abstract jazz classic by Yasuhiro Kohno with his solo piano rendition of My Favourite Things, and Mile and Half’s skin-tearing, shredding freak-out from their mega rare private press album.

A track that is so relentless, it leaves the listener in need of oxygen and a Valium. These hand-picked selections sit alongside other specially chosen numbers that embrace hard-driving samba (Seiichi Nakumura’s Judy’s Samba), epic head-nodding soul jazz (Masaru Imada’s World Line), psychedelic private press fusion (Aoyama Gakuin 101’s Fervor), angular post-bop tear-ups (Akira Miyazawa’s Nijimasu), intense and insistent fusion (Motohiko Hino’s Olive Step), serene cinematic pianism (Hideo Ichikawa’s On the Trade Wind) and tripped-out hallucinogenic tribal funky jazz (Masahiko Sato’s Garandoh’s Africa to Africa). Most of the tracks on this collection are being reissued for the first time, many of them only available previously on extremely limited and mega-rare private press or independent releases. J Jazz volume 5 is a fitting end to a compilation series that helped create a new audience and appreciation of Japanese jazz Some of the albums the tracks are drawn from are featured in the large format book J Jazz: Modern and Free Jazz from Japan 1954-1988, by Tony Higgins and Mike Peden, published by BBE Music in 2024. With almost 7000 words of extensive sleeve notes, J Jazz volume 5 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip, and comes with a 4-page insert, with photographs from the renowned Tokyo Jazz Joints project. It is also available as a double CD and digital download. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding four volumes that set the bar so high. The J Jazz series is curated for BBE Music by Tony Higgins and Mike Peden.

Rising from the pumpkin patch to celebrate the 60th Anniversary of It's The Great Pumpkin, Charlie Brown this first zoetrope edition of the album, featuring Vince Guaraldi's timeless score. With classic scenes from the special on each side, this 45RPM album contains Halloween favorites “Graveyard Theme,” “The Great Pumpkin Waltz” and “Linus and Lucy” and more. For the full zoetrope experience, film the spinning record with your phone video camera at 30fps and let the magic begin!

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.

Black Vinyl Repress

This is Partisan Records' black vinyl repress of Cymande's 1974 classic Second Time Round. This album features the stunning singles “Crayshaw,”“Fug” & “Genvieve”. Their self-titled debut was the first UK soul album to land on the Billboard Top 200 charts, and Second Time Round placed them back on the US charts. And in another first while touring on this album they became the first British band to ever headline the legendary Apollo Theater in Harlem.

“If there is one thing you can always count on with Alex Lahey, it’s that the Melbourne-born indie singer-songwriter is going to provide fans with a hell of a good time.” – Billboard

Impressed Recordings is proud to present a world exclusive variant of Alex Lahey's original EP, 'B-Grade University'. In addition to the original EP, this repress includes brand new re-recordings of “You Don’t Think You Like People Like Me” and “Let’s Go Out,” alternate versions of “Wes Anderson” and “Let’s Go Out” taken from Lahey’s 2020 Between the Kitchen and the Living Room EP, plus a version of “You Don’t Think You Like People Like Me” recorded in 2017 live in-studio at triple j in Australia for their Like A Version series.

"I vividly remember writing this collection of songs in my childhood bedroom at my mum’s house next to a small window where I could catch glimpses of the ever expanding edges of the Melbourne city landscape in the years I lived there. I sold my trusty blue Toyota Corolla (aka the Corolls Royce) and gathered every single dollar I could from random day jobs to pay for studio time and will the project into existence.""

"I am not exaggerating when I say this EP completely changed my life. These songs found their place in the world in a way I could have never fathomed and have forged a life of their own over the last decade. They’ve taken me to corners of the world I could only have dreamed of seeing, let alone playing music in, given me the privilege of meeting so many people who have found their own stories in the songs and they have enabled me to keep making the next thing. I feel indebted to all of these songs and treat them with extra care and love whenever I play them live."

In the early 1960s, beat groups from the Dutch Randstad dominated the national charts. Yet far from the big cities, in the clubs of Drenthe, one band was already being billed as “Beatgroup Number One”: Cuby + Blizzards. But frontman Harry Muskee never embraced that label. Raised on broadcasts from The Voice of America, he possessed a deeper understanding of the blues than most of his contemporaries. Muskee didn’t want to sing ‘songs,’ as he called them, he wanted to sing the blues, raw and unfiltered, in the tradition of Howlin’ Wolf, John Lee Hooker and Muddy Waters.

Their debut single “Stumble & Fall” was recorded in the Bavohuis, a simple gym hall in Amsterdam, with Addy Kleingeld as producer. But the debut album Desolation marked a turning point, recorded at the Phonogram Studios in Hilversum with renowned blues producer Tony Vos, it captured the band exactly as Muskee intended.

The resulting album became a jewel of Dutch music history. Never before had the Netherlands heard a blues singer who poured his emotions into a recording with such conviction and authenticity. Muskee even outshone his British peers. Eric Burdon (The Animals), Paul Jones (Manfred Mann), Mick Jagger (The Rolling Stones) and Van Morrison (Them).

At the 1968 Grand Gala du Disque (the Dutch equivalent of the Grammys), Muskee received an Edison Award for Desolation, handed to him by cabaret artist Wim Sonneveld, whose lukewarm speech couldn’t diminish the significance of the moment.

Sixty years later, the legacy of this groundbreaking album still resonates, an essential document of European blues and a defining moment in the story of Cuby + Blizzards.

This 60th anniversary edition of Desolation is now available as an expanded 2LP-set including the original 1966 album plus fifteen bonus tracks. The gatefold version features songs “Things I Remember”, “Stumble & Fall”, “L.S.D. (Got A Million Dollars)”, is a limited edition on blue vinyl and includes new liner notes by Dutch Blues authority Johan Derksen.

Recorded April 17 and 18, 1993, at the Union Grove Baptist Church, Ozark, Alabama.

The Wiregrass Singers' Dewey Williams began learning the shape-note tradition in his childhood. He studied under Judge Jackson, who authored the landmark 1934 hymnbook The Colored Sacred Harp. In 1971, Williams formally organized The Wiregrass Sacred Harp Singers to preserve the music full-time. This unified troupe began touring nationally and leading workshops, which ultimately launched them onto stages at the Smithsonian and Newport folk festivals up until Williams' passing in 1995 when the group disbanded. The African-American Sacred Harp tradition in the Wiregrass region has steeply declined since the start of the 21st century, due to an aging generation of singers, and today it is largely sustained through archival preservation and occasional multi-book singing meetups.

This raw recording, made at the Union Grove Baptist Church, Ozark in mid-April 1993 finds the group singing from B. F. White’s The Sacred Harp (1844), which together with his brother-in-law William Walker’s Southern Harmony (1835) formed the musical backbone of generations of Southern music and Southern musical styles.

"On almost any Sunday between the months of March and October, the season most conducive to travel and outdoor dinner-on-the- grounds, Sacred Harp devotés join with fellow songsters at the County Line Church in Slocomb, or the Mount Sinai Church in Henry County, or the Union Grove Baptist Church in Dale County, or at any one of a dozen or so churches in the southeast Alabama counties of Barbour, Coffee, Dale, Geneva, Houston and Pike, to form the square and sing fa-sol-la. Approximately fifteen African-American Sacred Harp singings occur annually in the Wiregrass region of southeast Alabama. A singing tradition characteristically associated with white culture in the Deep South, southeast Alabama has enjoyed a vibrant African-American Sacred Harp tradition for well over a century.

On a day of a typical African-American Sacred Harp Singing, the participants arrive casually in the late morning, seat themselves in the square according to voice part, and begin to sing. A dinner break occurs in the early afternoon, and the singers enjoy a covered-dish "dinner-on-the-grounds" (or in the church basement) prepared by the women. The most intense and emotional singing typically occurs after the dinner break. Each singer takes a turn leading the song of his choice. He walks to the middle of the square, calls out the song's page number and waits for the designated tuner to key the song. Singers are discouraged by the other singers from repeating a song that has already been sung, or "used." This proscription is often dispensed with, however, if the singer is particularly young, particularly old, or if the song has special significance to the individual song leader (perhaps the favorite song of a recently deceased relative).

Every singer is given an opportunity to lead a song. Often, older or more infirm singers will request younger singers to lead their songs for them. The motions of the song leaders are highly stylistic and often emotional. Young children are taught in singing school to mark time with their right arm while holding the book in their left. Typically, a singer will stand in place at the center of the square while leading the singing of the notes. When he begins to lead the lyrics portion of the song, he will often begin to "walk time," rhythmically pacing from one side of the square to the other, being careful never to turn his back on the tenor section. This "walking time" is unique to the African-American tradition. As a singer grows more confident he develops his own distinctive leading style. During fuguing songs in particular, he may gesture to each section of the square as its part joins in. Skilled song leaders often elicit applause or other emotional responses from the group. Occasionally a singer may fall into a state of spiritual ecstasy and "get happy." The episode might include a personal testimonial followed by a repeat of the last verse or refrain from the previous song. The singings break up around 5 P.M."
—Henry Willett, 1997 credits

Finishing number 1 and 2 in Australia and UK respectively, Kiss Me Once was Kylie’s twelfth studio album working with the likes of Pharell Williams, MNEK, Sia and more to produce a dancey pop record exploring themes of fun, love, sex and empowerment.

Auf ,Revelations of Divine Love", Jason Calhouns fünfter Veröffentlichung bei Dear Life Records, hat Calhoun ein besonders kraftvolles Album zusammengestellt, das surrt, summt und leuchtet. Im Gegensatz zu seinen jüngsten Werken, die sich um ausgedehnte, hypnotische Kompositionen drehen, wecken die vierzehn Tracks hier sofort deine Aufmerksamkeit und Neugier. Ihre Prägnanz unterstreicht nur eine seiner größten Stärken: die Fähigkeit, einen verfliegenden, flüchtigen Moment einzufangen und festzuhalten. Der Titel ist eine Anspielung auf die britische Anachoreta Julian von Norwich, deren gesammelte Schriften mit demselben Titel die frühesten sind, die jemals von einer Frau in englischer Sprache verfasst wurden. Hier dient er als verbindendes Thema für Calhouns ganz eigene Palette aus unruhigen Texturen und zaghaften Melodien. Das ist zweifellos persönliche Musik, aber sie fühlt sich auch greifbar an, fast wie Toffee in ihrer Präsentation - und bei einer so kraftvollen Kombination fällt es schwer, beim Hören ein Lächeln zu unterdrücken. Zum Beispiel, wenn der eindringliche Puls, der ,last one" trägt, plötzlich seine Farbe wechselt, während sich gähnende Töne offenbaren, oder wie ,eye dilation" auf Zehenspitzen in den Raum schleicht, wobei jede Note wie ein sorgfältig gewählter Schritt klingt. Obwohl das Album niemals gekünstelt oder überladen wirkt, bleibt es entschlossen intim.

Power Electronics, for the most part, stays within its lanes of transgressive misanthropy, with a blackened explosiveness of tortured psyches and nightmarish reflections for the darkest facets of the human condition. Since Whitehouse introduced the phrase, concept, and framework to Power Electronics, its authorship has been primarily male. But within the past decade or so, a diverse web of voices - female, feminist, non-binary, queer - has thrust the PE aesthetic beyond that of the tortured male artist. As such, the notion that Power Electronics is synonymous with true crime worship, political ugliness, degraded sexual fantasies, and misogynistic perspectives has been somewhat dispelled (though many still pursue such ignoble agendas).

Enter Ester Kärkkäinen. For close to a decade now, she has developed her own voice, tread her own path, and exorcised her own demons in her unique take on Power Electronics, recording as Himukalt. A Power Electronics album based on the collapse of a relationship is probably not as uncommon as one might think. The sexual violence portrayed through Power Electronics may very well have had its origins in the heartbroken, scorned, or otherwise romantically mistreated. Kärkkäinen gives us two very different perspectives on these themes through two rather different sounding records. There is Last Wish from the plague year of 2020, and there is Torn Asunder: The Half Girl, recorded in 2019. Where the 2020 record is a long-form fever dream of the erotic gone horribly wrong and turned morally questionable, Torn Asunder is the more fractured, yet more concise extrapolation of Kärkkäinen's anger, horror, confusion, and depression from the end of a sexless relationship. She nakedly reveals a psyche that has been shattered, scarred, and broken as she alternates between deadpanned proclamations and barked sermons amidst the harrowing articulation of heavy industrial electronics, laced with shrill feedback tones, disjointed rhythms, and harsh noise outbursts. Torn Asunder stands as a significant milestone in Himukalt's catalogue, but remains one her most rarely heard documents given it was originally published as part of Helen Scarsdale's instantly out of print, 10 cassette On Corrosion boxset. With this vinyl reissue, Torn Asunder can get a proper re-evaluation as one of her strongest works.

Hailing from Las Vegas, Himukalt began in 2016 as a vehicle for Kärkkäinen's noise constructs and crude programming that found references to Puce Mary, Anenzephalia, and Atrax Morgue’s Mörder Machine. Since then, she has maintained a manic schedule with releases for Tesco Organisation, Cloister Recordings, Old Europa Cafe and her own EK Verlag. With the release of Torn Asunder, Helen Scarsdale terminates the mission for the On Corrosion reissue campaign.

"A leading light of Baltimore’s experimental hip-hop scene. A brilliant, unpredictable work"
Spin

"Matches old school flow with meticulous productions"

The sleepy calm of Klondyke, Louisiana, is shattered when an unknown man ruthlessly shoots his way out of a courtroom, abducting a girl hostage at gun-point and tearing out of town in a stolen car. Who is he? What is his concern with the girl, with a multi-millionaire’s secluded house, and with a great oil rig out in the Gulf of Mexico?

Fear Is The Key is a 1972 British action flick directed by Michael Tucher starring Barry Newman (Vanishing Point) and Suzy Kendall, based on Alistair MacLean's 1961 eponymous novel. The film is probably best remembered for its spectacular and lengthy car chase sequence, which necessitated a ten-minute plus action cue that demanded split-second timing so that each bar would blend perfectly with the chase sound effects. Realizing composer Roy Budd was just 25 years old when he recorded this score, makes it all the more impressive. Fun fact: this is the feature film debut of Sir Ben Kingsley so make sure to give it a whirl, especially if you're into hard-driving British jazz. In any case, this soundtrack too will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe.

The soundtrack of Fear Is The Key is available as a limited edition of 500 individually numbered copies on pink marble vinyl and includes an insert with liner notes.

Ursprünglich im Jahr 2000 auf Fuzzbox veröffentlicht und 2003 vom Beggars-Imprint Too Pure erneut herausgebracht, stellte My Pain and Sadness Is More Sad and Painful Than Yours die Band mclusky aus Cardiff als eine drängende neue Stimme im britischen Rock vor. Das Album zeigt die Band in ihrer unmittelbarsten und rohesten Form und prägte mcluskys Mischung aus scharfkantigen Gitarren, schwarzem Humor und Andrew Falkous" pointierter, oft absurdistischer Lyrik. Noch bevor spätere Anerkennung für Alben wie Mclusky Do Dallas und The Difference Between Me and You Is That I"m Not on Firefolgte, fängt dieses Debüt die Band in einem ungefilterteren Zustand ein - volatil und direkt. Songs wie "Joy" und "Rice Is Nice" deuten bereits die Präzision und Bissigkeit an, die später voll zur Geltung kommen sollten, während ein Großteil des Albums auf Wiederholung, Spannung und Auflösung setzt - mit einem beinahe bedrohlichen Minimalismus. Nun, 26 Jahre später, wurde das Album von Sean Magee in den Abbey Road Studios neu gemastert und erscheint auf 180g schwerem schwarzem Vinyl, wobei das originale Artwork beibehalten wurde. My Pain and Sadness Is More Sad and Painful Than Yours bleibt ein zentrales Dokument der Anfänge von mclusky. Sein Einfluss lässt sich in späteren Wellen von Noise Rock und Post-Hardcore nachverfolgen, doch seine einzigartige Mischung aus Witz, Aggressivität und Ökonomie bleibt unerreicht.

ROLE MODEL kündigt sein drittes Studioalbum Chuck Timely & The Hourglass an. Das Album beschäftigt
sich mit der Angst, dass die Zeit davonläuft, mit vergangenen Fehlern, unerfüllten Hoffnungen und der
Sehnsucht nach einer Zukunft, die vielleicht nie erreichbar scheint. Im Zentrum steht Chuck Timely, keine
klassische Alter-Ego-Figur, sondern ein eigenständiger Charakter, der die Themen des Albums verkörpert.
Charmant, schwer greifbar und zeitlos bewegt sich Chuck zwischen Nostalgie und Gegenwart, als jemand,
der überall Eindruck hinterlässt, vertraut wirkt und trotzdem unerreichbar bleibt. Visuell bewegt sich die
Figur zwischen klassischer Vintage-Ästhetik, nostalgischer Ikonografie sowie bewusst chaotischen Lo-Fiund Grunge-Elementen. Genau dieses Spannungsfeld aus Vergänglichkeit, Sehnsucht und Liebe prägt das
gesamte Album, das sich musikalisch um Zeitdruck, Vergangenheitsbewältigung und Reue dreht.
ROLE MODEL, bürgerlich Tucker Pillsbury, steht für eine neue Form moderner männlicher Popmusik:
emotional offen, selbstironisch und charmant leichtfüßig. Nach ausverkauften Tourneen, einem SNL-Debüt,
einem Platz auf der Forbes-„30 Under 30“-Liste und einer Rolle im Netflix-Film Good Sex zeigt sich ROLE
MODEL auf Chuck Timely & The Hourglass auf dem bisherigen Höhepunkt seiner kreativen Entwicklung

Zur Feier des 60-jährigen Jubiläums von „It’s The Great Pumpkin, Charlie Brown“ erscheint diese erste
Zoetrope-Ausgabe des Albums mit Vince Guaraldis zeitloser Filmmusik. Mit klassischen Szenen aus dem
Special auf jeder Seite enthält dieses Album Halloween-Klassiker wie „Graveyard Theme“, „The Great
Pumpkin Waltz“ und „Linus and Lucy“ sowie weitere Titel und alternative Takes. Für das volle ZoetropeErlebnis filmt die sich drehende Schallplatte mit der Videokamera eures Handys bei 30 fps und lasst die
Magie beginnen!

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

Within the broad church of metal and its many offshoots – rock, doom, stoner and all the rest – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else. Crumbling Ghost is one such anomaly. Crumbling Ghost are not newcomers. They've been operating for some time, releasing records sporadically, Four' is in fact their fourth release. Along the way they've accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they've appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under the radar.
The group's core idea is deceptively simple: traditional folk material refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression. Singer Katie Harnett says. "Doting mothers, possessive, violent partners, vulnerable women, seasonal workers and Royal scandals this album is our representation of the trials and tribulations of human existence and universal experiences that still feel relevant today.

Guitarist John adds. "Themes of murder, betrayal, loss, jealousy, and love are found across the record. In particular, the songs of Martin Carthy have been a particular source of inspiration".
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett's voice sits at the centre: unmistakably folk rooted, but shorn of prettification, melodic yet capable of real bite.

The album opener 'Bows Of London' is a murder ballad of sisterly hatred and grim sibling rivalry, centred on a haunted fiddle fashioned from a dead sister's bones. The loping relentless, hypnotic backing chillingly and perfectly accompanies the narrative. Of course, the story doesn't end well. 'Bill Norrie' follows, a hooky melody propelled by an insistent bassline and a haunting psych tinged haze punctured with sheets of noise.. The story of young Bill Norrie who sends a token to a married woman, whose jealous husband beheads him, without knowing he was his wife's son from an earlier affair. An instrumental palate cleanser arrives in the shape of 'Valtz Efter Tor Lohne' a Norwegian traditional the band jokingly describe as a "banger".
Then we have 'Lovely Joan' which offers a rare note of sly triumph: a quick witted woman outmanoeuvres a predatory nobleman, escaping with his ring and his horse. Muscular riffs give this tale of empowerment a welcome sense of teeth. 'Gower Wassail' is a traditional Welsh folk tune that captures the raucous spirit of communal ritual, noise making and drink fuelled hope for a good harvest. Captured perfectly here by CG complete with wah wah guitar and a drunken groove catching the song's celebratory chaos. Then we have a little gem in 'Last Of All Sleep' , an original band composition and a genuine highlight: a heavy lidded, shoegaze tinged folk reverie, equal parts distortion and delicacy. It's a drop-dead gorgeous shoegaze-tastic psychedelic grunge mini epic. The album closer 'The Unquiet Grave' is a very apt place to finish. It's about a young man whose constant grief at the death of his true love disturbs her eternal sleep so she cannot rest. Even though the playout on this track, complete with a demonic repeated riff and feedback feels suitably bleak, even this song allows a glimmer of release ... we think.
And there we have it, 7 songs, 7 worlds, all honed to perfection by producer Wayne Adams (Green Lung/Big Lad) that will reward every repeated listen.

Folk and metal/heavy rock do have a connection of course, just look at Green Lung and their 'folk horror' infused musical universe, but Crumbling Ghost are a very different beast.
'Four' amply and beautifully demonstrates that when it comes to 'folk horror' there's nothing quite as horrible as folk ... Here, the horror such as it is, and it must be said, the moments of light, comes not from theatrics, but from the songs themselves – which, after all, is where it's always lived.
Crumbling Ghost are John Mosley – Guitar / Donny Hopkins – Guitar / Ruth O’Loughlin – Bass / Katie Harnett – Vocals / Matthew Atkins- Drums.

‘THE GREATEST ROCKSTEADY ALBUM OF THE MILLENNIUM’ NARC - MAY 2022
4/5 REVIEW IN MOJO: “ONE OF THE MOST THRILLING ROCKSTEADY ALBUMS TO HAVE BEEN MADE SINCE THE GENRE EMERGED IN THE LATE 60's”

8/10 REVIEW IN UNCUT + TRACK ON COVERMOUNT: “A STUDIO-ONE INDEBTED, VINTAGE-SOUNDING STUNNER.”

The Frightnrs escort Daptone into the world of long-playing reggae with both the sweetest and the roughest record of the decade. This record will long be treasured by lovers of reggae, lovers of soul and lovers of love...

Crafted under the meticulous eye of black-belt reggae mastermind/producer Victor Axelrod (AKA Ticklah), Nothing More to Say is a rocksteady masterpiece the likes of which has not reared it’s head since the golden era of Studio One. However, you’ll find no imitation here - none of the faux-jamaican cliches of lesser reggae bands. Like all things Daptone, this record is above all soulful and honest.

With the exception of two soul covers (both from the Daptone catalog: Bob & Gene’s "Gotta Find a Way” and Saun and Starr’s “Gonna Make Time”,) the record is populated by original compositions of the highest order.

They are simply great songs, and though their treatment here is masterful, each one of them has the melodic and lyrical substance to hold it’s own in any genre. “Till Then” invokes the coquettish hyper-rhymes of top-form Smokey Robinson, while “Hey Brother” sounds like it fell off the desk of Gamble and Huff, and “Purple” defies any comparison at all.

From the first cracking snares of “All My Tears” through the final pulsing echoes of “Dispute,” the murderous rhythms of Rich Terrana (drums,) and brothers Preet and Chuck Patel (bass and piano, respectively) can be heard chunking mercilessly towards oblivion as Dan Klein pours his endearing poetry over the top like some
otherworldy falsetto potion.

A new chapter unfolds on Cécille Records as Naples-based duo Shokë step forward with their first full solo EP for the label.

Following a string of standout appearances on Cécille, Shokë now deliver the “Chiamami EP” – their most complete statement on the label to date.

Now firmly part of both the Cécille Records and Cécille Events roster, this EP feels long overdue. After consistently delivering every time, Shokë have more than earned their own full release on the label. Leading the EP is “After You”, a warm and uplifting house record with all the ingredients of a true Ibiza summer anthem. Built around an infectious groove and feel-good atmosphere, it’s one of those tracks that instantly creates memories of sunsets, terraces and open-air dancefloors. The rest of the EP follows suit, packed with the timeless house grooves and understated musicality that have become a trademark of the Shokë sound.

A strong release from two artists who continue to establish themselves as an important part of the ever-growing Cécille family.