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In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

In Thin Air, forms a musical companion piece to Robert and Jackie's book The Book of Birds - a book that is a love letter to the splendours and mysteries of birdlife, and a clarion call to halt the loss of birds from land, sea and sky. The music was created within the contemplative green oak roundhouse of Ty Sanctaidd (Sacred House) in the grounds of Ty Trefacwn in South West Wales, and recorded at Castle Sound Studio in Pencaitland, East Lothian. As with our other albums In Thin Airhas been recorded and produced by Andy Bell of Hudson Records. Throughout The Book of Birds there runs a gentle mantra - " Nest, Egg, Beak, Song, Feather, Flight, Migration -- these are the Seven Wonders that together conjure the miracle of Bird ". Intrigued by this concept, the seven musicians have created an intricate new album that has an overarching narrative, capturing the remarkable world of birds from birth to flight.

2026 feiern Mad Max ihr 45-jähriges Bandjubiläum mit »Stories Of Destiny«, einem besonderen Studioalbum rund um Songs, die Bandleader Jürgen Breforth gemeinsam mit bekannten Namen der Rock- und Metalszene geschrieben hat.

Das Album enthält neu im typischen Mad Max-Stil interpretierte Songs mit Verbindungen zu Sascha Gerstner von Helloween, David Readman von Pink Cream 69, Andreas Broon von The Sisters of Mercy und Michael Voss von Michael Schenker. Dazu kommen zwei bisher unveröffentlichte Mad Max-Songs aus dem Jahr 1991: »Til' The End Of Time« und »Weapons Of Love«.

Der neue britische Sänger Alan Clark gibt sein Studiodebüt bei Mad Max, während der ehemalige Sänger Andreas Baesler nach 45 Jahren erstmals zurückkehrt – unter anderem für ein starkes Duett auf »Piece of Candy« und die spanische Version »Dulces Falsos« als Tribut an die Fans in Lateinamerika.

Poem by Alea Coble (February 2026) - Written for Andrew Weathers, Chattonooga Recording Project

Listen to my story and everything will come out true. - Bessie Smith

35° 02' 44.27" N -85° 18' 34.85" W:

Howl. Hammer strikes firing pin. Its echo ricochets over river bend. The woodpecker’s syncopated pop-pop-pop clink and thwap in time with cops practicing prayer at the firing range.

Quick. Sketch a few constellations onto a postcard: empty shotgun shells, these pre-forgotten fossils snaking rusted railroad spikes, like snagged rosary, fallen poplar petals draped over cerulean glass ashtray scattered along glittering fractures, ignored like a treaty. Train tracks reverberate necrophilic boomerang-hunger for mountain air without that coal dust. Eat. Eat. Everything is real estate. Even the air is for sale. Buy it cheap while I.C.E. carves through the valley along the Trail of Tears in unmarked SUVs, traffic stops.

Howl. Callback to estranged entanglements oscillating over holler and highway. Meet on the porch. Haint-blue ceiling. Some ghosts can’t get through anyway. They got tied up on the Walnut Street Bridge by a mob of white spit. Howl. The South should scare you.

But the woodpecker is still nesting, hungry, typing uncannied punctuation marks into black oak: a deed. Home? Takes a side-eyed knowing to call by name. The moon sickles in a sweating glass of iced tea.

Speculation cycle: symmetry as ancient as sour-dank betrayal of the tongue, bitter bones binding blood and lead, alchemical forgetting like I found a hairbrush in the yard while planting wild irises, like someone is charging $10 for an old glass Coke bottle, like semicolons itching restless under new sod from no-one-knows-where. Howl. Sing back. History is soil-in-stereo.

How will this line end? Like riverbank? Like atlatl arching hope smash-through a stained glass window? Words fall out of the sky, and 30 American flags snap at attention on the bridge. Howl. A shift in the wind gallops through the streets tossing her head back, laughing.

Tennessee River, who once kissed Pangea, how she softens at the knuckle-suck of it all, that secret-sweet stowed in the feathers of sandhill cranes lifting up on warm summer breeze: slow-shooting stars bending toward unbothered brevitas.

Howl. The red wolf knows her truest kin is always her shadow’s shadow.

For the past decade, Personal Trainer has served as the ever-evolving creative outlet for frontman and songwriter Willem Smit, growing from Amsterdam's underground scene into an internationally successful touring band An electrifying force in modern indie rock, Personal Trainer blend sharp wit, chaotic energy, and irresistible hooks. Their upcoming third album Human Assholes balances playful absurdity with a quiet undercurrent of doubt, Smit has been ever reluctant as the quote unquote frontman of a band.

A Collision of Worlds. A Convergence of Sound.

Czarface opens another portal. On Czarface Meets Frankie Pulitzer, the boundary between comic book canon and hip-hop reality dissolves. Frankie Pulitzer, also known in certain dimensions as FacePuller, is no ordinary collaborator, character, or catalyst. He is a hybrid entity: part human, part alien force, fully embedded in the expanding Czarface universe.

Following landmark team-ups with MF DOOM and Ghostface Killah, Czarface continues its “Meets” saga with a full-scale crossover event that pushes deeper into story and sound. Frankie’s presence is both lyrical and mythological, bringing a chaotic, shape-shifting energy that challenges and complements Czarface’s razor-sharp precision. Dusty drums, cinematic soundscapes, and razor-edged bars bring the classic Czarface sound, yet mutated.

The universe widens with appearances from Busta Rhymes, Method Man, and El-P (of Run the Jewels), each adding their own gravitational pull to the project, thus grounding it in hip-hop legacy while amplifying its larger-than-life scope.

Crypt Sermon kommen mit ihrem zweiten Album, dass dem Debüt in nichts nachsteht oder um es auf den Punkt zu bringen - DAS hier ist eine Ansammlung epischer Doom Metal & Heavy Metal-Momente, glühender Stahl im Stile alter Helden wie Solitude Aeturnus oder Candlemass wie man ihn sonst derzeit nicht so schnell findet! Die Texte befassen sich mit doom-typischen Themen wie Glaube und Familie, Leben und Verlust und natürlich Stärke und Stolz. Zwischen donnernden Riffs und klagenden akustischen Momenten pendelt die Musik irgendwo zwischen Epic Doom und TRUE Heavy Metal. Erneut aufgenommen und gemischt wurde das Album von Arthur Rizk (Power Trip, Eternal Champion, Sumerlands, etc.).

“Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata

A note from Lawrence English: Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future.

The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures.

In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail.

Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia. Acid Nostalgia instead erases the texture of histories and de-contours the past, and in doing so dematerialises the horizon of possibility, which by its very nature marks the beginning point for any (and all) imaginable futures. Acid Nostalgia is a dreamless screen, where uncertainty, restlessness and aspiration are subjected to corrosion, breaking down and neutralising the wellspring of futures which are birthed from within the ambiguously charged, complex and at times chaotic atmospheres of the present.

The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan’s Metabolist movement, Hong Kong’s ‘one line sky’ and Los Angeles’s vanished Sodium Vapour lights. It interpolates texts – factual and fictional – by authors such as Franco Berardi, Kate Crawford, JG Ballard, Katsuhiro Otomo, Mark Fisher and Alexei Yurchak who have each so wonderfully sought to rupture the familiarity of now, and push us towards other ways of imaging ourselves, our surroundings and our very ways of being in this world.

I also owe a debt of thanks to Adam Curtis in helping launch what has become this edition. It was his provocation, in a conversation we shared about an overwhelming and profound sense of uncertainty around being able to predict the immediate future and how to respond to that, which sparked the earliest inklings of this edition.

The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It's a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures.

Ty Segall, precleared for flight in full rock congress with the band (Ben Boye/Evan Burrows/Mikal Cronin/Emmett Kelly), shifts Chrome. Songs of massive riffs, swung, tightly arrayed lines of fuzz & distortion, twin-guitar attack-and-parry, endopic keyboards kicking, precise & thudding power, a rhythmic core on the march in full BAND energy. The songs are lyrically allusive trips, dark passages in the labyrinth, everything in the air bristling collectively, as minds collide.

a1 Hospital
a2 Running to Nowhere
a3 Black Paint
a4 Glass
a5 Play Cowboys
b1 Everything You've Been
b2 Let Go
b3 Separation
b4 Chrome

Ben Kwellers zweites Album "On My Way" (2004), das bislang noch nie auf Vinyl erschien, erhält nun die Deluxe-Behandlung. Damit wird zugleich einem zwei Jahrzehnten alten Wunsch der Fans entsprochen: diesen Titel endlich im Schallplattenformat in den Händen zu halten. "On My Way (Deluxe)" erscheint als Doppel-LP und umfasst das Originalalbum – neu gemastert von der Audio-Legende Howie Weinberg – sowie 12 bislang unveröffentlichte Raritäten, darunter Demos & B-Seiten, die allesamt aus der "On My Way"-Ära stammen. Langjährige Fans werden einige dieser Raritäten noch von Live-Konzerten (das Elvis-Cover "Can't Help Falling In Love With You") oder aus Zeiten von Napster und Limewire (der Song "Tylenol") kennen. Wer bereits die "Sha Sha (Deluxe)"-Ausgabe von Kwellers Debütalbum besitzt, wird diese zweite Veröffentlichung sicherlich als perfekte Ergänzung für die eigene Sammlung betrachten.

Euro Disco History 1985 – Jetzt erstmals auch als Vinyl Edition erhältlich!

Die erfolgreiche CD-Compilation „Euro Disco History 1985“ ist ab sofort auch als hochwertige Vinyl Edition erhältlich.

Freuen Sie sich auf die größten Euro-Disco-Hits des Jahres 1985 – authentisch, klangstark und im klassischen VinylFormat. Mit legendären Künstlern wie Silent Circle, Fancy, Lian Ross, Grant Miller, Roger Meno und Fair Control vereint diese exklusive Vinyl-Ausgabe die unvergesslichen Klassiker einer der erfolgreichsten Epochen der Euro Disco.

Ein Muss für Sammler, Vinyl-Liebhaber und alle Fans des typischen 80er-Jahre-Sounds. „Euro Disco History 1985“ bringt das Lebensgefühl der goldenen Euro-Disco-Ära direkt auf den Plattenteller

Teksti-TV 666 will release their fourth mini-album as a limited-edition vinyl pressing in August Finland’s hottest indie rock band, Teksti-TV 666, released their new EP 4 digitally on All That Plazz in April. Svart Records, who have previously released the band’s albums and EPs on vinyl, is continuing this tradition with the new mini-album as well. EP 4 marks a small new beginning for this distinctive rock band, currently enjoying a strong cult following internationally. Teksti-TV 666 is known for their raucous krautrock, which has elevated the band to the status of an exceptional act in Finnish indie rock, even on the international scene. The band enjoys a strong and rapidly growing cult following, particularly in Sweden and Denmark. The new EP features four tracks of some of the most interesting Finnish indie rock on the international scene right now. It includes a 10-minute prog jam, a three-minute punk track, more traditional guitar rock, and the track “Fast & Furious,” which hooks listeners with its lighter, airier krautrock vibe.

Die Transparent Blue Vinyl-Edition der auf Act Music erschienenen "Endless" LP von Adam Bałdych European Quartet ist erschienen.

Das Album dokumentiert ein kammermusikalisch geprägtes Quartett, das Adam Bałdych mit drei ausgewiesenen Persönlichkeiten der europäischen Improvisationsszene versammelt: Daniele di Bonaventura am Bandoneon, Jacob Karlzon am Klavier und Michel Benita am Kontrabass. Diese Besetzung öffnet einen weiten Klangraum, in dem Streichergesten auf die dunkleren, erzählerischen Farben des Bandoneons und das harmonische Feingefühl des Klaviers treffen. Konzertankündigungen und Pressetexte nennen die beteiligten Musiker und stellen die gemeinsame Arbeit als zentrales Element des Projekts heraus.

Musikalisch führt "Endless" die Ausdrucksformen zusammen, die Baldych über Jahre geprägt haben: die Verschmelzung von jazzimprovisatorischer Freiheit mit Elementen der europäischen klassischen Tradition und Anklängen an Renaissance-Polyphonie. Die Arrangements setzen auf dichte, dialogische Interaktion und erlauben solistischen Entfaltungsraum bei gleichzeitigem Fokus auf feine dynamische Nuancen. Typisch für Baldych ist die Kombination aus virtuoser Artikulation und lyrischem Tonfluss, wodurch der Violinklang zur treibenden Stimme einer kammermusikalischen Erzählung wird.

In 2023 we began our hugely successful 80s 12” series on CD – a year-by-year journey through the greatest 12” singles from the decade, and in 2024 we presented a selection of tracks from 1980-1982 as the first volume in our collectible vinyl boxset series, followed by Volume Two celebrating 1983-1984 in 2025.

This year, Now Music is proud to announce the third instalment in this essential collection, NOW Presents…12" 80s: Volume Three: 1985-1986, as a stunning 5-LP boxset. A limited edition and numbered set with each of the 5-LPs pressed on a different colour vinyl – red, yellow, blue, hot pink and lime green – to be released on July 17th, 2026, and for many of these tracks this marks the first time back on vinyl since their original 12” release!

Opening with one of the decade’s most powerful rock anthems, Queen’s ‘One Vision’ appears in its Extended Version, ahead of Eurythmics’ euphoric ‘There Must Be An Angel (Playing With My Heart)’ in the Special Dance Mix and Dead Or Alive’s irresistible ‘You Spin Me Round (Like A Record)’. Side A closes with Frankie Goes To Hollywood and the epic ‘Welcome To The Pleasuredome (An Alternative To Reality)’. Flip the LP over for more iconic 12” versions from 1985, beginning with Tears For Fears and the UK Extended Version of ‘Shout’, alongside Go West’s ‘We Close Our Eyes (The Total Overhang Mix)’, the massive soundtrack hit ‘Don’t You (Forget About Me)’ from Simple Minds and Arcadia’s sophisticated ‘Election Day (Consensus Mix)’.

LP2 opens with four defining tracks that perfectly capture the electronic and cinematic sound of the mid-80s. Paul Hardcastle’s groundbreaking hit ‘19 (The Destruction Mix)’ leads into two instrumental classics: Harold Faltermeyer’s ‘Axel F’ and Jan Hammer’s ‘Miami Vice Theme’, both featured in their Extended Versions, before Propaganda’s peerless ‘Duel (Bitter-Sweet)’ closes the side. Side B showcases some of the era’s biggest dancefloor favourites, from Mel & Kim’s ‘Showing Out (Get Fresh At The Weekend)’ and Gwen Guthrie’s enduring club anthem ‘Ain’t Nothin’ Goin’ On But The Rent’, to Aretha Franklin’s ‘Who’s Zoomin’ Who?’ in its Dance Mix and the soul-pop brilliance of Loose Ends’ ‘Hangin’ On A String (Extended Dance Mix)’.

LP3 brings together some of the decade’s most beloved pop and rock crossover hits. Side A opens with the powerhouse pairing of Philip Bailey and Phil Collins on ‘Easy Lover (Extended Dance Remix)’, followed by Bonnie Tyler’s dramatic ‘Holding Out For A Hero (Club Mix)’ and Pat Benatar’s classic ‘Love Is A Battlefield (Extended Version)’. Stephen Duffy’s infectious ‘Kiss Me (Mixe Plural)’ precedes The Human League’s U.S. #1 ‘Human (Extended Version)’. Over on Side B, Duran Duran lead with the ‘Extended Mix’ of ‘Notorious’ before a run of timeless dance-pop including Sly Fox’s ‘Let’s Go All The Way’, Jellybean’s ‘Sidewalk Talk’ and Maria Vidal’s ‘Body Rock’, culminating with Ashford & Simpson’s club classic ear-worm ‘Solid (Special Club Mix)’.

LP4 opens with huge examples of sophisticated synth-pop and dance-floor innovation from 1986. Pet Shop Boys’ era-defining ‘West End Girls (Dance Mix)’ is joined by New Order’s influential ‘Bizarre Love Triangle (Extended Dance Mix)’. Up next, Red Box’s pure-pop of ‘For America (Bazooka Mix)’ and Nick Kamen’s breakthrough hit ‘Each Time You Break My Heart (Extended Version)’. The reverse side celebrates some of the biggest floor-fillers of 1986 – all in their 12” Versions, beginning with The Communards with Sarah Jane Morris and their unforgettable #1 version of ‘Don’t Leave Me This Way’, alongside Bronski Beat’s ‘Hit That Perfect Beat’, Bananarama’s global smash ‘Venus’ and Five Star’s ‘Can’t Wait Another Minute’ in its ‘M&M New York Remix’ form.

The final LP opens with a side packed with some of the most enduring dance-pop and of the era. Whitney Houston’s ‘How Will I Know (Dance Remix)’ is followed by Steve Winwood’s uplifting ‘Remix’ of his massive hit ‘Higher Love’, the celebrated ‘Shep Pettibone Remix’ of Level 42’s ‘Lessons In Love’ and Bryan Ferry’s elegant and atmospheric ‘Slave To Love (12" Remix)’, whilst over on the final side some of the years’ most distinctive and innovative sounds are showcased: Big Audio Dynamite’s genre-blending ‘E=MC2 (12 Inch Remix)’ and Furniture’s cult classic ‘Brilliant Mind (12" Mix)’ feature alongside Talk Talk’s majestic ‘Extended Mix’ of ‘Life’s What You Make It’, and to close this superb collection, the full ‘Extended Version’ of Spandau Ballet’s powerful ‘Through The Barricades’ provides a fitting finale, bringing together 42 essential 12” versions from 1985 and 1986 across five superb LPs.

Der Titel des siebten Studioalbums der kalifornischen Punkrocker bezieht sich auf Mike Ness" doppelte musikalische Heimat. Der Songwriter und Sänger von Social Distortion huldigt auf "Hard Times And Nursery Rhymes" sowohl dem düsteren Amerika eines Hank Williams wie auch dem bluesigen Herumstolzieren der Rolling Stones etwa während der "Exile-On-Mainstreet"-Ära. Altbekannte Einflüsse, die hier jedoch in den Vordergrund treten: "Hard Times And Nursery Rhymes" ist das rockigste und gleichzeitig beseelteste Album der Gruppe, die weltweit über vier Millionen Alben verkaufte. Dennoch finden Fans den typischen Punkrock-Roar in jedem Stück wieder: vom Opener "California (Hustle and Flow)" bis zum düster-rockenden Hank-Williams-Cover "Alone and Forsaken". Aber auch Springsteen- und Tom-Petty-Fans dürften diesen Sound mögen. "Hard Times And Nursery Rhymes" ist das erste Album der Band nach "Sex, Love And Rock "n" Roll" aus dem Jahr 2004. Für Fans von Gaslight Anthem, Rancid, Bad Religion, Tom Petty, Bruce Springsteen und Tiger Army. Die 2LP hat zwei Bonus-Tracks.

MOTORSLICE is the original soundtrack to the viral hit indie video game of the same name, composed and produced by Pizza Hotline. Built around high-speed movement, razor-sharp parkour, and a blue haired girl slicing machines in half with a bad ass chain saw, the album pushes Pizza Hotline’s video game-inspired sound into a harder, faster, and more cinematic space.

Blending jungle, drum and bass, sci-fi ambient pads, and Y2K game soundtrack nostalgia, MOTORSLICE captures the feeling of launching yourself across gaps, slicing through enemies, and chasing perfect momentum over huge post apocalyptic vistas. The soundtrack draws inspiration from games like Mirror’s Edge, Prince of Persia, and Shadow of the Colossus while maintaining a glossy electronic character that defined that era.

To celebrate the release, MOTORSLICE is being pressed as a full length vinyl LP featuring the complete soundtrack on striking orange vinyl, chosen to match the main character’s iconic outfit. It turns the soundtrack into a proper physical artefact from the game's palpable world, tying the music directly to the visual identity of the game.

Where albums like Level Select and Dream Select explored imaginary game worlds, MOTORSLICE is the sound of a real one: a breakout indie game that has already made a huge impact online through viral gameplay clips and a growing community of players. The result is a soundtrack that feels both nostalgic and immediate, built for speed, precision, and impact while still carrying the melodic, emotional, and playful qualities that define Pizza Hotline’s music.

Splayed Werks markiert einen deutlichen Wendepunkt im Werk von Tyondai Braxton. Das fünfte Soloalbum des US-Komponisten und Produzenten ist zugleich sein erstes Full-Length-Release seit dem symphonischen Telekinesis (2022) und der Auftakt einer neuen Zusammenarbeit mit dem renommierten britischen Label Erased Tapes. Auf über 70 Minuten entfaltet Braxton eine dichte, hochpräzise Welt aus Elektronik und Sounddesign - fragmentierter und unmittelbarer als seine bisherigen, oft großformatigen Arbeiten. Die 15 Tracks sind überwiegend kompakt gehalten und bewegen sich zwischen minimalistischer Komposition, experimenteller Clubmusik und installativer Klangkunst. Rhythmisch komplexe, rau strukturierte Stücke stehen neben beatlosen Passagen von fast ekstatischer Intensität. Splayed Werks ist gleichermaßen intellektuell anspruchsvoll und körperlich erfahrbar - handgemacht, intuitiv und klanglich kompromisslos. Braxton zählt seit über zwei Jahrzehnten zu den prägenden Figuren zwischen Neuer Musik, Elektronik und Avant-Pop: Mitbegründer von Battles, Kollaborateur von Philip Glass, Komponist für führende US-Ensembles und regelmäßiger Gast großer Festivals und Institutionen weltweit.

A rare masterpiece by Masahiko Togashi, Masayuki Takayanagi, Mototeru Takagi, and Motoharu Yoshizawa, some of the most important artists in the history of Japanese free jazz. Takayanagi’s guitar makes effective use of feedback techniques, Takagi’s dynamic tenor saxophone and corn pipe, a type of vertical flute, Yoshizawa’s utterly free and unrestrained string resonance, and Togashi’s intelligent drumming, combining precision with power, all come together in a true masterpiece that announces the arrival of a new era.

Das brandneue Studioalbum der legendären Rockband The Afghan Whigs aus Ohio. Das Album umfasst
10 neue Songs, die den für die Band typischen, souligen und rauen Rock präsentieren – mit Frontmann
Greg Dulli, dessen Gesang so emotionsgeladen und einzigartig klingt wie eh und je. *Soft Control* enthält
die Singles „House Of I“ und „Duvateen“ und erscheint genau zu dem Zeitpunkt, an dem die Band ihr
40-jähriges Bestehen feiert.

Sing Forever (Singing Is Free): Songs from 2021-2023 meets us as a foreword to A Profound Non-Event, Daily Toll's debut album from 2025. Offering an earlier chapter in the ever-growing songbook of the Sydney/Gadigal-based group, Sing Forever... is a collection in demo-form that maps their initial formative period as a duo, largely marked by Covid-era isolation, diabolical housemates, sonic experiments and copious amounts of wine sourced from Kata's job at the time. As bowerbirds of song, Kata and Jasper are making sounds from their own pocket - their world! - singing from nowhere to no-one from (in) a context of global upheaval, loss and mass confusion. Here we find the urge to sing forever, to share a morsel of spirit, and with it a mode of grounding one's humanity. The songs are loose, off-beat and textural, a period of "first thought, best thought" in boundless practice that finds inspiration from all over: a bracelet and a solo afternoon in Budapest; lyrics formed via a black-out poem scrawled across the page of a Neil Young biography; the scratch of paper daisies, toy drums, typewriters, and pots and pans all welcome melodies repeating and fumbling unto themselves until ultimately falling apart and into something else. These songs were never initially intended to find a physical release or to even be distributed further than the Bandcamp void, and yet here we arrive at a kind of essence of Daily Toll, or at least one iteration thereof, before the studio, before the additional band members, and before being known (perhaps, even loved) by more beyond. Sing Forever (Singing Is Free): Songs from 2021-2023 was initially released as a seven song cassette that came with early copies of A Profound Non-Event. Now with the addition of an extra song and a remastering by Mikey Young, it is now released as a limited 12" LP via Tough Love in a ww ltd edition of 275 copies.

There is an ecstatic melancholy in Dent May’s music. The bedroom pop auteur’s songs are both bittersweet and exuberant, breaking your heart while you can’t help but sing along.

Over six albums, May has built a wildly diverse discography spanning 17 years. He has typically worked alone, assembling perfect pop gems on his laptop, playing nearly every instrument himself. But when he began preparations for his new album, May’s tried and true process suddenly felt stale.

The Big One brings together both the scrappy DIY ethos of Elephant 6 Collective and early The Magnetic Fields with May’s lifelong affinity for the great ’70s singer-songwriters like Harry Nilsson and Ram-era Paul McCartney. The songs balance a clear-eyed view of the world with a cautious optimism, looking at the everyday experiences of disappointment and heartbreak with a sense of possibility for the good that may still come. Things might seem bleak, May tells us, but that doesn’t mean we can’t be thankful for our brief time here on Planet Earth.

The title track is the beating heart of the record. Over a steady drumbeat, piano, and accordion, a melancholy May sings, “The big one’s coming, the big one’s on its way,” promising disaster. But May won’t wallow in the misery: “Thank the Lord for all my friends/We can make it ’til the end/No we can’t stop now/Who knows? Tomorrow it all could turn around.” For May, hope comes in the form of others.

It’s with this joyful melancholy Dent May draws in the world. Everything might be ending, the planet could be careening off into chaos, but tonight there’s a party down the block and you’re invited. Be sure and bring your friends.

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.

X is a stylish collection of electro-pop and futuristic club tracks, featuring big singles like 2 Hearts, Wow and In My Arms.

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

"Matches old school flow with meticulous productions"

Mit "TANZNEID" kehren Electric Callboy zurück. Auf ihrem bislang ambitioniertesten Album verschmelzen sie Metalcore, EDM und Pop zu einem unverkennbaren, ganz eigenen Sound. Nach einem Nummer-1-Album, mehreren Gold-Auszeichnungen und Hunderten Millionen von Streams und Videoaufrufen entwickelt sich die Band konsequent weiter, bleibt dabei aber der Energie und der Haltung treu, die sie so erfolgreich gemacht haben. Mit massiven Hooks, kraftvollen Tracks, clubtauglichen Momenten, herausragenden Kollaborationen und ihrem typischen Sinn für Humor wirkt "TANZNEID" größer, lauter und dynamischer denn je.

Geprägt von jahrelangen Tourneen rund um die Welt und ihrer engen Verbindung zu den Fans, fängt das Album die Band in voller Kraft ein - sowohl auf Platte als auch auf der Bühne. "TANZNEID" ist mehr als nur ein neues Kapitel: Es ist eine Hommage an alles, wofür die Band steht - ein Album, das zum Tanzen, Genießen und Feiern gemacht ist!

Mit "TANZNEID" kehren Electric Callboy zurück. Auf ihrem bislang ambitioniertesten Album verschmelzen sie Metalcore, EDM und Pop zu einem unverkennbaren, ganz eigenen Sound. Nach einem Nummer-1-Album, mehreren Gold-Auszeichnungen und Hunderten Millionen von Streams und Videoaufrufen entwickelt sich die Band konsequent weiter, bleibt dabei aber der Energie und der Haltung treu, die sie so erfolgreich gemacht haben. Mit massiven Hooks, kraftvollen Tracks, clubtauglichen Momenten, herausragenden Kollaborationen und ihrem typischen Sinn für Humor wirkt "TANZNEID" größer, lauter und dynamischer denn je.

Geprägt von jahrelangen Tourneen rund um die Welt und ihrer engen Verbindung zu den Fans, fängt das Album die Band in voller Kraft ein - sowohl auf Platte als auch auf der Bühne. "TANZNEID" ist mehr als nur ein neues Kapitel: Es ist eine Hommage an alles, wofür die Band steht - ein Album, das zum Tanzen, Genießen und Feiern gemacht ist!

In December 2025, I performed alongside Asmus Tietchens and Jetzmann at the final Hörbar Ausklang Festival. This cassette was produced for that occasion. It contains preliminary studies for my live modular synthesiser performance.

The tape wasn't sold on the night, and its release ended up being postponed until now. At one point I had almost forgotten that I had even produced it. Now it's finally here—but what does that change?

Side A features a 24-minute piece titled Aber Was Ändert Das? (What Does That Change?)
Aber Was ändert Das? – Two oscillators coupled via a comparator and routed through a filter bank form the foundation of this piece. Eight filters within the bank are modulated by a synchronised octal triangle wave. Over time, the modulation gradually unfolds like an abanico (fan), shifting into different patterns. The impulses slowly dissolve into noise. A looping voice tape is added to the texture, and the piece concludes with a melody of comb-filtered sine tones.

Side B presents several variations and adjustments of a self-generative patch.

Quantitative Unbestimmbarkeit I-V (Quantitative Indeterminacy I–IV) – At the core of these pieces is a source of uncertainty and three function generators programmed in mutual feedback. The tonal material is derived from a wave-folded sine wave, a noise source, and a pinged state-variable filter. This type of self-generative patch is commonly known as a Krell patch.

The edition is limited to 50 copies. Release day will be the August 7th, 2026.

The title Miszellen Band is derived from the term Miszelle (plural: Miszellen), which refers to a short informative text or brief scholarly essay, often published in academic journals or collected volumes under a "Miscellanea" section. The word originates from the Latin miscella, meaning "mixed things". Such texts typically explore highly specific subjects without the scope or depth of a full-length study. They often consist of etymological notes, addenda to previously published work, concise discussions, or small discoveries from archives.

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

In an era of excess and endless distraction, Margaret Glaspy rejects the noise in favor of something far more essential. Before setting to work on her fourth full-length album I Am Both, she stepped away from social media and soon discovered a clarity of mind she hadn't experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon's most formidable songwriters.

Coyote are back with another typically carefully curated collection of Baleraic re-edits and revisions via the reliable (and hush-hush) Magic Wand imprint. The Nottingham twosome kick things off themselves with 'Carpenter', a dubby and bass-heavy extension of a dreamy, folksy number (all jangling acoustic guitar, stoned male lead vocals and gentle hand percussion), before we're treated to the 'Pointless edit' of 'Six Blade Scalpel' - a languid, bass-heavy revision of a late 70s blues/soft-rock number crafted by Bedmo Disco's Sell By Dave. There's an Americana/neo-folk feel to Andy Kidd's sublime extension of Dan England's 'I Don't Feel That Way', while YZ's edit of 'Sapelo' is a horizontal, Rhodes-laden, spoken word-sporting ambient delight.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

Time stands stunningly still on The Final Painting, the dreamy, elegiac final album from legendary underground singer-songwriter/poet/painter Ed Askew. The Final Painting not only defies the curse of sequels and the ten-year gap between the two DeCicca/Askew productions, it"s also a wonderous variation on the intimacy of the self-portrait, an expression from the twilight of one of the most unique artists to emerge in last half of the 20th century. The Final Painting reinvites For the World contributors Sharon Van Etten, Eve Searls, and Canaan Faulkner and new guests Bill Callahan, William Tyler, Ryan Jewell, Dustin Laurenzi, and Fulvio Sigurta. In their last conversation, just days before Ed passed in January 2025, he and Jerry agreed to: a) use the painting left on the easel of Ed"s now-empty apartment and b) call the album The Final Painting.

Sarin Assault Hardcore Music remixed by friends of him : No progressives. No Easy Tricks. Only good Hardcore work inthere.

This special collector's edition is available in a strictly limited run of only 250 copies. The vinyl version is pressed on transparent vinyl and features metallic paper packaging along with a printed inner sleeve made from dyed paper stock. The entire release was designed by the exceptionally creative graphic designer Weronika Lipniewska, resulting in an edition that is as captivating visually as it is musically.

EY AY (Deluxe Slay Jazz) is the second album by Piotr Checki - an artist who, following the intimate, home-recorded debut PE, returns with something radically different: a living, spontaneous work captured in real time. If PE was a personal document of moments enclosed within a controlled studio environment, EY AY is its opposite - a sonic organism that breathes, pulses, and unfolds in the here and now.
The album was created in just two weeks during a period of intense inspiration. Ch?cki developed a series of compositional sketches which were then expanded together with drummer Tymek Papior and pianist Marcel Balinski during a single six-hour recording session. Crucially, the entire album was recorded as one-take performances. No overdubs, no edits, no second attempts. It is a document of pure presence - a moment that can never be repeated.
The subtitle Deluxe Slay Jazz carries an additional personal layer of meaning. It serves as a subtle yet significant nod to one of Checki's greatest passions: ski jumping. The initials "DSJ" may also evoke the cult classic ski-jumping computer game released in 1999, beloved by an entire generation of players.
With EY AY, Checki redefines his approach to music-making. Instead of constructing rigid structures, he places trust in the process. Instead of production, interaction. Instead of perfection, authenticity. This is music that does not strive to be finished - it simply exists.

K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".

Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".

Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".

Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".

Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".

French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".

A*POP — is the sophomore masterpiece from two-time GRAMMY® Award-winning, multi-platinum global superstar Tyla. A bold evolution from her debut, this 14-track album mesmerizes with Tyla’s signature sultry vocals, seamlessly blending amapiano, pop, and R&B. A*POP is both a statement and a movement — a declaration that African music is pop music, with Tyla leading the charge at the forefront of a global shift. Featuring standout hits like “IS IT,” “CHANEL” and “SHE DID IT AGAIN (feat. Zara Larsson), A*POP invites you into Tyla’s immersive, vibrant world — a defining second album that cements her as a true global icon.

Following the genre-redefining revelations of A Love Supreme in 1965, John Coltrane began a dramatic shift toward spiritual free jazz, abandoning familiar forms in favor of a more abstract sonic palette and bold questions he'd spend the rest of his life and career pursuing. Meditations, released by Impulse! in 1966, continues that emotional throughline while retaining, for the last time in full, the classic quartet that propelled Trane to greatness: pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones. (They're further augmented by Pharoah Sanders on tenor sax and additional drummer Rashied Ali.) Meditations pushes Coltrane’s spiritual jazz into heightened realms of energy and abstraction — a powerful document of transformation, intensity, and devotion in Coltrane’s recorded legacy.