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They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

zake has long mastered the art of go-slow pacing with gradual changes in the density and timbre of his synths. Here, four extended ambient pieces unfold through slow-moving synth layers and sustained tonal clusters shaped by hospital room stillness on this new one from the ever present ambient don, zake. 'Hh I' opens with low-frequency drones and faint harmonic shifts that hover without a rhythmic anchor. 'Hh II' introduces higher tones with subtle detuning, creating tension. 'Hh III' darkens through thicker layering and reduced harmonic movement while 'Hh IV' thins the texture with long decay tails. Another immersive gem.

USA Hardcore/Punk Geschichte! M.I.A. wurden 1980 in Las Vegas gegründet, zogen 1981 nach Orange County und begannen im berüchtigten Cuckoo's Nest zusammen mit Fear, Shattered Faith, T.S.OL. u.a. Shows zu spieln. Ende '81 gingen sie in ein lokales Tonstudio in Costa Mesa und nahmen an einem Nachmittag neun Songs auf, bis ihnen das Geld ausging - 300 Dollar gut angelegt! Eine Kassette wurde rasch kopiert und herumgereicht. Eine Kopie der Kassette wurde KevinSeconds bei einem Gig mit 7 Seconds in Reno gegeben. Kevin gab sie an Tim Yohannan von Maximum Rocknroll weiter. Schließlich gelangte sie in die Hände von Felix Alanis von Smoke Seven und Greg Shaw von Bomp. Mitte 1982 waren M.I.A. dann auf drei Vinyl-Veröffentlichungen vertreten: "Tell Me Why" auf der Compilation American Youth Report von Bomp, "New Left" auf Maximum Rocknroll Presents: Not So Quiet On the Western Front von Alternative Tentacles und acht der neun Tracks landeten auf der berüchtigten Split-LP mit Last Rites auf Smoke Seven. Alle 9 Tracks des ersten Tapes sind hier versammelt, zum ersten Mal richtig abgemischt. Der Begin von M.I.A. (US) und gleichzeitig das letzte Lapitel der Moder City Records-Reissue-Reihe zur Band. « ...In one corner is M.I.A., a band originally from Las Vegas, the champions of punk's positive side. They've managed to fuse a super tight thrash sound with enlightened attitudes_"I Hate Hippies" is obviously meant as a satire with a moral, and the results are absolutely stunning. » _Jeff Bale's 1982 review of the Last Rites for...-Split-LP in Maximum Rocknroll #2 2.Auflage, Cover Metallic Blue, Vinyl Dirty Turquoise, plus 24seitigem Booklet.

Mit seinem neuen Studioalbum „Cinematic“ widmet sich der Multi-Platin-Vokalist Josh Groban den großen Momenten der Filmgeschichte.
Die Auswahl reicht von Oscar-prämierten Klassikern wie „Can You Feel the Love Tonight“ (Der König der Löwen) und „Skyfall“ (James Bond) bis hin zu zeitlosen Standards wie „As Time Goes By“ (Casablanca) und „Moon River“ (Frühstück bei Tiffany).
Hochkarätige Kollaborationen: Ein besonderes Augenmerk liegt auf dem Duett „Unchained Melody“ mit Jennifer Hudson sowie einer persönlichen Interpretation von „Moon River“ zusammen mit seinem Bruder Jack Groban.
Orchestrale Inszenierung: Produziert von Greg Wells (u. a. The Greatest Showman), besticht das Album durch opulente orchestrale Arrangements, die in Los Angeles und London aufgenommen wurden.

Die aus Las Vegas / Orange County stammende Hardcore-/Punk-Band M.I.A. ist zum ersten Mal seit 40 Jahren mit neuem Material zurück! Nachdem sich die Band 2008 zu einem Gedenkkonzert anlässlich desvorzeitigen Todes ihres Sängers Mike Conley wieder zusammengefunden hatte, spielte sie noch einige Jahre mit dem ursprünglichen Sänger Todd Sampson weiter. Leider verstarb Todd kurz darauf an einem Hitzschlag. Die verbleibenden drei Mitglieder beschlossen, weiterzumachen, wobei Gitarrist Nick Adams nun den Gesang übernahm. Im Jahr 2017 veröffentlichte Darla Records die letzten beiden Alben der Band, ,Notes From the Underground" (1985) und ,After the Fact" (1987), erneut auf CD. Ab 2023 begann Modern City damit, den gesamten Katalog der Band auf Vinyl neu aufzulegen, darunter das bahnbrechende Album ,Murder In a Foreign Place" von 1984 (in Zusammenarbeit mit Alternative Tentacles) und ihren Teil der LP ,Last Rites for Genocide and M.I.A." aus dem Jahr 1982. Die Titel dieser neuen Veröffentlichung wurden im Dezember 2025 aufgenommen und umfassen drei brandneue Songs sowie "'Tomic Bomb", einen sehr alten, unveröffentlichten Song, der 1980 von der allerersten Inkarnation von M.I.A. geschrieben wurde, die damals als The Swell bekannt war. Diese Veröffentlichung ist auf 300 Exemplare limitiert und erscheint mit einem handgedruckten Cover und auf farbigem Vinyl.

Frizzell & Duque's A Sorrow Unrequited moves with suspended patience, each LP piece built from simple melodic figures, each of which eventually thicken out to quiet overwhelm. Working outside their Zake/City of Dawn aliases, the pair realise a more diaristic exposure here, drawing their inspiration and track titles from Julia Frizzell's poems of the same name. 'We Once Believed We Owned The Sky' tone-sets the vibe with long, tidal swells of strings and synth, dissonances sparing but weighted, while 'Closer, Always Closer' moves in similarly tidal cycles, with momentary swellings and torn cellos fissuring through the overall sadness.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Jason Aldean schlägt mit der Veröffentlichung seines zwölften Studioalbums ein neues Kapitel auf. Das
Album ist ein Meilenstein mit 20 brandneuen Songs, die die ganze Bandbreite seines künstlerischen Schaffens zeigen – von mitreißenden Bühnenhymnen bis hin zu den ehrlichen, authentischen Geschichten, die
seine Karriere geprägt haben. Diese umfangreiche Sammlung unterstreicht Aldeans anhaltende Popularität
und seine kreative Weiterentwicklung und bestätigt einmal mehr, warum er zu den einflussreichsten und
prägendsten Stimmen der Country-Musik zählt. Mit über 25 Millionen Followern in den sozialen Medien
und einer Karriere, die die moderne Country-Musik maßgeblich beeinflusst hat, gilt Jason Aldean als einer
der größten Superstars und erfolgreichsten Hitgaranten des Genres. Bekannt für seine einzigartige Mischung aus stadiontauglichen Country-Hymnen und gefühlvollen Balladen, ist Aldean zu einer kulturellen
Größe geworden und verbindet sich mit seinen Fans durch Hymnen, die sowohl die Härte als auch die Seele
des amerikanischen Lebens einfangen. Die New York Times lobte seinen Sound als den des „Hardrockers
von nebenan“, während der Rolling Stone ihn als „einen der mutigsten Wagemutigen der Country-Musik“
bezeichnete.
Aldeans Vermächtnis ist durch eine Reihe von Auszeichnungen, darunter drei ACM-Awards als „Entertainer
des Jahres“, unzählige Platin-Schallplatten und ein umfangreiches Repertoire, das den Erfolg in Nashville
neu definiert hat, untermauert. Im Laufe seiner Karriere hat Aldean epochenprägende Songs wie „Big
Green Tractor“, „Dirt Road Anthem“, „Burnin’ It Down“, „You Make It Easy“ und „Try That in a Small
Town“ veröffentlicht, die allesamt sein Talent unter Beweis stellen, die Charts zu erobern und gleichzeitig
seinen Wurzeln treu zu bleiben.

Texas-raised, NYC-based Ben Hixon continues to be one of deep house's most essential new voices. His dusty, lo-fi take on the genre feels instinctive and raw but always carries serious emotion under the surface. After a fine outing announced already on NDTAL this month, he's back on his own Dolfin with another crucial three tracker. 'Purpouse (Jubilee)' is a swinging sound with classic Midwestern vibes, 'Look At Me' spins out into high-paced juke and footwork drum patterns with eerie pads and 'Read Between The Lines' is a low-lit, low-key basement house groove with conscious mutterings adding serious depth. Another doozy from Hixon.

Well here we are unbelievably 50 years on from year zero 1976, when the world stood still at the birth of Punk Rock. To celebrate this monumental occasion Mal-One has worked up a new song called God Save Us All From Misery and to accompany this fine effort he has also worked up alternative versions to what could be the best first 4 singles released by any band. The first four singles released by the Sex Pistols. He has produced his own takes on these classic singles with.. Someone Dropped a Bomb In The UK (Anarchy In U.K.), God Save The King (God Save The Queen), Mal-One’s Out To Lunch (Pretty Vacant) and Holiday In Someone Else’s Misery (Holidays In The Sun). So creating this rocking 5 track 12” E.P. Hope you enjoy the results and here’s to another 50 years… God save Us All…

2026 Repress, LIMITED PEARL-DEEP-OCEAN COLORED VINYL

Dilby and Pornbugs team up on ‘Between Us’. Pornbugs celebrate 20 years of Bondage in 2026 and 21 years as a DJ/production team. Moving in fresh circles has always been an important part of their longevity, so signings so Selador and Sudbeat have exposed them to new ears showcasing their crossover sound.
Equally, on-form Dilby is having something of a renaissance with his chunky deep house sound now, finding increasing favour with the progressive house elite. Signed to a bewildering selection of labels from Glasgow Underground to Sudbeat, the world is his oyster.

Opening with ‘Hear Me Out’ their combined bumpy deep sound marries incredibly well. Uptempo and lively, this is the future sound of retro, and we are here for all of it. Next up, ‘Hold The Line’ joins the dots between deep and progressive house, keeping the funk and soul intact. Bass-led and groovy as hell, this is your new secret weapon. Play it loud!
‘Fade Into You’ is the first of the vinyl only tracks and marks a stark change of pace. Deeper, more soulful and markedly more thoughtful, this is modern deep house in its glittery new rave clothes. Pairing nicely is the flipside track ‘Beyond Fear’ which rumbles along with techy bass and a chunky groove.

Complete good Hardcore EP from one of the best label ever.. oldschool sounds good nope ?

Massive vocal driven Garage House pressure here, from way way back in 1992! Yes, 'Follow Me' is one of THOSE records, one that transcended genre boundaries on it's release and continues to do so today. A true classic piece of NYC goodness from back in the day. The super production team of DJ Pierre and george Morel could only deliver the heat and that's exactly what they did - created a timeless House record with the bassline that just doesn't let up! This is the sort of track that got hammered on the US House scene, found a home in the UK Garage world and got spin at almost any and all clubs where the DJ's had half a clue and an iota of taste! Containing the original 3 mixes released in '92 now's your chance to bag a bonafide, hands down classic record! 'Follow Me' has been skilfully remastered from all original master sources and fully licensed and reissued officially for 2017.