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The Chisa Years: 1965-1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label.Thom Jurek of Allmusic wrote 'In sum, there isn't a weak moment on this entire collection. It's appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.' Dan Nishimoto of the Prefix Magazine stated 'The compilation focuses on Masekela's original idea of 'African American Music.' From the early experiments of the Zulus (a group featuring M'Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/'Grazing in the Grass'-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela's band in the mid-'70s, consisting of players from Ghana and Nigeria) and the readyfor-primetime belting of M'Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.'

There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…

Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.



“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.

“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.

“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.

“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”

After so long it becomes harder to say new things about older things you now just do. Some things you've become. Some things you simply (never simply) are. The thing becomes a slippery notion. The self slides along with it. After this long, the story is whatever are the songs. A Self-portrait at two decades. Here are 11 new ones, from the current constellation, and a future still to come. The cement is still wet on that one. From the forest near where I now live you can hear a chorus of different birds in voice at once, competing but each defined, in defence of a territory or to attract a mate. There's an app that tells you so. I wonder, too, what that app doesn't reveal, if their nature need not share those same purposes. This is simply (never simply) how it exists. If we can't speak to the mysteries of these strategies, they at least persist, regardless of who picks up the frequency. Singing to itself, and there will always be these kinds of songs. 1. Ulrika Spacek - 'Interesting Corners' 2. Empty Country - 'D3SP4IR' 3. The Reds, Pinks & Purples - 'New Market Space (Down the Stairs Ver.) 4. Cindy - 'The Thousand First' 5. April Magazine - 'U Bop' 6. Index For Working Musik - 'Going to Heaven On the End of A String' 7. Midding - 'Do As You Would' 8. Luft - 'My Third Eye' 9. Hospital - '25 Jade Place' 10. William Doyle - 'The Sun Ain't Doing It For Me Lately' 11. Daily Toll - 'Begin Again'

It was 1985--or at least it felt like it. The chrome skyline of Neo-Milano shimmered in the dusk light, skyscrapers pulsating to the beat of neon advertisements, casting glowing reflections across the silver canals below. In this retro-futurist-old city in Italy called Milan, half modern Rotterdam the Netherlands caught between timezones of nostalgia and tomorrow, the nights were long, the music was loud, and everyone was searching for something real. Fred Ventura was wearing his black leather jacket and was singing loud in his favorite key. It was perfect for his voice! All I Want Is You! This mega future italo classic with a canadian Lime vibe will give you Italo goosbumbs. Italoconnection vs. Tyrell corporation and you know what this means! A super hit in the old Tyrell style, already played by Moustache label boss David Vunk at several festivals and underground club nights for some time.. expect the old analog feel basslines, Roland Jupiter 8 strings and lyndrum drums. It goes deep, it's pure Italo singalong.... be fast super limited copies to keep it real! It won't be better than this. Be fast, live is life, dont play this vinyl under water. Teardrops in your eyes. This text is not AI, its Vunky text. gone is gone. Moustache records 053!

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

What began as a nostalgic nod to Camden Market’s bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge — proof that the mixtape, even in 2025, still has stories left to tell.
What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them.
Together, these fragments revealed a body of work stretching back more than 25 years — tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere.
In May of this year, the archive finally found its form. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand new productions, all stitched together into a continuous narrative. It’s equal parts retrospective and statement of intent — less a museum piece than a living document.

“A good song can survive and shine in different ways in the hands of different musicians,” says Emmylou Harris. “It can have different meanings at different times in your life. A good song can travel with you anywhere.” That philosophy has guided her fifty-year career in country music, during which she has covered countless songs across countless genres and put her own indelible stamp on each one. More specifically, it’s the philosophy that animates both Spyboy, her touring band in the late 1990s, and Spyboy, the 1998 live album that demonstrates how these musicians made her songs shine. Sequencing old songs alongside new ones, the album tests the tensile strength of each one, pushing them into wilder and more psychedelic territory while remaining grounded in earthy country music. It’s completely unique in her catalog, a crucial document of an important chapter in her career, and it’s finally getting reissued after years of being unavailable. “It’s such a special record,” she says. “Well, they all are, but this one is really, really special. That was such a fantastic band and such an amazing time.”

Spyboy grew out of Wrecking Ball, Harris’ groundbreaking 1995 collaboration with producer Daniel Lanois. In 1996 and 1997 together with Buddy Miller, Brady Blade and Daryl Johnson, The band, also named Spyboy, toured America and Europe together, never playing a song the same way twice. Buddy Miller brought along his recording gear and recorded nearly every show on the tour. When their time on the road ended, Miller and Harris sat down together and they culled through hundreds of tracks to choose the ones that best represented the Spyboy ethos of endless possibility. They whittled the original release down to 14 tracks and in 1998 Eminent Records released Spyboy on CD.

2005...it"s 20 years since already? We can still feel the sensuous tickle of the wind at our back during that marvelous time. It was, as the Scorps promised, a wind of change, and we were drawn to a number of like-minded birds floating in that breeze! Today, we salute Six Organs of Admittance; their School of the Flower was just the record we"d never dreamed of when we asked them if they wanted to do one with us. Turned out their pronoun of choice was "him." "He" was Ben Chasny and we"ve been happy collaborating with him ever since. Coming on the heels of records like Dark Noontide and Compathia, School of the Flower found Six Organs riding high. Having achieved much in his traditional home-recorded kingdom, he too was looking for something different. What our Ben recalls: "It was the first time Six Organs was in a studio, so that"s cool. I wanted to play with Chris Corsano to expand on some of the rhythms in my playing, to kind of suggest some different forms for the way the folk-psych/folk music were being played at the time. The title track was inspired by John Cale and Terry Riley"s Church of Anthrax - I remember we had a big tape loop stretched around the whole studio to form the basis of that. I was taking a lot of cold medicine that week - not the coolest drugs to be on, but, you know..." School of the Flower was indeed a whole new thing - containing enduring fan favorites like "All You"ve Left," "Words for Two," Ben"s revelatory take on Gary Higgins" "Thicker Than a Smokey" (pointing the way for our reissue of Red Hash later that year) and a deep vibe of spiritual folk-jazz throughout. And best of all? It was just the beginning of twenty years of sending the inspiration of Six Organs of Admittance out into the world! But today, we"re happy to send you back to School of the Flower. There"s nothing like it.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

If there is one thing we at Real Gone have learned during our rollicking ride of reissuing The Donnas’ catalog, it’s that they never did anything halfway. And we’ve tried to do the same in bringing their music back to their devout fanbase. Now, by popular demand, and after years of pursuing the rights, we are thrilled to announce that we are releasing their last studio album, Bitchin’, in an expanded, newly annotated, and newly remastered edition! This 2007 release was put out by The Donnas’ own Purple Feather label, and marks a return to the girls’ glam metal and punk roots after the classic rock leanings of Gold Medal…they’ve escaped the major label machine, and are ready to have a good time! Singalong songs like “What Do I Have to Do” and “Don’t Wait Up for Me” have definitely entered The Donnas’ canon, and tunes like “Save Me” confirm that this band’s ability to set a hook in a chorus remains unabated. For this first-ever reissue, we’ve rounded up an entire side of bonus tracks, including the two songs (“Randi” and a cover of “Safety Dance”) that were only available on the vinyl release, a track (“New Kid in School”) that was previously available only as a download, two outtakes (“We Own the Night” and “She’s Out of Control”) that showed up on the Greatest Hits Vol. 16 comp, and a track that only came out in Japan (“Can’t Keep It a Secret”). The whole thing’s been remastered for vinyl by Mike Milchner at Sonic Vision, and our gatefold-plus-insert once again includes fresh commentary by Brett Anderson aka Donna A. Bitchin’ comes in a double scoop of strawberry with black swirl vinyl…we’re here for the party!

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

Unfassbar! Cosmic Psychos kehren mit erstaunlichem Geständnis zurück: "I Really Like Beer"! Über 40 Jahre albern-schlauer Punkrock werden mit einem brandneuen "Konzeptalbum" über Bier fortgeführt, obwohl jedes frühere Album der Jungs auch irgendwie ein Konzeptalbum darüber war. Die Bierväter des australischen Punks klingen wie die Ramones mit Crocodile Hunter als Frontmann und schreiben Songs in einem unverkennbaren Down-Under-Stil über's Saufen, Raufen, Roadkill und die beste Zeit des Lebens. Die knallharte Herangehensweise der Jungs an den Punk hat sich als nachhaltig erwiesen und viele andere beeinflusst, von L7 und The Meanies bis hin zu The Chats und Amyl & The Sniffers. Das lärmende Punk-Trio wurde ursprünglich um 1985 von Bill Walsh, Peter Jones und Ross Knight in Melbourne gegründet. Robbie Watts ersetzte Jones 1990/91 an der Gitarre, und nach einer zwischenzeitlichen Pause gingen die Psychos 2005 zurück ins Studio, um ein neues Album aufzunehmen, wobei der neue Schlagzeuger Dean Muller (ex-Voodoo Lust) Bill Walsh ersetzte. Nach dem Schock über den tragischen Verlust von Robbie Watts im Jahr 2006 stand die Option im Raum, "Cosmic Psychos" zu begraben. Aber Knight war überwältigt von der Trauer und der Unterstützung der Fans, sodass er mit voller Unterstützung von Robbies Kindern beschloss, dass doch noch mehr Bier getrunken werden muss. John McKeering (von The Onyas) war bereits seit geraumer Zeit mit der Band befreundet und wurde Ende 2006 ausgewählt, von diesem Zeitpunkt an mit Knight & Muller Gitarre zu spielen. Mit einer legendären Debüt-EP, fast einem Dutzend Studioalben, einer Handvoll Live-Alben und einer von Fans finanzierten Dokumentation mit einer ziemlich prominenten Besetzung aus der Alternativ-Szene, liefern the blokes you can trust, wieder 12 neue Tracks mit geradlinigem, bierdurchnässtem Punkrock für Fans von Celibate Rifles, Radio Birdman, den frühen Saints, den Ramones aus ihrer mittleren Schaffensphase, Hard-Ons, C.O.F.F.I.N. und Stiff Richards. Das neue Album ist Classic Psychos, australischer Punkrock, so roh, laut und herrlich dumm wie eh und je - mit gelegentlichen Lebensweisheiten, die unter einem Haufen Riffs versteckt sind. Als CD (mit Bierschutzhülle aka Jewelcase) oder auf klassisch schwarzem Vinyl oder in farbigen LP-Versionen.

Unfassbar! Cosmic Psychos kehren mit erstaunlichem Geständnis zurück: "I Really Like Beer"! Über 40 Jahre albern-schlauer Punkrock werden mit einem brandneuen "Konzeptalbum" über Bier fortgeführt, obwohl jedes frühere Album der Jungs auch irgendwie ein Konzeptalbum darüber war. Die Bierväter des australischen Punks klingen wie die Ramones mit Crocodile Hunter als Frontmann und schreiben Songs in einem unverkennbaren Down-Under-Stil über's Saufen, Raufen, Roadkill und die beste Zeit des Lebens. Die knallharte Herangehensweise der Jungs an den Punk hat sich als nachhaltig erwiesen und viele andere beeinflusst, von L7 und The Meanies bis hin zu The Chats und Amyl & The Sniffers. Das lärmende Punk-Trio wurde ursprünglich um 1985 von Bill Walsh, Peter Jones und Ross Knight in Melbourne gegründet. Robbie Watts ersetzte Jones 1990/91 an der Gitarre, und nach einer zwischenzeitlichen Pause gingen die Psychos 2005 zurück ins Studio, um ein neues Album aufzunehmen, wobei der neue Schlagzeuger Dean Muller (ex-Voodoo Lust) Bill Walsh ersetzte. Nach dem Schock über den tragischen Verlust von Robbie Watts im Jahr 2006 stand die Option im Raum, "Cosmic Psychos" zu begraben. Aber Knight war überwältigt von der Trauer und der Unterstützung der Fans, sodass er mit voller Unterstützung von Robbies Kindern beschloss, dass doch noch mehr Bier getrunken werden muss. John McKeering (von The Onyas) war bereits seit geraumer Zeit mit der Band befreundet und wurde Ende 2006 ausgewählt, von diesem Zeitpunkt an mit Knight & Muller Gitarre zu spielen. Mit einer legendären Debüt-EP, fast einem Dutzend Studioalben, einer Handvoll Live-Alben und einer von Fans finanzierten Dokumentation mit einer ziemlich prominenten Besetzung aus der Alternativ-Szene, liefern the blokes you can trust, wieder 12 neue Tracks mit geradlinigem, bierdurchnässtem Punkrock für Fans von Celibate Rifles, Radio Birdman, den frühen Saints, den Ramones aus ihrer mittleren Schaffensphase, Hard-Ons, C.O.F.F.I.N. und Stiff Richards. Das neue Album ist Classic Psychos, australischer Punkrock, so roh, laut und herrlich dumm wie eh und je - mit gelegentlichen Lebensweisheiten, die unter einem Haufen Riffs versteckt sind. Als CD (mit Bierschutzhülle aka Jewelcase) oder auf klassisch schwarzem Vinyl oder in farbigen LP-Versionen.

Unfassbar! Cosmic Psychos kehren mit erstaunlichem Geständnis zurück: "I Really Like Beer"! Über 40 Jahre albern-schlauer Punkrock werden mit einem brandneuen "Konzeptalbum" über Bier fortgeführt, obwohl jedes frühere Album der Jungs auch irgendwie ein Konzeptalbum darüber war. Die Bierväter des australischen Punks klingen wie die Ramones mit Crocodile Hunter als Frontmann und schreiben Songs in einem unverkennbaren Down-Under-Stil über's Saufen, Raufen, Roadkill und die beste Zeit des Lebens. Die knallharte Herangehensweise der Jungs an den Punk hat sich als nachhaltig erwiesen und viele andere beeinflusst, von L7 und The Meanies bis hin zu The Chats und Amyl & The Sniffers. Das lärmende Punk-Trio wurde ursprünglich um 1985 von Bill Walsh, Peter Jones und Ross Knight in Melbourne gegründet. Robbie Watts ersetzte Jones 1990/91 an der Gitarre, und nach einer zwischenzeitlichen Pause gingen die Psychos 2005 zurück ins Studio, um ein neues Album aufzunehmen, wobei der neue Schlagzeuger Dean Muller (ex-Voodoo Lust) Bill Walsh ersetzte. Nach dem Schock über den tragischen Verlust von Robbie Watts im Jahr 2006 stand die Option im Raum, "Cosmic Psychos" zu begraben. Aber Knight war überwältigt von der Trauer und der Unterstützung der Fans, sodass er mit voller Unterstützung von Robbies Kindern beschloss, dass doch noch mehr Bier getrunken werden muss. John McKeering (von The Onyas) war bereits seit geraumer Zeit mit der Band befreundet und wurde Ende 2006 ausgewählt, von diesem Zeitpunkt an mit Knight & Muller Gitarre zu spielen. Mit einer legendären Debüt-EP, fast einem Dutzend Studioalben, einer Handvoll Live-Alben und einer von Fans finanzierten Dokumentation mit einer ziemlich prominenten Besetzung aus der Alternativ-Szene, liefern the blokes you can trust, wieder 12 neue Tracks mit geradlinigem, bierdurchnässtem Punkrock für Fans von Celibate Rifles, Radio Birdman, den frühen Saints, den Ramones aus ihrer mittleren Schaffensphase, Hard-Ons, C.O.F.F.I.N. und Stiff Richards. Das neue Album ist Classic Psychos, australischer Punkrock, so roh, laut und herrlich dumm wie eh und je - mit gelegentlichen Lebensweisheiten, die unter einem Haufen Riffs versteckt sind. Als CD (mit Bierschutzhülle aka Jewelcase) oder auf klassisch schwarzem Vinyl oder in farbigen LP-Versionen.

Unfassbar! Cosmic Psychos kehren mit erstaunlichem Geständnis zurück: "I Really Like Beer"! Über 40 Jahre albern-schlauer Punkrock werden mit einem brandneuen "Konzeptalbum" über Bier fortgeführt, obwohl jedes frühere Album der Jungs auch irgendwie ein Konzeptalbum darüber war. Die Bierväter des australischen Punks klingen wie die Ramones mit Crocodile Hunter als Frontmann und schreiben Songs in einem unverkennbaren Down-Under-Stil über's Saufen, Raufen, Roadkill und die beste Zeit des Lebens. Die knallharte Herangehensweise der Jungs an den Punk hat sich als nachhaltig erwiesen und viele andere beeinflusst, von L7 und The Meanies bis hin zu The Chats und Amyl & The Sniffers. Das lärmende Punk-Trio wurde ursprünglich um 1985 von Bill Walsh, Peter Jones und Ross Knight in Melbourne gegründet. Robbie Watts ersetzte Jones 1990/91 an der Gitarre, und nach einer zwischenzeitlichen Pause gingen die Psychos 2005 zurück ins Studio, um ein neues Album aufzunehmen, wobei der neue Schlagzeuger Dean Muller (ex-Voodoo Lust) Bill Walsh ersetzte. Nach dem Schock über den tragischen Verlust von Robbie Watts im Jahr 2006 stand die Option im Raum, "Cosmic Psychos" zu begraben. Aber Knight war überwältigt von der Trauer und der Unterstützung der Fans, sodass er mit voller Unterstützung von Robbies Kindern beschloss, dass doch noch mehr Bier getrunken werden muss. John McKeering (von The Onyas) war bereits seit geraumer Zeit mit der Band befreundet und wurde Ende 2006 ausgewählt, von diesem Zeitpunkt an mit Knight & Muller Gitarre zu spielen. Mit einer legendären Debüt-EP, fast einem Dutzend Studioalben, einer Handvoll Live-Alben und einer von Fans finanzierten Dokumentation mit einer ziemlich prominenten Besetzung aus der Alternativ-Szene, liefern the blokes you can trust, wieder 12 neue Tracks mit geradlinigem, bierdurchnässtem Punkrock für Fans von Celibate Rifles, Radio Birdman, den frühen Saints, den Ramones aus ihrer mittleren Schaffensphase, Hard-Ons, C.O.F.F.I.N. und Stiff Richards. Das neue Album ist Classic Psychos, australischer Punkrock, so roh, laut und herrlich dumm wie eh und je - mit gelegentlichen Lebensweisheiten, die unter einem Haufen Riffs versteckt sind. Als CD (mit Bierschutzhülle aka Jewelcase) oder auf klassisch schwarzem Vinyl oder in farbigen LP-Versionen.

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

First Word Records are proud to present the sophomore solo EP from Victoria Port.

'Barefoot In The Garden' is a 5-track selection merging classic soul with contemporary sounds.

Put together from sessions recorded at the world famous Abbey Road Studios in London, and Victoria's home studio Candle Shop, this project exemplifies her talents as a singer-songwriter, developing upon the building blocks of her debut EP 'Did it Again' and Victoria's work as one half of electronic-soul duo, Anushka (BBE / Tru Thoughts / Brownswood).

On this EP, Victoria is accompanied by a wealth of talented artists in their own right, including frequent collaborators Hemai and JNR Williams, the highly-acclaimed drummer Moses Boyd, and vocalists such as Lea Lea, to name just a few.

The sonic tapestry stitched together on this EP epitomises the quality of British soul music of modern times; a vintage symphonic feel approach with modern-day production techniques, encompassing the Ronson-era of the late great Amy Winehouse, to the pack leaders of nowadays such as SAULT and Jungle. It's a logical progression considering Victoria's lifelong influences of US luminaries like Minnie Riperton, Gladys Knight, Nina Simone and Dionne Warwick.

Her fanbase includes Gilles Peterson (BBC 6 Music / Worldwide FM) who has tipped her as "an exciting emerging new artist whose sound fits alongside current successful acts like Cleo Sol, Lynda Dawn and Yazmin Lacey."


Victoria's previous EP had support from a wide range of tastemakers, including Cerys Matthews, Huey Morgan, Somewhere Soul, Mo Ayoub (Selector Radio), Ronnie Herel (Mi-Soul Radio's "One to Watch"), Tony Minvielle (Jazz FM) and across platforms like Rinse FM, NTS, Soho Radio and Global Soul, whilst her work with Anushka also received airplay from Annie Mac, Jamz Supernova, Huw Stephens and BBC Radio 1.

Victoria says "this EP comes from a place of nostalgia. It's kind of reflective of parts of life up to this moment, culminating in 'Barefoot in the Garden'. I guess it's me starting to understand the things that are truly important to me. How I want to love and be loved, the way I want to spend my time, and just me starting to filter out a lot of the noise. Sonically it's been such a dream to explore elements of old soul and jazz with so many incredible musicians, and to put our own unique spin on the genre."

Already a seasoned live perfomer, additionally to various live appearances solo past & forthcoming including We Out Here, Jazz Cafe, Koko and the London Jazz Festival, Victoria Port is set to be one of the leading lights in the world of British soul music. This EP provides some solid examples as to why.

'Barefoot In The Garden' is due to be released on vinyl and digital, November 7th 2025.

ANORAX goes for the jugular - offering 2 in-demand gems from the legendary USA All-Platinum label - with its’ latest #eatsleepcollect 7” release.

The a side is a real coup, the first ever worldwide issue on single of the much loved Just Having Your Love by veteran Soul trio The Moments. JHYL is up there with the acts much loved Nine Times and I’ve Got The Need as a creator of dancefloor frenzy but being an album only track has restricted its DJ plays.

Now, for the first time in 50 years, it is available on 7” single so the simmering demand can finally be satisfied. The track fuses timeless Soul harmonies with exuberant magically produced New Jersey Disco and as well as being a Modern Soul connoisseurs favourite has long been a Northern Soul floor filler. The flip was also released on All Platinum’s Turbo imprint and was produced and written by The Moments. The Rimshots were the house band at All Platinum’s recording studio in Engelwood and had close links with The Moments who they toured with as support. Do What You Feel saw them take centre stage in 1975 as the adrenalin up chanted jam became a funk anthem. Five decades on it is still a timeless gem at jazz funk venues.

Wounds is the band's long-awaited fifth album - their first in six years, their most eclectic and ambitious work to date. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom - pushing London's most exciting cult band into intoxicating new territory. "Wounds is a series of songs about the different ways people live with and process 'the wounds' of their lives," explains vocalist Maya. "A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival - the celebration of finding others like us, the gift of knowing life comes after fire." Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine. "The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own - its storied history includes sessions by Electric Wizard, Hawkwind and The Fall." Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a longtime collaborator of the band. His work weaves icy and atmospheric textures into the album's tracks. While meticulously crafted, Wounds captures the visceral energy of Cold in Berlin's renowned live shows. The album's arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances - every track retains the sweat, urgency, and immediacy of a band performing in the moment.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print. This is an album that rips through what was considered "The Now Sound From Overseas," a sophisticated mash-up of sambas, bossa novas, and Latin jazz. From the first track, "Angelito" (the hit song written by Réne y Réne, later to also be covered by Trini Lopez & Herb Albert), all the way through to its closer, "Flying Down To Rio" (a song which Roxy Music later referenced in their 1972 song "Virginia Plain”), the album is a hypnotic listen. Latin Village also drops in some serious jazz numbers, with respected compositions such as "On Green Dolphin Street" by Kaper & Washington (which has been covered by Miles Davis, Bill Evans & Sarah Vaughn), "Malagueña" the sixth movement in Ernesto Lecona's Suite Andalucía & "Corcovado" by Antônio Carlos Jobim (who merged samba with jazz to create bossa nova). Latin Village is comforting in its familiarity within Denny's sonic world, but steps refreshingly out of the smoke-filled Tiki bars of his previous records and straight into the sunlight where this music still strolls around in a listener's heart, soul, and mind. “Latin Village is a triumph of Martin Denny’s search for a new style, post-exotica.” – ALLMUSIC, 4 stars.

Neuauflage zum Jubiläum, welches vor 20 Jahren ! Eine Sammlung seltener Köstlichkeiten und böser Leckereien aus den Anfängen der Supersuckers bis zum Jahr 2005! Devil's Food ist eine Sammlung schwer zu findender, vergriffener Singles und bisher unveröffentlichter Titel der Supersuckers, die nun in einem praktischen und attraktiven Paket kompiliert sind, sodass man nicht Millionen von Bitcoins bei irgendwelchen Sammler-Nerds im Internet ausgeben muss, um an diese Schätze zu kommen. Insgesamt 16 Songs, darunter Coverversionen von "Hey Ya" von OutKast, "Teenage Shutdown" von Electric Frankenstein, "Rubber Biscuit" von The Chips, "Sail On" von The Commodores und "Eastbound & Down" von Jerry Reed. Außerdem gibt es Country-Versionen von Songs, die ursprünglich auf dem 1995 erschienenen Supersuckers-Album "The Sacrilicious Sounds of the Supersuckers" zu finden waren (das derzeit ebenfalls von Sub Pop zum 30-jährigen Jubiläum neu aufgelegt wurde). 2025 gibt es das Album auf klassischem schwarzem Vinyl!

New Wave of Alternative Hardcore! 217's debut album ' In Your Gaze " is a combination of different Hardcore schools mixed with dreamy, dark and intense moments. This is a turning point. Drawing inspiration from American old-school hardcore (Negative Approach, Uniform Choice, Slapshot, Madball, Bad Brains, Chain of Strength, Growing Concern), mid-'90s new school (108, Have Heart, Snapcase, Abhinanda), as well as math rock, hardcore, and alternative dark rock (Melvins, Botch, Bauhaus, Fields of the Nephilim, Stone Temple Pilots, Killing Joke, The Doors), 217 now presents itself with a renewed and at times dreamlike musical and lyrical identity.

Volpe is the finely tuned trio led by Ghent-based pianist Heleen Andriessen. Drummer Stijn Demuynck and bassist Kobe Boon support Andriessen's lyrical melodies with an infectious groove. The carefully crafted compositions alternate between energetic and melancholic, allowing the listener to feel immersed in a warm bath while transporting them to an uncanny world.

'elders' (Dutch for "elsewhere"), doesn't refer to a physical place but to a refuge in Heleen's mind-a sanctuary where she searches for beauty on gray, rainy November days. A simple detail taken from everyday life can serve as a gateway to this hopeful, imaginative world. Musically, this translates to repetitive patterns that gradually evolve or suddenly burst open. Subtle dissonance is welcome here, with the band lovingly embracing the slight disruption it offers. Heleen's playful runs and Stijn Demuynck's grooves balance the melancholic undertones. Seemingly simple melodies tell stories and offer familiarity to listening ears.

keywords: piano trio, contemporary jazz, keith jarrett, modal jazz, minimalist

The long-awaited analog release of “ODDTAXI” by Skirt and PUNPEE, the opening theme of the TV anime "ODDTAXI" is finally here!

■Skirt
Skirt is a self-described “unhealthy pop” band known for its refreshingly light yet slightly shadowed songwriting and band ensemble, earning widespread
acclaim across professions, genders, and age groups.
The project began in 2006 as the solo multi-track recording endeavor of Wataru Sawabe. In 2010, he launched his own label, Kaczka Sound, and released
his first album ""S-O-S,"" marking the true beginning of Skirt’s full-fledged musical journey.
In April 2021, Skirt collaborated with PUNPEE on the opening theme "ODDTAXI" for the anime "ODDTAXI". Drawing from his extensive knowledge of
comedy, Sawabe served as a judge for the finals of the UNDER 25 OWARAI CHAMPIONSHIP—a comedy competition for performers under 25—in
September 2023, and also wrote the event’s official theme song, "Kitai to Yokan"
In addition, he has contributed music to numerous animated works, films, and TV dramas. His exceptional songwriting skills have led him to write songs
for a range of artists including Takashi Fujii, Kaede (Negicco), Toko Miura, and adieu (Moka Kamishiraishi).
As a versatile multi-instrumentalist, Sawabe has also participated in live performances and recordings with artists he deeply admires, such as Spitz,
Makoto Kawamoto, and Moonriders. Skirt continues to attract attention as both a band and the project of a wonderfully talented, genre-defying
singer-songwriter.

■PUNPEE
Active as both a rapper and producer, PUNPEE has released acclaimed albums such as "MODERN TIMES" and "The Sofakingdom"" His diverse body
of work includes contributions to a Red Bull TV commercial, the opening theme for the TBS show "Wednesday's Downtown" a remix of Hikaru Utada’s
"Hikari -Ray of Hope MIX-" and the track "Time Machine ni Notte / Kazoku no Fukei" for the Sotetsu–Tokyu through line commemorative short film.
But of course, what truly matters—is what comes next. P

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

Ian Elms’s cult isolationist synth masterpiece Good Night returns via Dark Entries. Originally released in 1982, Good Night blends Berlin school minimalism and BBC Radiophonic weirdness with the aesthetics of then-nascent DIY punk electronics throughout its fifteen short tracks. According to Elms, these pieces were composed in two broad but interrelated modes: pieces with voice and synthesizer, which are obliquely narrative, and instrumental synthesizer pieces that aspire to capture fleeting emotions. Ian met with producer David Hoser at Octopus Studios and they began constructing pieces using a Polymoog Keyboard 280a, sampled drum tracks, and Elms’s synthesizer. On “The Street Enters the House”, live drums lurch along with skeletal motifs while Elms’s elliptical lyrics evoke domestic discontent. “A Light Moves Across Curtains” features metronomic pummeling and icy strings buttressing the scant cryptic lines from Elms. Instrumental gems like “Goodnight” and “Surrounded by Trees” are built around detuned riffs in round-like structure, both drifting and static like the motion of waves. With original pressings fetching three digits – if you can even find a copy – this reissue is essential listening for fans of John Bender, Transparent Illusion, and the early 80’s DIY cassette scene. Each copy of Good Night comes with a postcard featuring a photograph and notes by Elms. “This record is intended for anyone who by accident or design spends most of their time alone (whether in the body or in the mind).” – Ian Elms.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! Das in nur drei Monaten aufgenommene Doppelalbum (Gatefold) der Band erschien 1971 und entstand noch auf Schloss Nörvenich. Es gehört zum Weltkulturerbe der jüngeren Musikgeschichte, so wie "Sergeant Pepper" von den Beatles, "Electric Ladyland" von Hendrix oder das Bananenalbum-Debüt von Velvet Underground. Die sieben hier versammelten Titel bestimmen bis heute die DNA der Populärmusik. "Tago Mago" nimmt eine Sonderstellung im Werk der Band Can ein. Sie ist der Mount Everest, die höchste Verdichtung eines schieren Ausdruckswillens, der weder stilistische Kleinkrämerei, noch musikalische Genre-Grenzen akzeptierte und das war, was "nur nach sich selbst klingt, wie nichts zuvor und danach" ("sounds only like itself, like no-one before or after" (Julian Cope, "Krautrocksampler"). Tatsächlich wurde "Tago Mago" gerne als "magische Platte" bezeichnet, eine geheimnisvolle Reise ins düstere Herz einer bis dahin nicht gehörten Musik.

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

„I Can’t Let Go“ ist die erste Zusammenstellung der Aufnahmen der Brooklyn-Sängerin Evie Sands aus den 60er Jahren, die alle 15 Titel ihrer ersten 8 Singles auf der Vinylversion enthält. Die CD-Ausgabe umfasst weitere 11 Titel, darunter ihre kompletten 45er-Singles aus den Jahren 1963 bis 1970. · Sands, die bereits als Kind zu singen begann und schon in jungen Jahren im Studio arbeitete, verfügte über eine kraftvolle und faszinierende Stimme, die ihr Alter Lügen strafte und auf klassischen 45er-Singles zu hören war, die von Soul- und Rock-Sammlern sowie Liebhabern von Girlgroups und Femme-Pop gleichermaßen geschätzt wurden. · Nach ersten Veröffentlichungen bei ABC und Gold tat sich Sands 1965 mit dem Songwriting-, Arrangement- und Produktionsteam Chip Taylor und Al Gorgoni zusammen, um eine Reihe exzellenter und oft erstaunlicher Platten bei den Labels Blue Cat, Cameo und A&M aufzunehmen, die in ihrem vielbewunderten ersten LP gipfelten. Dabei nahm sie die Originalversionen (und definitiven Versionen) von „Take Me For A Little While“, „I Can't Let Go“, dem Northern-Soul-Floor-Filler „Picture Me Gone“ und dem majestätischen „Angel Of The Morning“ auf und sah ungläubig zu, wie sie alle zu Hits für andere Künstler wurden. Nachdem sie 1969 mit „Any Way That You Want Me“ endlich einen eigenen großen Hit gelandet hatte, folgte nach einer kurzen Auszeit Anfang der 70er Jahre ein gut aufgenommenes Comeback-Album, „Estate Of Mind“, und zwei US-Top-50-Hitsingles. Durch die kontinuierliche Weiterentwicklung ihrer Produktions- und Songwriting-Fähigkeiten standen bald die Größen der Popmusik Schlange, um mit ihr zusammenzuarbeiten und ihre Songs aufzunehmen: Barbra Streisand, Dusty Springfield, Karen Carpenter, Dionne Warwick und später auch Missy Elliot coverten Sands' Kompositionen, und Elvis hätte es beinahe auch getan... · „I Can’t Let Go“ wurde von Jai Rathbone in enger Zusammenarbeit mit Evie Sands zusammengestellt, die ihre Gedanken und Erkenntnisse über diesen frühen Abschnitt ihrer Karriere teilt. Mit zahlreichen Illustrationen versehen, ist dieses Buch ein Muss für jeden Fan. · Bewundern Sie erneut (oder zum ersten Mal) die Vielseitigkeit eines der bestgehüteten Geheimnisse der 60er Jahre: die volle, emotionale und wahrhaft unverwechselbare Stimme von Evie Sands.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

After so long it becomes harder to say new things about older things you now just do. Some things you've become. Some things you simply (never simply) are. The thing becomes a slippery notion. The self slides along with it. After this long, the story is whatever are the songs. A Self-portrait at two decades. Here are 11 new ones, from the current constellation, and a future still to come. The cement is still wet on that one. From the forest near where I now live you can hear a chorus of different birds in voice at once, competing but each defined, in defence of a territory or to attract a mate. There's an app that tells you so. I wonder, too, what that app doesn't reveal, if their nature need not share those same purposes. This is simply (never simply) how it exists. If we can't speak to the mysteries of these strategies, they at least persist, regardless of who picks up the frequency. Singing to itself, and there will always be these kinds of songs. Indies only Blue Vinyl! 1.Ulrika Spacek - 'Interesting Corners' 2. Empty Country - 'D3SP4IR' 3. The Reds, Pinks & Purples - 'New Market Space (Down the Stairs Ver.) 4. Cindy - 'The Thousand First' 5. April Magazine - 'U Bop' 6. Index For Working Musik - 'Going to Heaven On the End of A String' 7. Midding - 'Do As You Would' 8. Luft - 'My Third Eye' 9. Hospital - '25 Jade Place' 10. William Doyle - 'The Sun Ain't Doing It For Me Lately' 11. Daily Toll - 'Begin Again'

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

"The Bad Seeds and Zakary Thaks were mid ‘60s Texas garage rock bands formed in the wake of the British Invasion, influenced by The Rolling Stones, Kinks, Yardbirds and others, becoming top local live attractions at a time when the 13th Floor Elevators and Moving Sidewalks were leading the way into psychedelia. In late 1966 Rod Prince on guitar and Roy Cox on bass from Bad Seeds joined up with David Fore from Zakary Thaks on drums to create a new band out of San Antonio featuring two lead guitarists. Todd Potter filled out the quartet on second guitar and they chose the name Bubble Puppy, taken from Aldous Huxley’s 1932 dystopian novel Brave New World. Huxley was an early advocate of LSD, appropriately. In 1969 Bubble Puppy scored a top 20 hit single with “Hot Smoke & Sasafrass” which led to their LP “A Gathering Of Promises”. International Artists, the legendary Texas label that previously had unleashed mind expanding classics by the Elevators, Red Crayola, Golden Dawn and others was a perfect fit. After the LP and additional 45s didn’t repeat the success of “Hot Smoke & Sasafrass” the band hooked up with Nick St. Nicholas of Steppenwolf as their new manager and moved to Los Angeles. A new band name was in order, Nick St. Nicholas chose Demian, title of the 1919 novel by Herman Hesse. His books were popular with the counterculture at the time and had provided Steppenwolf with their new name after they changed it from the Sparrow and hit it big. Demian recorded the LP live in the studio at the Record Plant in one midnight to six session. They had their arrangements fully realized, allowing them to combine live show energy and economy with to-the-point delivery suitable for repeated listening. No doubt they were aiming for pop hit success, using proto hard rock skills in a radio friendly way without compromising the heavy guitar moves. The vocals have echoes of the earlier Bubble Puppy style in spots but are more melodic with vibrant harmonies reminiscent of Moby Grape, Buffalo Springfield, James Gang… at times flashing on Steve Stills/Richie Furay westcoast without being too sweet about it. It works terrifically when the radio friendly voices top off killer hard guitar ensemble action. Early hard rock that is too bluesy flashy can get tiresome with repeat listening, especially if overdosing on guitar solos with the band relegated to the background… Demian keep it interesting with inventive song structures allowing all four players to integrate constantly into an ever changing but focused whole. This LP is a grower, despite the basic two guitars, bass and drums lineup and no frills production you reach a lot of different places during the ride. Demian is deadly hard rock, a perfectly organized vibe straddling live energy and crafted itinerary, amongst the first obscure major label killers that commanded premium $$ with collectors even way back in the late ‘70s. It gets you there every time, even half a century later!"