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From the First note of "Roam the Room", Youth's massive, towering rock songs bleed emotion through until the tape runs out on album closer "Drawn Out". Ohio natives CITIZEN have captured the ghost of BRAND NEW's "The Devil and God Are Raging Inside of Me" and reinvented brooding, chrosu-driven alternative rock for a new generation. Beautifully harmonized half-shouted vocals along with fuzzy, reverbed-out leads lend weight to the album's mood while also making it impossibly catchy. Following their recent stint as support on MAN OVERBOARD's tour, CITIZEN will play all of the 2013 Van's Warped Tour, poising them to become one of the biggest alternative bands on the road today. For fans of BRAND NEW, TITLE FIGHT, BALANCE & COMPOSURE.

glass beach's debut album the first glass beach album is the first album from glass beach. That's a good place to start, but the album's plain & descriptive title does little to explain exactly what goes on in the hour-long adventure contained therein. the first glass beach album was initially self-released by the band in Spring 2019, but it's roots date back to as early as 2015 - songwriter & band leader j mclendon started demoing songs for the album when they first moved to Los Angeles & spent three years polishing those first demos into these songs with bassist Jonas Newhouse & drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up the first glass beach album are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.

Meshell Ndegeocello war schon immer für Überraschungen gut – jetzt erfindet die Bassistin, Sängerin und
Produzentin, die im Soul, Jazz und Funk immer wieder Zeichen gesetzt hat, einige der größten Popklassiker
als Duette neu neu!
Diese Coverversionen sind für Meshell Ndegeocello weit mehr als bloße Hommagen. Sie nimmt bekannte
Songs auseinander, legt ihre emotionale Substanz frei und setzt sie mit ihrer unverwechselbaren Handschrift
neu zusammen. Songs wie “Knew You Were Waiting (For Me)”, “Guilty” oder “Islands In The Stream”
hat man selten so cool und emotional packend gehört wie hier.
Das Repertoire reicht von den 1960er- bis in die 1990er-Jahre und verbindet Soul, Pop, Rock, Country
und R&B. Jeder der fünfzehn Songs entstand als Duett. Dafür versammelte Ndegeocello eine beeindruckende Riege prominenter Gäste, darunter Cynthia Erivo, Chaka Khan, Cat Power, Madison Cunningham,
Emily King, Lizz Wright, Lianne La Havas, Moses Sumney, Brandi Carlile, WILLOW, ANOHNI und Robert
Glasper.

Confessions of a Lonely Heart follows the journey of a heart searching for connection. Across nine tracks, including “Miss Me More,” “Someday” and “Psycho,” Eric Nam shares deeply personal confessions of heartbreak, yearning, obsession and self-discovery. While the stories are his own, the emotions behind them are universal: the desire to love, be loved and feel understood. “Loneliness can make us feel as though we’re the only person experiencing it, when in reality, it’s one of the most universal parts of being human,” Eric shares. “This album gave me a place to be honest about emotions that can be difficult to admit and confess things we often keep to ourselves. My hope is that people can hear pieces of their own stories in these songs and feel understood by them. When we’re willing to share what’s in our hearts, we remind one another that none of us is truly alone, and together, we can all be a little less lonely.”

Led by Samantha Martin's unmistakable powerhouse voice, Samantha Martin & Delta Sugar deliver an explosive blend of soul, blues, gospel and rock 'n' roll Backed by an 11-piece band featuring a three-piece horn section and soaring vocal harmonies, Martin commands the stage with equal parts grit, grace and emotional force. Two-time JUNO Award nominees and internationally recognized as one of Canada's most compelling live acts, the band has built its reputation through electrifying performances and a catalogue that carries the classic soul DNA of Mavis Staples, Sharon Jones and Otis Redding, delivered with the urgency, volume and energy of a modern rock 'n' roll revue. Released in May 2026, A Beautiful Buzz captures Samantha Martin & Delta Sugar at full flight during the Love Is All Around tour. The album generated immediate international attention, topping the Euro Americana, Big Blues and UK Independent Blues Broadcasters Association and Roots Music Report charts. Rolling Stone France Editor in Chief selected A Beautiful Buzz as one of its "10 Albums to Listen to, "With blazing horns, gospel- charged harmonies and Martin's commanding voice at the centre, A Beautiful Buzz recalls the joyful abandon of Joe Cocker's Mad Dogs & Englishmen while remaining unmistakably their own. Blue Matters described it as "the front row experience, bottled with warmth, fire and unmistakable soul," while Blues in Britain placed Martin "up there with the best of contemporary female vocalists." Building on the album's international momentum, Samantha Martin & Delta Sugar will bring their show to Europe and the UK in May 2027, followed by a second run in November.

For more than thirty years, Hayden has built a body of work from moments in life that can easily pass unnoticed. His talent is to build grandeur around small events, not just within songs but as an accumulation across his whole career. Taken together, his ten studio albums amount to an ongoing conversation about family, memory, love, loss, absurdity, and the strange beauty hidden inside ordinary days. The realization that today’s routine may someday become the part of your life you miss most. Despite its title, Hayden's new album "The Recent Past" isn’t nostalgic so much as observant. It reflects on the strange feeling of longing for a time that wasn’t all that long ago, but it’s also about trying to stay rooted in the present while everything around us speeds up. It is a rich addition to Hayden’s continuing search for unsung moments. There’s heartache on this album, some frank declarations, a lot of comfort and danceable surprises. After years of mixing his own records, Hayden gave the final mixes to Grammy-winning engineer Tom Schick, whose work with Jeff Tweedy, Wilco, Mavis Staples and Willie Nelson had long been an inspiration. Adding subtle colours on the album are drummer Adam Hindle, pedal steel player Matt Kelly, fiddler Miranda Mulholland and upright bassist Ben Whiteley. "The Recent Past" is the perfect record to play when things are coming at you, when you want to take a breath, reflect, escape. Whatever memories or struggles play out you can hum to heartbreak, have lunch with your kid, know that trouble is out there for everyone but somehow this is still a beautiful day.

In August 2025, Lee Bains decamped to the Cherry Street Tavern in Chattanooga, Tennessee, a scene known for holding a light for collective good and personal freedom, in order to record a live album. Over that weekend, a group of anti-war activists, union workers, queer rights organizers, inclusive pastors, and people of goodwill—old-time folks—came from Tennessee, Alabama, and Georgia to gather at the Cherry Street Tavern. That weekend, that small group of people on Cherry Street, just like innumerable other groups that day and throughout history, demonstrated to each other and to the microphones, that, in 2025, the South was comprised of free people, no matter what. Free South 2025. Free South 2026. Free South forever. Lee Bains is a poet and songwriter from Birmingham, Alabama, who since 2012 has released four studio albums of what Rolling Stone calls “Southern gospel punk," and will publish his debut poetry collection Work Lunch with Hub City Press in 2026 after several of the poems were first published by the New Yorker in 2021. A cult songwriter forged in independent scenes, his work has carried him all over the U.S. and Europe, has received acclaim from the likes of Rolling Stone, The New York Times, NPR, The New Yorker, and The Guardian, and has led him to be a supporting musician for other artists like Lonnie Holley, Moor Mother, and Algiers. Lee has lent his work to support striking coal miners, immigrants’ rights groups, abortion funds, and anti-racism organizations. He has performed and read at Emory University, the University of Mississippi, Tulane University, Auburn University, and The Royal Institute of Technology (Stockholm, Sweden). He lives in Atlanta, Georgia, where he works between tours as a handyman.

A SOUNDSYSTEM COMBATING ICE PROCEEDS TO HELP FUND FRONTLINE ORGANIZATIONS THAT SUPPORT IMPACTED COMMUNITIES Contra-ICE Vol. 1: ICE OUT is a powerful new compilation album uniting legendary voices across music, spoken word, and comedy to amplify the fight for immigrant rights and stand against inhumane immigration enforcement. Featuring an all-star lineup of over 30 artists, including Ozomatli, Kathleen Hanna ft. Ad-Rock, Tom Morello, Fred Armisen, Fishbone, Money Mark, David J (Bauhaus, Love and Rockets), and Jello Biafra; this sonic journey, curated by DJ Dali, shines a crucial light on systemic injustices. Proceeds will raise vital funds for frontline Los Angeles organizations, the National Day Laborer Organizing Network (NDLON) and Unión del Barrio, to support their ongoing work defending human, civil, and labor rights for impacted communities.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

Fanzine TR presents AUMATRA Vol. IV, the fourth instalment of our series For this new chapter, Marc Faenger, Lidvall, Ungar, Milo Raad and Hugo Rolan come together for a five-track release that continues the spirit of AUMATRA: bringing together different artists and perspectives around a shared vision of Techno. AUMATRA Vol. IV will be released on October 3, 2026, Pressed on vinyl and released by Fanzine TR. Five artists. Five visions. One AUMATRA.

Murder tbs is back with a special three-part vinyl series, paying homage to the genres that have influenced the label since its inception. The first various artists release is dedicated to ELECTRO & WAVE, while Parts II and III will focus on TECHNO and EBM. 
 Written & produced by various artists: L.F.T., Le Syndicat Electronique, The Exaltics, Electro Nation, Leroy Se Meurt, and Charlou. Mastered by Daniele Antezza at Dadub Studios. B1 mastered by Thomas P. Heckmann. Artwork by ZIMMMERIT. Curated by Davit Japaridze. Dedicated to Juan Mendez (Silent Servant) and Simone Ling. Murder tbs © 2026. All rights reserved MURDERCH01

Ruminant Records looks back at the corners of American rave music that lived on the dancefloor, in record bags, and in local clubs. Dwelling on music from the past and bringing it into the present, the label is as much about where these records can go now as where they come from.

For its first release, Ruminant celebrates the music of the late DJ Dic on the North Carolinian Hoodwink Records imprint. Filled with the untamed possibilities of the early breaks scene, the tracks’ playfulness, color, and ecstasy mix easily onto the dance floors of the present.

The A-side starts with DJ Dic’s “All A Dream,” blurring the lines between breaks and machine funk. Continually shifting and coming into focus, a narcotic vocal repeats “do you remember, I thought you were there” before the track takes a turn for the liquid, opening into something symphonic, cinematic and joyous. Just as it seems to have reached transcendent bliss, the vocal returns whispering in your ear and lulling you into euphoria.

It’s met with a new remix from Kyoto’s Stones Taro, who pulls the track around a feverish refrain and driving break, its pulsating regularity tightening the original into something dizzying, immediate, and built for the club.

If the A-side is exuberant, the B-side begins with a warning. “Hypnotize” is disciplined, tight and hard, its rhythmic coolness slowly sucking you into a vacuum without space or time. The listener is lost, but willingly so for the seduction is the point. Hypnotize indeed.

The Johnny Cage Procrastination Mix takes those same threatening undertones and lets some air back in, filling the space with bounce, drips and a playful silliness. Synth-laden and fun without losing the original’s edge, it brings some of the A-side’s exuberance back around and closes the record where it began.

Better Living Through Chemistry wasn’t just Fatboy Slim’s breakthrough - it helped redefine what electronic music could be in the mainstream. Released in 1996, the album arrived at a pivotal moment in UK club culture, fusing big beat, acid house energy and sample-heavy experimentation into something irreverent, accessible and unmistakably British. Tracks like “Everybody Needs a 303,” “Going Out of My Head,” and “The Weekend Starts Here” captured the anarchic spirit of the era while laying the foundation for a sound that would dominate late-’90s pop culture.

To celebrate the 30th Anniversary of Norman Cook’s career as Fatboy Slim, BMG will reissue his debut album ‘Better Living Through Chemistry’, also turning 30 in September.

The 2LP will be remastered at half speed, following previous Fatboy Slim classic album remastered reissues and feature new liner notes from journalist Alexis Petridis.

The 2CD will include a bonus disc, b-sides with a brand-new remix with inclusion of the Alexis Petridis liner notes.

Sisonke Xonti is a celebrated South African jazz saxophonist, composer, and bandleader. Originally from Cape Town, he relocated to Johannesburg where he deeply immersed himself in the local jazz scene, collaborating with esteemed artists like Nduduzo Makhathini, Abdullah Ibrahim, Hugh Masekela, Herbie Tsoaeli, and Zim Ngqawana.
6 years later, Sisonke is back with a powerfull album ‘”uKholo” with Shane Cooper on double bass, Yonela Mnana on piano and vocals, Ayanda Sikade on drums, Keenan Ahrends on guitar, and Gontse Makhene on percussion. The album opens with" Khanya (Prayer)", featuring Mandisi Dyantyis —a piece that immediately signals a more mature direction to Sisonke's debut on As-Shams. Between jazz and spiritual jazz, this album will soon become a benchmark in South African jazz history. Produced by Simbad and executive producer Fred “Spider” Jacquier.

Fohn conjures a dreamlike landscape of introspective beauty, loneliness and transience from analogue tape and field recordings on new album, Porcelain.

A late summer evening in southern France. The dry mistral wind billows the washing that hangs outside the windows on narrow streets, bringing with it the first whispers of autumn. In the distance children are playing in the square, their shouts caught in the dust whipped up by their feet. A bell tolls, the light dies, and a rich, compelling solitude descends.

Violinist and multi-instrumentalist Fohn, aka Tom Connolly, describes the act of making music as “building fictional environments that become places of solace,” and a process of translation and projection that bridges his internal and external worlds.

While musicians like John Also Bennett, Oren Ambarchi and Connolly’s own group Quade drift behind his sound, Porcelain draws its temperamental inspiration from films like Call Me My Your Name and Andrei Tarkovsky’s The Mirror, as well as the sculptures of Anthony Gormley, whose solitary figures stand isolated in expanses of water along the UK coastline.

How does Connolly describe the atmosphere he wants the music to evoke? “It's the feeling of the inevitability of something having to pass,” he answers. “It's compelling because it's fundamentally unattainable. You're searching and grasping for something that you can never fully hold.”

A moving, intimate and deeply personal album, Porcelain shimmers in the illusive light of melancholy. For Connolly it provided the release of catharsis, but it’s a feeling that will mean something different to everyone who listens.

'Music aged in time, resonating from the surface to the core through layers and sediments of stones - the strata. Four morning recording sessions with a separation between them of between three and ten months - a chronozone that will rest for a time and on which the next one will be added, thus forming the total of the six pieces of the album - becoming six strata.
'A slow-moving album that develops landscapes of subtle but continuous evolution, where we find layers of diverse nature created from different procedures, bathed in the calm waters of wabisabi, where melancholy, immensity, insignificance, the potential of the unemerged, coexistence and simplicity converge at the same time.'

The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.

Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.

"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.

The brilliant My Point of View was Herbie Hancock’s second album for Blue Note, a 1963 session featuring an all-star lineup: Donald Byrd, Hank Mobley, Grachan Moncur III, Grant Green, Chuck Israels, and a young Tony Williams. Each track radiates a deeply engaging musicality, showcasing Hancock’s masterful arranging skills. With standout compositions like King Cobra and A Tribute to Someone, this is a timeless classic—an essential reissue not to be missed.

2026 Repress

25 years after this cult UK label first emerged, we're very happy to present some of their most sought after releases...
Primitive represented a stripped down and sonically heavyweight series of essential DJ tools, winning wide support from Techno an House DJ's alike & enduring - perhaps due to their raw, basic construction - way beyond their original inception.

This is the first compilation EP, featuring some favourites from the catalogue, remastered & repressed on limited, hand-stamped vinyl...


Despite serious demand, we will only be able to access limited quantities of these special 21st century repress editions, so buy or cry !

Bassline brings together Russell Ruckman and Marcia Carr for a 12", which was originally part of a 2025 digital album, but now drops on wax and has been remastered for extra punch. Side A opens with the vinyl debut of Rani G & Raul Riena's 'Feels So Right' (World-Life-music Raw Teaser remix), which will soon transfix the floor while the driving groove of Hot Issue's 'Motion 96' is a cool vibe with wet clasp and dusty drums brought to life by cute little melodies and plenty of snap. Side B leans into deeper territory with Mercedes' Living For The Moment (Booker T remix)' and the uplifting dub energy of Never Gonna Give Up. If you like soulful house with a classic New York edge, this one bangs.

Pressure is the medium of wind players. Wind instruments all sound thanks to pressure differentials, whether that’s the rush of wind over a lip plate or a steady, buzzing exhalation through pursed lips. Ka Baird and Chris Ryan Williams (HxH) are wind players well- schooled in the power of using pressure and movement to amplify the mystery of an invisible force animating a metal tube. They augment their instruments, flute and trumpet respectively, with electronics, sometimes obscuring the acoustic sound source, sometimes making it hyperreal. Flutters of lip and tongue slither over the listener’s ear, and sustained tones become a dense fog, pushing on other kinds of visceral, emotional pressure points.

On Enthalpy, Baird and Williams’ first album as a duo, the energy they conjure feels barely contained, the pressure built up to a breaking point before spilling out in multiple directions at various speeds. They borrow the title from thermodynamics, referring to the total energy of a system based on its pressure and volume. The music flies out in bursts; it seeps and oozes, flows with intention. It is an incredibly rhythmic work without any hint of meter, full of sounds that punctuate with the thud of a dart hitting a bullseye. Williams’ capability to conjure swirling atmospherics, as well as his remarkable ability to pull fragments of melody from the haze, fit puzzle-like into Baird’s exclamations and the eruption of electronics that often dovetail them. The duo draws on tones from nearly the entire range of human hearing, from nimble but bulbous throbs of sub-bass to pinprick flickers of ultra-high end.

The sessions that produced Enthalpy were completely improvised, showcasing a degree of mind-meld that belies each participant’s thrill at approaching the unknown. This isn’t a casual conversation, but an omnidirectional tangle that ties and reties itself into new knots as the album progresses. Williams and Baird have both become ubiquitous presences throughout the New York City experimental music communities, collaborating with innumerable others and learning how their unique approaches work in tandem with similarly expansive thinkers and players. Even in the album’s most spacious moments, there’s a tension between the feeling of being unmoored and yet completely locked in, like the abyss is just one more river to cross. They ford it together before moving on to the next idea in lock step.

For the listener, Enthalpy is often felt in the body as much as it reverberates within the ears. We’re tossed from side to side, made to shoulder the impact of detonating electronics, absorbing these sounds with the feet, gut, and crown. Baird reaches into the back of their throat for guttural growls, and we can almost feel the scratch. As we tread the border of the synthesthetic, it's a reminder of the physical nature of sound, that the space between our ears and the speakers is its own enthalpic system of energy conduction. Move with it, let it move you, and see how it feels.

There are some first times you never forget. The first time one hears Syd Matters’ captivating voice is one of them.


From “End & Start Again”, his first single in 2003, Jonathan Morali’s warm, soulful vocals and timeless melodies revealed an artist in a league of his own. Success in France and abroad was immediate and has never waned.
Four albums followed between 2004 and 2011, along with a host of unforgettable songs: “Black & White Eyes”, “Obstacles”, “To All Of You” or “I Might Float” left their mark on an entire generation, racking up nearly 200 million streams and 100,000 physical sales. Drawing equally from the songwriting of the 60s, the creativity of the 70s and the modern synthetic era, Syd Matters has developed a unique musical universe, building a loyal and ever-growing audience over the years.


On stage, accompanied by his band, audiences recall intense concerts where the artist and his musicians deliver performances that were at once epic and intimate. Lush and spectacular on stage, their music never lost its center of gravity, gaining even in depth. Syd Matters toured France and Europe (England, Germany, Scandinavia...) for nearly ten years, as well as in the United States and Latin America. In 2011, the tour for his album Brother Ocean culminated in Paris at the mythical venue l’Olympia.
Jonathan Morali then took a step back from the spotlight but remained just as prolific, writing for film, theater, radio, and television and collaborating over the years with directors such Éric Rochant, Rémi Chayé, Thomas Litli, Patrick Mille, and Mélanie Laurent to name but a few. When scoring for films, the musician gives free rein to his desires and intuitions. He works with the very fabric of sounds and their underlying emotions, as if freed from the constraints imposed by the song format.


Between 2015 and 2019, he also composed the soundtracks for the remarkable video games Life Is Strange and Life Is Strange 2, which were massive global hits. Several Syd Matters tracks appeared in the game, and the success was such that it revived the band’s career, introducing their music to a new audience.


After an extended hiatus, Syd Matters will make a major comeback with a new album - their fifth - set for release in September 2026 on Créature - also home to Flora Fishbach and Chassol. They will then tour France and Europe, returning to the legendary stage of the Olympia on November 17, 2026, where they will perform their new songs. And others that we know by heart and haven’t forgotten.

After Caposile, at the peak of his growth, now consacrate as one of the most sought and removed clubs in the Italian and world undergoing circuit, is back to release high level music, returning to pressing on vinyl in its acclaimed label the second volume of “The Sound of Garden”.

Spring 2024 deserved a release made by an exceptional cast, it will be always divided in to parts, both 12”, and it will include an incredible team of artists led by the visionary and immortal master Alex Neri, the local phenomenon known for his productions in Slow Life and Altered Circuits: Paolo Mosca, our family members and residents Twineffect and Maggio, the duo Francesco Maddalena and Manuel De Lorenzi, Lee Burton, Jamahr, Franko Lopez and Matteo Point.

A perfect mix of artists who strongly believe in the club and in what we transmit as an experience to live, these tracks are explosiveness, elegance, magnetism, each with a different facet of house music: progressive, balearic, electro, acid, this double vinyl contains everything that the dancefloor requires and it is a transposition into music of the current vibe that can be felt at After Caposile’s garden.

The first volume begins with the mastery of the multifaceted and always prolific artist Alex Neri who never makes a mistake, and even after years continues to release masterpieces, like this one: "H-Arp Odyssey", which already from the title we can imagine as an instrument takes the lead in the construction of the piece, a rush of adrenaline that immediately makes it clear what awaits us.

“Unreleased”, the track by Francesco Maddalena and Manuel De Lorenzi, is a clear representation of their way of playing that characterizes them and brings them together, and that always makes us dance, a direct groove, old school, tech-house in its most pure.

If the first two tracks get straight to the point, in side B we start with a bang with Paolo Mosca and his "Landscape", where with a maniacal arrangement, worthy of his now established name as a producer, he teleports us into a progressive world of the 90s, in Balearic style where floating pads, organs, melodies and sequenced vocals are linked to the complex and rhythmic percussive groove and the more aggressive synths.

Thus the first chapter ends with "Visions Of Disco" by Twineffect, a track where a more direct house part elegantly contrasts, which presupposes the more dance part of the piece, to then take you and envelop you in a long drop made up of a main piano and vocals that are perfect for a truly exciting moment to experience on the track.

After Caposile thus confirms itself once again in constant evolution, with an output full of new talents and sacred monsters and a European tour that continues to expand their party concept in the most important clubbing realities and the biggest festivals.

Both the first and second volumes will be released this May, ready to bring us a breath of joy and madness this summer.

*Re-release of Holy Fuck’s 5th album originally released in 2020, now on clear vinyl limited to 500 copies*
Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

Founded in Germany in 2019, CONSVMER. have spent the last few years carving out a space that’s entirely their own: progressive metal, beatdown, and metalcore delivered entirely in German, with an unflinching focus on subjects most people would rather look past. Their 2024 record Seelenfrieden turned heads inside and outside the German metal scene, with coverage from outlets including Nik Nocturnal and a collaboration with Paleface Swiss that confirmed the band were operating at a level far beyond their years. Live, they have earned their place on stages at Summer Breeze, Core Fest and Bembel X Core Festival. Now, with new vocalist Jacques Gronert and a vision sharpened to a point, CONSVMER. return with Abgrund.
Where Seelenfrieden refined the template, Abgrund dismantles it. Across eleven tracks the band push further into territory that feels genuinely unique and uncompromising: the title track opens the record on collective collapse and a society steering towards the edge with no intention of stopping, while songs like "Gier" tear into systemic greed and exploitation with brutal clarity, "Willenlos" descends into dissociation and the erasure of identity, and "Sucht" confronts addiction and self-destruction with a rawness that is hard to shake. Closer "Gottverlassen" leaves the listener exactly where the title suggests. The collaboration with brutal deathcore veterans Acranius on "Sucht" hits like a freight train, their English-language verses locking into CONSVMER.'s German delivery to devastating effect. Fellow German hardcore outfit DOGBITE also appear, adding another dimension to a record that never loses focus.

Three years after their debut, the synth-pop duo HERON is back: On September 25, the Leipzig-based band’s second album will be released on the O*RS Label. With “Be Okay,” the band shows itself to be more experimental than before and strikes a critical note—without losing its signature sound. Dancefloor euphoria meets synthwave drama; big sounds meet big themes: social criticism, sexual oppression, the struggle with one’s own demons, and moments of political powerlessness. But the album is also shaped by a courage to embrace tenderness and a commitment to longing—all underscored by a melancholy that you can dance to. With a playful spirit, the duo fully explores the space between anthemic pop and darkwave moments, thereby revealing their inner selves (even more) to the outside world

,Cotton Crown" zeigt The Tubs als eine Band, die ihren Indie-Rock-Sound weiter ausbaut und Einflüsse von Jangle Pop, Folk-Rock, Power Pop und Punk miteinander verbindet. Angeführt von Sänger Owen Williams, dessen oft düster-humorvolle Texte persönliche Krisen, Beziehungen und die Herausforderungen des Lebens als Musiker thematisieren, verbindet das Album emotionale Tiefe mit eingängigen Melodien. Im Mittelpunkt stehen Williams' Erfahrungen nach dem Tod seiner Mutter, der Folksängerin Charlotte Greig. Trotz dieser ernsten Themen bleibt die Musik lebendig und melodieverliebt: Gitarrist George Nicholls steuert virtuose Jangle-Gitarren bei, während die Rhythmussektion aus Max Warren und Taylor Stewart mit viel Energie und Dynamik für den unverwechselbaren Bandsound sorgt. Nach dem Erfolg ihres Debüts ,Dead Meat", das von Medien wie Pitchfork, The Guardian und MOJO gefeiert wurde, knüpfen The Tubs mit ,Cotton Crown" an diesen Erfolg an und präsentieren ein ebenso emotionales wie mitreißendes Indie-Rock-Album.

"The grass is greener_ elsewhere_" Brain Damage told us with their debut album, released in 2002. Yet here, they've reached full maturity. Rarely has a "made in France" dub album strayed so far from the Jamaican model while still harboring, in every detail, so many references and tributes to the inventors of the style (King Tubby / Lee Perry), as well as to many of the key figures in its evolution (Tikiman / Rhythm & Sound, Dub Syndicate, etc.). The recording studio, 7/11 Laboratory, is used here as a true musical instrument. The optimal use of three-dimensional stereo effects will immerse the listener in soundscapes ranging from classic space echoes and Mont Blanc tunnel-style reverberations to crackles, electronic interference, exogenous samples, and other parasitic noises coming straight from Babylon. For this album, continuing in the vein of his previous collaborations with the international dub scene (Zion Train, Alpha & Omega, Disciples, Spectre, Lab°_), Brain Damage traveled to London to record two tracks at Conscious Sounds Studio with Jamaican-born singer Tena Stelin. With the melancholic "Spirit World," one is reminded of the fruitful collaborations between Massive Attack and Horace Andy, while on "Genetic Weapon," the tone becomes more overtly assertive. Two vocal tracks, then, woven into these ten compositions, where the emotional moods and atmospheres will shift with each listen. "Always Greener (On the Other Side)" emerges as the manifesto of music conceived as cinema for the ear...

In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

Released 50 years on from the bands' formation, the forthcoming Psycho Tornado features 10 blistering new tracks recorded in 2025. Psycho Tornado will be unleashed on coloured vinyl and CD, and will rumble into your home in September 2026. The Rezillos are a new wave/ punk band formed in Edinburgh, Scotland in 1976. Known for their colourful, retro-futuristic style and playful attitude, they stood out from the darker punk acts of the time. Their music blended fast punk rhythms with pop melodies, sci- fi themes and a sense of humor. Their debut album, Can't Stand The Rezillos (1978) is considered a classic of the era. The band initially split in 1978 and with some members going on to form The Revillos, with a similar name and sound. But The Rezillos later reunited in 2001 and continue to perform live, maintaining a cult following for their energetic performances and distinctive style.

,Dead Meat" ist das Debütalbum der Londoner Band The Tubs, gegründet von den ehemaligen Joanna Gruesome-Mitgliedern Owen Williams und George Nicholls. Musikalisch verbindet die Band Jangle Pop, Post-Punk und britischen Folk-Rock zu einem eigenständigen Sound, der ebenso von Fairport Convention, Richard Thompson und der Canterbury-Folk-Szene geprägt ist wie von modernen Indie-Bands wie The Goon Sax oder Twerps. Charakteristisch sind die hell klingenden, treibenden Gitarren, eingängige Pop-Hooks und die Verbindung von traditioneller britischer Folk-Melodik mit der Energie des Indie-Rock. Über diesen Klangteppich legt Owen Williams seine scharf beobachteten, oft melancholischen Texte, die zwischen Selbstironie, Enttäuschung und emotionaler Verletzlichkeit pendeln. Mit Songs wie ,Round The Bend", ,Duped" und ,I Don't Know How It Works" gelingt The Tubs eine faszinierende Mischung aus Folk-Rock, Jangle-Pop und Post-Punk, die gleichermaßen zeitlos und modern wirkt und ,Dead Meat" zu einem der bemerkenswertesten Gitarrenalben seines Jahrgangs macht.

The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The LP includes a printed sleeve. The cover includes a Glossy finish in order to respect the original edition as much as possible.

Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values ​​and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.

Two-time BRIT Award winner Becky Hill will release her eagerly anticipated third album ‘REBECCA’ on September 25th.

‘REBECCA’ was written during a period of intense personal and artistic reflection and sees Becky exploring ambition, identity, visibility and the contradictions of her life from a place of greater openness and creative freedom. Across the record, she examines the tension between desire and self-preservation with clarity, humour and brutal honesty, resulting in her boldest, emotionally charged body of work to date.

Described by Becky as “curated chaos”, ‘REBECCA’ also marks a significant evolution in her sound. It sees her reconnecting with the wider influences that shaped her early musical identity, pulling inspiration from guitar music alongside the dance and drum & bass foundations that have defined her career. ‘REBECCA’ blends that collision of worlds with heavy electro production, alternative influences and euphoric electronics into an album that feels both expansive and unpredictable.

Two-time BRIT Award winner Becky Hill will release her eagerly anticipated third album ‘REBECCA’ on September 25th.

‘REBECCA’ was written during a period of intense personal and artistic reflection and sees Becky exploring ambition, identity, visibility and the contradictions of her life from a place of greater openness and creative freedom. Across the record, she examines the tension between desire and self-preservation with clarity, humour and brutal honesty, resulting in her boldest, emotionally charged body of work to date.

Described by Becky as “curated chaos”, ‘REBECCA’ also marks a significant evolution in her sound. It sees her reconnecting with the wider influences that shaped her early musical identity, pulling inspiration from guitar music alongside the dance and drum & bass foundations that have defined her career. ‘REBECCA’ blends that collision of worlds with heavy electro production, alternative influences and euphoric electronics into an album that feels both expansive and unpredictable.