Buscar:10 years

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

Something of a lost album, 'Letter To The Last Generation' has floated around the internet for some years. Lost in the twilight period of those first few weeks of the pandemic as the world readjusted to a new era, the album received an extremely limited vinyl release, before disappearing into the ether. With the majority of its tracks written and recorded in the weeks before White made a major move from LA to NYC, 'Letter to the Last Generation' feels like a collage from an artist in a restless, transitory state. With all of its tracks remastered, rearranged with a new order, with two additional bonus tracks (originally released on the limited vinyl release), plus two acoustic track replacements; 'Letter To The Last Generation' will receive an official release on CD and digital on 1st May 2026. Reconfigured and realised in the way the artist had always intended, the 2026 release of 'Letter To The Last Generation' creates a journey that spans from the simple to the sublime to the simple again. A worthy reply, to a letter that almost got lost in the mail.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

3rd full length album fron the UK's heaviest band. This is an accolade not thrown around lightly. BOUND IN FEAR have been crafting their sound over the years, honing it into an undisputed heavyweight bomber. 'A MIND TOO SICK TO HEAL is a hellish journey into the darkest side of the human mind, Smashing out of the gates with 'SENTENCED' & 'CHASM', the first stand alone singles to be lifted from the forthcoming album, BIF roar a statement of intent that ups the heat ever so slightly from their usual downtempo delivery, before returning to the familiar crushing slabs of concrete the band are revered for. 'THREE KNEE DEEP' & 'DARKNESS REDEFINED' follow as the spotlight cuts for what is unquestionable one of the heaviest albums to ever emerge out of the United Kingdom.

Back in 1990 the New Bomb Turks got together as four Ohio State University students who just wanted to rock. 10 years later they are already on their 7th studio album: Nightmare Scenario.

New Bomb Turks return to their snaggle-toothed first mistress — hard-driving, no-holds-barred American punk rock. With the guitar jive of Chuck Berry, the blinding ferocity of Motörhead and the snot of The Dead Boys, singer Eric Davidson and his backing trio fire off a dozen grenades of authentic old-school three-chord riff-rock in little over a half-hour, with nary a pause for breath between tracks. You can’t quibble with the four-on-the-floor intensity of tunes like opening salvo Point To A Point Blank. It was recorded over four days and nights, the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Nightmare Scenario is available as a limited edition of 500 individually numbered copies on violet vinyl and includes an insert.

For if their first album ALLOMBON could be seen as the opening of a secret passage, this second record, FLOWERS TOO, is something else entirely: no longer the discovery of a world, but its methodical exploration, its feverish mapping, its deepening down to the underground layers. At a time when contemporary psychedelia seems at a standstill, when ecstasy has lost its effect, when the vast territories of the imagination have been parceled out, signposted, monetized they keep digging. And deeper still. Esoteric pop the noblest, the most dangerous kind is no longer practiced on the surface. It has abandoned the grand avenues to retreat into hidden laboratories, mental back rooms, basements more deeply buried than those of garage, punk, or black metal. It is there that the secret society Dorian Pimpernel has been working for years, with a stubbornness that feels less like a career than a calling.

Nevertheless, the latest album from Hammock, exists in a state of awakening. Across 11 ambient guitar string, and piano works, ethereal light crests and contrasts with darkness, giving shape to physical forms and feelings. Amidst sorrow and grief, melodic motifs and refrains echo from the past to reanimate dreams and faded memories. As Nevertheless asks questions of permanence and purpose, beauty takes shape in the intangible_the traceless connections that gave, and give, meaning. "Nevertheless has been one of those words that has outlasted my upbringing," says Hammock's Marc Byrd. "Being from the deep South, I most often heard it said or read at funeral services. It's meant to imply a type of sacred pause . . . a space of in between. Between the grief of being broken by the world and the impossibility of moving into a future that feels more like empty space and less like solid ground. This album is for a friend who lost a daughter and a son to addiction within a couple of years of each other. Requiem for Johan sets up the context for what is to follow throughout the rest of the album. . . a passage through the aftermath of devastation. Unfortunately, and fortunately, these seasons of loss are what we all share in common. Nevertheless . . . we limp on."

Lo Recordings is proud to present a brand new compilation by Russian electronic producer/composer OID, spanning 25 years of music that blends in and out of focus, inhabiting styles from dub techno to ambient, vaporwave, space gamelan, electronica and beyond. The album is both a retrospective and a celebration, a journey into a singular world that exists only in OID’s imagination, available digitally and on Ltd cassette from 24th April 2026.

“I first met OID in an illicit ‘Sky High’ bar in Moscow. It was a club for people who liked to jump from high buildings. OID played the piano whilst a tea ceremony took place. It was all like some kind of strange dream. The music he creates sounds like that kind of dream. Some of the tracks are reminiscent of the music released by ALEXANDROID on the ‘False Starts’ album way back in 2003 - a legendary album, in our minds at least. Alex tragically passed away in 2009, leaving only OID.

The music on this album is a testament to the beauty of friendship, the everlasting meaning of music and the light that shines forever.” -
Jon Tye, Lo Recordings

Notoriously spirited, hard parrtyin' West Coast rap trio Tha Alkaholiks have returned with their first new studio album in over 10 years!

Combining fresh takes on some of the band's best known singles including "Daaam!" and "Make Room" PLUS several new songs, this album hits that '90s rap nostalgia spot!

Features special guests Planet Asia and spookybands!

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

A personal record for Mike shaped by memory, places, and renewal. Walking the streets of his birthplace, St. Louis, Zito reconnects with the sounds, stories, and hard lessons that forged his signature blend of soul-driven blues and fearless storytelling. Thirteen years after Gone to Texas, this album feels like a defining moment, marking a new chapter for Mike, his family, and a life reclaimed in the city that started it all. The songs paint vivid snapshots of city life and personal reckoning, from late- night regret and self-awareness to raw portraits of neighbourhood survival and street-level truth. Tracks like "Downtown at Midnight" and "Grand Avenue" capture the grit, temptation, and consequences of the past with unflinching honesty, grounding the album in lived experience and emotional weight . Zito's writing is direct and cinematic, pairing tough reflection with compassion and hard-earned wisdom.

At its heart, Outside Or The Eastside is a celebration of second chances, an album dedicated to better days, family, friendship, love, and joy found in everyday moments. Life's unpredictable paths open doors you never expect, and for Mike Zito, this record embraces that truth with warmth, humour, and swagger. It's a record about choosing connection over chaos and moving forward with gratitude, purpose, and the volume turned up

It's a realisation that the ground beneath our feet is alive, and we're all just passengers on its pulse. It's that hum of dread and wonder that defines Armed For Apocalypse's fourth full- length album: a towering, grooved- out, post- metal monolith carved from grief, power, and purpose. Formed in Chico, California between longtime friends Nick Harris (drums) and Cayle Hunter (guitar), Armed For Apocalypse is a what- if turned war machine. Over the years, the band has endured enough shakeups and setbacks to bury most acts: relocations, divorces, day jobs, family changes and not to mention complete lineup overhauls. But where others fractured, AFA sharpened.

What is Tentacletek? Don't you know? Then listen to the new album by those fellow underwater friendos LOS PULPITOS. The two legendary music producers Felipe Salmon (Dengue Dengue Dengue) and Dirk Leyers (one half of Closer Musik and A08 formerly known as Africaine 808) have spent the last two years in seclusion deep down in their hidden diving station creating a bigger than life wave breaker album! From the very first track, gently gyrating, digitally processed, electro-acoustic sound tentacles spiral into your techno ears. These seducing limbs will suck you directly to all the festival dancefloors of the seven seas. Caribbean 3/4 disco polyrhythms meet state of the art techno UK dubby bass music.

"Mola Mola" floods your body as if you had fallen into the Mississippi and been dragged back to Atlantis by Drexciyans. While the wonderfully deep, monstrous dancehall-like bass of "Lab Lab" describes the metallic burst of a sinking spaceship. The cumbia-dancehall-drum&bass "ii ii ii" effortlessly equalises that pressure. In the Bermuda Triangle, a well-camouflaged "Antennariidae" fishes for its diving listeners with endless deep dub, giving them ice-cold shivers down their spine until all their legs and teeth are rattling voodooesque. "Sirens" sings of West London broken-beat strings while "Squidler" gallops fluidly on a seahorse down the Aquabahn straight to Detroit. "Catfishy"! rides in the wildest water bull in reverse-cowboy rodeo style. "Pannetronica" overflows like an Abyssopelagial pool?

LOS PULPITOS debut album is a wonderfully playful and stringent, excellently produced electronic concept album. The 10 tracks are unrivalled in their merciless yet extremely balanced bassiness.

(Mirko Hecktor)

When asked about the founding fathers of German thrash metal, band names such as Kreator, Sodom, and Destruction come to mind. Perhaps even Tankard. The name Living Death is usually not among them. There is a simple reason for this. Similar to the Swiss band Hellhammer, Living Death from Velbert were simply a tad too extreme for most fans and the press. Thorsten “Toto” Bergmann's truly shrill vocals and the poor production of the first two (legendary) albums did not make it easy for the public to adequately assess the band's musical significance. Living Death was founded in 1981 by the two Kelch brothers, Reiner on guitar and Dieter on bass. In the early days, guest drummer Eric sat behind the drums. The line-up was completed by Frank Fricke on second guitar and the aforementioned singer Thorsten “Toto” Bergmann. Living Death recorded their first demo with three tracks in 1981, which earned them a deal with the Belgian label Mausoleum Records. A year later, their debut album “Vengeance of Hell” was released, which actually suffered from its very thin (and treble-heavy) production (in 1985, the record was re-released as a remix – with slightly improved results). However, the below-average production should not obscure the fact that “Vengeance of Hell” offers a few timeless thrash metal classics with “My Victim,” “Heavy Metal Hurricane,” “Hellpike,” and the title track “Vengeance of Hell.” The raw, unpolished sound of Living Death sounds more contemporary than ever today, 30 years after its initial release. This only proves that it took the music world three decades to catch up with Living Death.

The year that NOW’s story began, and where we started our ‘Yearbook’ series back in 2021. An incredible year in Pop music, and a fabulous selection of the years’ hits have featured on that first ‘Yearbook’, and on the ‘80-84 Final’ as part of our appreciation of 1983. Those tracks were generally the bigger hits of the year, with their Chart achievement a factor in their inclusion. However, that’s not the whole story, and our celebration of 1983 wouldn’t be complete without shining a light on some of the year’s singles that have been compiled much less frequently over the past 40 years. Welcome to the THE VAULT for 1983…Some of the tracks were Top 40 hits, some missed the Chart completely, and some were huge in the U.S. and not in the U.K. – but all are part of the wonderful Pop story of 1983. Released as 80 tracks across 4-CDs, available as a standard 4CD and as a a special edition 4CD in ‘hardback book’ packaging featuring a 28-page track by track guide, original singles artwork and a quiz and 45 tracks across 3-LPs, pressed on stunning translucent red vinyl -

Flammer Dance Band saxophonist Bror Havnes opens a new chapter with his solo debut on Lyskestrekk Records...
Three evolving grooves that push the dancefloor into deep, spiritual territory, merging Afro-percussion, drum machines, synths and sax.
A devoted vinyl digger, DJ and Jazz improviser, Havnes channels years of global crate-digging and sound experimentation into an organic and cosmic sound that is completely his own.

"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

Studio One Sound is the classic Studio One collection from Soul Jazz Records. Described as ‘The University of Reggae’ by Chris Blackwell, Studio One, and founder Clement ‘Sir Coxsone’ Dodd are by far the most-important names in the history of reggae music. Originally released in 2012 this album has been out of print for many years, making it one of the most-collectible of Soul Jazz Records’ Studio One Series. This is the first ever colour vinyl edition of this classic album.

The album features some of the most in-demand and collectible Studio One tracks from over its fifty-year history and includes incredible legendary reggae artists such as The Heptones, Ken Boothe, The Skatalites, Johnny Osbourne and Wailing Souls. All these artists (and hundreds more) launched their careers at Studio One under the guidance of Clement 'Sir Coxsone' Dodd. The Studio One Sound collection features everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots. Sleevenotes are by Rob Chapman, author of the celebrated books about Studio One Records, 'Never Grow Old' and 'Downbeat the Ruler'. The exact reproduction of the original artwork features the classic image of Dennis Brown on the cover. This album is newly fully remastered for vinyl by Jason Goz at Transition. Exclusive one-off pressing on heavyweight double transparent green vinyl.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

SIMPLETON, the third album from multi-platinum indie-rock singer/songwriter YOT CLUB, dismantles the utopian view of the American suburbs, treating finely manicured life as a mirage. Across its 13 tracks, the LP wrestles with how curated feeds and predictable routines can blur, and even erase, empathy and responsibility, creating a world where difficult questions and harsh realities are easy to ignore. In 2019, Ryan Kaiser started Y ot Club in his college dorm, crafting a lo-fi, classically cool indie rock sound grounded under a dreamlike haze. Two years later, his breakthrough single “YKWIM?” quickly reached viral status on TikTok (today, it’s been streamed more than 1 billion times) and has since taken him around the world at festivals like T reefort, Kilby Block Party and Pitchfork Paris

Los Felcas were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences-from psychedelic vibes to rhythms closer to guaracha and chicha-and now being reissued for the first time. In Lima, founding member, guitarist Florentino "Tino" León, quickly joined the Peruvian cumbia tropical movement led by electric guitarists Enrique Delgado (Los Destellos) and Berardo Hernández "Manzanita". This new style was soon practiced by other groups from Lima, such as Los Ecos, Los Beta 5, Los Diablos Rojos, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. Nelson Ferreyra and the multifaceted singer Pablo Villanueva Branda "Melcochita", who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with 'Sabor a Felcas' being their most popular release. They recorded several albums during the late 70s and 80s, mostly on MAG: "La Blanquiñosa", "Tu bello cuerpo", "La cusqueñita" y "Manzanita coloradita". In the early 1990s, chicha music became popular in Argentina, especially in the north, where 'Boquita perfumada' by Los Felcas was a hit.

Originally released in 2001, Up The Country is the debut album by The Sixth Great Lake and a quietly revered title within the late-'90s / early-2000s indie scene. Rooted in jangly guitars, melodic songwriting, and a distinctly pastoral sensibility, the album sits at the intersection of indie pop, folk-rock, and classic guitar-driven pop. Although initially released with modest exposure, Up The Country steadily developed a loyal following, earning cult status among fans of understated, melody-focused indie. Its charm lies in its simplicity: clean arrangements, memorable hooks, and an unforced warmth that has allowed the record to age exceptionally well over the past 25 years. This 25th anniversary reissue presents an opportunity to reintroduce an overlooked catalogue gem to today's market, appealing both to original fans and to a new audience drawn to timeless, guitar-led indie records. With renewed interest in archival and heritage releases, Up The Country offers strong long-term catalogue potential beyond initial anniversary demand. A timeless, understated record with strong appeal for fans of melodic, guitar-driven indie.

The Definitive Origins of the Chicago Electric Blues. Witness the birth of a legend. This essential collection captures Muddy Waters at the most pivotal moment of his career: the transition from a Mississippi Delta traveler to the "King of Chicago Blues." Muddy Waters was an ambitious young man who saw little future in Mississippi. In 1943, he headed for the bright lights, big city of Chicago, where he soon connected with blues giant Big Bill Broonzy, who began featuring Muddy as an opening act at his club dates. Within a year, Muddy had switched to electric guitar and formed his first blues combo, quickly becoming an established figure on Chicago's club scene. In 1947, Muddy came to the attention of the fledgling Aristocrat Records, just as Leonard Chess-then running a nightclub called the Macomba Lounge-invested in the company. Working frequently with pianist Sunnyland Slim, Muddy recorded a split session with him for Aristocrat in December 1947. This collection begins there: eight Aristocrat 78 rpm releases (sixteen sides), recorded between 1948 and 1950 and presented here in chronological order of release. Just three years later, Leonard and his brother Phil Chess would buy out Aristocrat's remaining partners and rename the label Chess Records-ushering in a new era of Chicago blues that would reverberate around the world. Includes extensive liner notes by Muddy Waters expert Fred Rothwell.

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Early Days (2016-2019) is a new collection of previously unreleased songs from Mauri Tapia a.k.a Los Retros. From a young age, Tapia has been a prolific songwriter, spending his teenage years writing and recording song after song. Influenced by soft rock and left-field South American pop, Early Days (2016-2019) captures the sound of this formative era Streaming everywhere today, Early Days consisting of 15 tracks, recorded from Mauri's parents' living room using nothing more than an old four-track recorder, that only existed in low quality online, now mastered, sequenced, and physically released for the first time. It was during these sessions that Los Retros created the song "Someone to Spend Time With", now certified Gold. Early Days comes with a companion visual for "Without You", edited by close friend and collaborator Ross Harris from found footage of early Los Retros tour stops. Check out Los Retros proper debut "Odisea" released simultaneously too. FFO soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust, Too Slow To Disco

It is with some degree of surpriseand delight that we were contacted by John Andrew Fredrick, the founder and omnipresent member of Santa Barbara’s the black watch to see if Blue Matter would be interested in putting out their newest album. Of course we were. One listen was more than enough to convince us that it would fit perfectly on to the label. Perhaps a little more indie than other albums we’ve released, but sowhat? ‘Varied Superstitions’ is an intriguing collision of Cure-style indie and trippy psych which had us buzzing right away. the black watch (lower case intentional) wasformed in 1987 by John Andrew Fredrick in Santa Barbara, California, and he has been (and still is) it’s guiding light. They have released 25 albums over the last 38 years and show no sign of ageing. With a fantastic band behind him, John has presented us with a wonderful batch of songs ranging from mesmeric psych to indie/punk. In late 2025 John paid a brief visit to the UK to see friends and also to do a couple of live acoustic performances. The Bevis Frond was lucky enough to share the bill with John at London’s Betsey Trotwood for a wonderful evening of acoustic revelry. Not only is he a hugely talented musician/songsmith, but a thoroughly decent fellow. It’s a true privilege to be able to put out ‘Varied Superstitions’ on our label.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

»Music for Shared Rooms« is B. Fleischmann’s eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. »Music for Shared Rooms« makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination.

Roughly speaking, music for theatre or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann’s work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualising them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record.

Take, for example, the opener »Träumerei« and the following »Brenne«: after the soothing acoustic sounds of the former, the latter quickly picks up speed with hard-hitting drum machine rhythms. It’s a stark contrast sonically and stylistically, however both tracks are tied together by a certain harmonic sensibility. This sort of dramaturgical interconnectedness of varied musical materials is the thread that runs through »Music for Shared Rooms«. A droney piece for string instruments like »Sehnsucht« is followed by a trip-hop beat, before »Schock« lives up to its title with skittering beats and piercing high frequencies. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. There’s soothing-yet-eerie piano pieces like the »Für Elise«-inspired »Der Lärmkrieg«, gentle house grooves, joyful synthesizer excursions and, finally, »Die Erde ist mir fremd geworden«, a collage of abstract textures and concrete sounds.

All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record. He breaks down the fourth wall and invites his listeners into his world, a wide-ranging musical panorama. »Music for Shared Rooms« is indeed not an album in the conventional sense of the word, but more like a photo album in which each page opens up a new space to get lost in; recreates different scenes in which you can immerse yourself. These are shared rooms indeed.

2026 Black Vinyl Repress

We are extremely excited to share with you this wonderful piece of old skool hardcore. Created in Bristol in 1993 and released on a limited white label back then, this record has become a holy grail over the past 30 years. Very rare, very sought after and 100% original West Country vibes.

Written by Rich Williams, who emigrated to LA many years ago and James Towler – producer for John Lydon these days! These guys were on some next level vibes when they wrote this ultimate slice of darkcore rave!

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Jupiter and part of a 4 vinyl Cosmik series.

Is it dark enough???

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Celebrating 20 years of Frank Turner’s solo debut EP ‘Campfire Punkrock’, Xtra Mile Recordings are excited to release a special anniversary extended edition of the seminal release. Featuring the original EP with two added songs (The Real Damage and The Ballad Of Me & My Friends, both of which were included on the US version in 2007), plus 7 further live tracks recorded from Frank’s 50th solo gig in London 2006 - taking listeners right back to where it all began at the very early days of Frank’s incredible solo career. The 12” LP features new reworked artwork with shiny gold campfire on matt black cover plus coloured vinyl.

The original EP was recorded by Frank's guitarist Ben Lloyd at the Oxford home of Turner's bass player Tarrant Anderson and mixed by Tristan Ivemy. If features fan favourites ‘Nashville Tennessee’, ‘The Real Damage’ and ‘Ballad Of Me And My Friends’. Throughout April, Frank will tour UK performing tracks from Campfire Punkrock and the early years of his solo career. All dates are sold out including two nights at London’s Scala.

Ready for 10 Years since "Guns of Gothenburg"? Here's the last collector's reissue of the "rare and sold out since years"-CS albums on vinyl! The Swedish Punkrockers often heard that their 3rd album "Guns of Gothenburg" is still their best release! The combination of riot street punk, pub rock anthems, some high energy glam-elements and melodic rough'n'tough Oi! was considered as an absolute genre-highlight 2016 "Guns of Gothenburg features 12 songs like "Kids from the Streets", "United we stand", "Fuck the Upper Class" or "Street Punk Bop", which is still the encore-highlight at every City Saints show Stefan, singer and bandleader about the new release: "When we released Guns of Gothenburg on CD back in 2016, we felt that the songs were good, but we soon began having doubts about the mix of the album. In 2017, when we were approached to release it on vinyl, we had it remixed and remastered with a new song order. This version never made it onto the streaming services, and the limited edition of the LP has been out of print for a long time. Now we're thrilled to present this re-release of Guns of Gothenburg. The original painting used for the cover has been dusted off and restored and the recording has been remastered once again to bring it closer to our original vision. We sincerely hope you enjoy it. "Guns of Gothenburg" comes on 180gr. strongly limited vinyl in classic black and two multi-colored variants (only 333 copies all in all)

Ready for 10 Years since "Guns of Gothenburg"? Here's the last collector's reissue of the "rare and sold out since years"-CS albums on vinyl! The Swedish Punkrockers often heard that their 3rd album "Guns of Gothenburg" is still their best release! The combination of riot street punk, pub rock anthems, some high energy glam-elements and melodic rough'n'tough Oi! was considered as an absolute genre-highlight 2016 "Guns of Gothenburg features 12 songs like "Kids from the Streets", "United we stand", "Fuck the Upper Class" or "Street Punk Bop", which is still the encore-highlight at every City Saints show Stefan, singer and bandleader about the new release: "When we released Guns of Gothenburg on CD back in 2016, we felt that the songs were good, but we soon began having doubts about the mix of the album. In 2017, when we were approached to release it on vinyl, we had it remixed and remastered with a new song order. This version never made it onto the streaming services, and the limited edition of the LP has been out of print for a long time. Now we're thrilled to present this re-release of Guns of Gothenburg. The original painting used for the cover has been dusted off and restored and the recording has been remastered once again to bring it closer to our original vision. We sincerely hope you enjoy it. "Guns of Gothenburg" comes on 180gr. strongly limited vinyl in classic black and two multi-colored variants (only 333 copies all in all)

Ready for 10 Years since "Guns of Gothenburg"? Here's the last collector's reissue of the "rare and sold out since years"-CS albums on vinyl! The Swedish Punkrockers often heard that their 3rd album "Guns of Gothenburg" is still their best release! The combination of riot street punk, pub rock anthems, some high energy glam-elements and melodic rough'n'tough Oi! was considered as an absolute genre-highlight 2016 "Guns of Gothenburg features 12 songs like "Kids from the Streets", "United we stand", "Fuck the Upper Class" or "Street Punk Bop", which is still the encore-highlight at every City Saints show Stefan, singer and bandleader about the new release: "When we released Guns of Gothenburg on CD back in 2016, we felt that the songs were good, but we soon began having doubts about the mix of the album. In 2017, when we were approached to release it on vinyl, we had it remixed and remastered with a new song order. This version never made it onto the streaming services, and the limited edition of the LP has been out of print for a long time. Now we're thrilled to present this re-release of Guns of Gothenburg. The original painting used for the cover has been dusted off and restored and the recording has been remastered once again to bring it closer to our original vision. We sincerely hope you enjoy it. "Guns of Gothenburg" comes on 180gr. strongly limited vinyl in classic black and two multi-colored variants (only 333 copies all in all)