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Rock 'n Roll With The Modern Lovers is the second album released by The Modern Lovers.

The band was formed in 1970 by singer, songwriter, and guitarist Jonathan Richman, with Jerry Harrison (keyboards - later went on to join Talking Heads), Ernie Brooks (bass), and David Robinson (drums). Richman's friend John Felice joined them occasionally. Their sound almost totally focuses on the sound from the Fifties. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. The albums features the popular tracks "Ice Cream Man", "Roller Coaster By The Sea", and "Egyptian Reggae". The latter was a cover version of Earl Zero "None Shall Escape The Judgement" and became a UK Top 5 hit.

Rock 'n Roll With The Modern Lovers is available as a limited edition of 750 individually numbered copies on silver vinyl.

Marisa Anderson"s music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson"s music lives in conversation with tradition. "My approach to tradition is with the hands that I have and the history that I have," notes Anderson. "In that way it"s a collaboration - you don"t go into collaboration trying to play like the other person, you go in trying to find out how to play together."

Marisa Anderson"s music transcends borders. The topography of her work interrogates the intersections of artistry and expression with form and tradition. A singular guitarist and voracious musical collaborator, Anderson crafts pieces bursting with equal parts reverence and curiosity, contouring familiar shapes into work that is wholly her own. Anderson has spent decades mining the veins of the complicated, interconnected American folk traditions she was steeped in from a young age, stretching beyond those traditions and incorporating the vocabulary and techniques of vernacular folk music from around the world into her work. Eschewing replication or revival, Anderson"s music lives in conversation with tradition. "My approach to tradition is with the hands that I have and the history that I have," notes Anderson. "In that way it"s a collaboration - you don"t go into collaboration trying to play like the other person, you go in trying to find out how to play together."

Anders als das 7 Jahre zurückliegende Album Hill West, das sehr zurückhaltend produziert war, gibt es auf dem neuen Album Alchemy von Todd Thibaud kaum leise, nachdenkliche, akustische Americana-Töne, sondern es ist - ganz im Gegenteil - lauter, voll elektrischer Gitarrenrock mit einer dementsprechend ausgerüsteten 5-Mann-Combo aufgenommen! Mit seinem lauten, dynamischen Sound, den süffigen Gitarrenläufen und rockigen Bandarrangements ist das Musik mit einem klaren Pop/Rock-Auftrag und einem erstklassigen Mix zwischen Westcoast, Heartland & Prairie Rock auf Basis von handfestem Singer/Songwritertum und melodieseligem Indie Roots/Guitar Pop, und so besitzt Alchemy die Grundtugenden all der Heartbreakers, Wallflowers, Jayhawks, BoDeans und Gin Blossoms mit einer ordentlichen Prise Springsteen/Mellencamp/Hiatt & Co. Aber das Endergebnis trägt natürlich die deutliche Handschrift von Todd Thibaud! Alchemy kommt mit geschmackvollem Artwork und komplett mit allen wichtigen Credits und sämtlichen Texten. Alle 10 Songs wurden von Todd Thibaud geschrieben und in derselben Quintettbesetzung eingespielt, die uns im April und Mai 2026 auch live begeistern wird: der Meister selber an der elektrischen Rhythmusgitarre (mitunter auch etwas Tasten) und mit seiner einzigartigen, sonoren Stimme, dazu die ewigen Mitstreiter Thomas Juliano an der Electric Lead (auch E-Piano, Chamberlin) sowie Multiinstrumentalist Sean Staples (hier auch mehr elektrische Leadgitarre als Banjo, Mandoline und Keyboards), dazu die Rhythm Section Ed Valauskas am Bass (plus Keyboards) und Drummer Chris Anzalone; alle beteiligen sich durchweg am prächtigen Harmoniegesang.

The long-awaited reissue of Toba makes it clear, once and for all, to fans and industry insiders that disco music produced in Italy between the late 70s and early 80s had no chance of success. What was disparagingly called "spaghetti disco", considered a poor imitation of real American disco music, only good for Japanese cartoons. This was the main reason that prompted Italians to record their songs abroad, as Fratelli La Bionda with their pseudonym D.D.Sound in Munich. Luigi Figini, with "Supercool" and "Percussion Sundance" by Edo Martin and Pino Santapaga (the same as "Step By Step" by Koxo), claimed that Kash was a one-off Swedish disco project, a lie that came to light when an Italian test pressing from the previous year, made by GDB, was posted !!! Amin-Peck followed the trend of passing off their songs as foreign music on the intuition of their Roman producers. So ''Love Disgrace'' was released on 7'' by a label called Connection, which never really existed, created for the purpose by Giancarlo Meo, confident that this would bring success to the Bolognese duo who were already creating 'proto Italo-Disco tracks' with a new-wave trend. To make the whole operation seem real, the London agency Ellie Jay Ltd. was involved, contacting Andy Fernbach of Jacobs Studios Ltd. The vinyl was also produced in the UK, otherwise the deception would have been discovered, then imported to Italy by Best Record. Italo-Disco was officially born after this, in 1982, not before! Everything makes sense now ! Real events that actually happened and purely invented names and anecdotes. Just think, even the image of Tony Balch used for the cover of Toba was taken from Grand Theft's 1978 album "Have You Seen This Band?" and reproduced on the new redesigned cover, as were the heads of the other musicians. The idea of a real band called Toba had finally come to fruition and would lead to a second sensational success the following year. Now it all makes sense! Facts and anecdotes that really happened and names and circumstances that are purely fictional. Finally, everything adds up! Real things and invented names of musicians and collaborators. It's important to clarify what we've said above, but we haven't talked about "Make Your Mind Up" and "Don't Take It" and the two masterful remixes performed by Dave Mathmos. In short: with the original versions we'll make Italo-Disco purists happy, with the remix versions we'll please new younger followers with more modern sounds and versions more in line with today's tastes and trends.

AAls "Inbegriff des Southern Soul" (VIBE) und "bluesiger Geniestreich" (Okayplayer) gefeiert, mit "einer Stimme, die von der Gospelkirche geprägt ist, und einem fast übernatürlichen Umgang mit der tiefen Intensität des Blues" (KCRW), baut "Miss Black America" KIRBYs Mission weiter aus, ihre Wurzeln zurückzugewinnen und die Musik und Kultur von Mississippi den Massen näherzubringen. Wie Elton John kürzlich verkündete, ist KIRBY "zu Großem bestimmt", und mit diesem Album schlägt sie ein neues, tiefgründiges und persönliches Kapitel auf, in dem sie die Zuhörer dazu herausfordert, das Stampfen, Summen und Sehnen zu hören und diese Klänge in Sinn und Kraft zu verwandeln. Während KIRBY bereits mit Rihanna, Kanye West, Paul McCartney, Beyoncé, Black Thought, Ariana Grande, Demi Lovato, Donald Glover und vielen anderen zusammengearbeitet und Songs mitgeschrieben hat und Millionen von Fans, darunter Hayley Williams und unzählige andere, für sich gewinnen konnte, ist "Miss Black America" ganz und gar ihr eigenes Werk. Dieses Projekt, bei dem Hymnen statt Hits, Geschichten statt Samples und Wahrheit statt Trends im Vordergrund stehen, ist das inspirierendste Werk ihrer Karriere und begleitet dich vom Grillfest am Samstag über den Gottesdienst am Sonntag bis hin zur Arbeit für "den Mann" am Montag. Es ist Blues- und Soulmusik für die Zukunft, gemacht für diejenigen, die vor ihr da waren: die Vorfahren, die auf dem Land der Dockery-Plantage, von der sie abstammt und die viele als Geburtsort des Delta-Blues bezeichnen, tanzten, weinten und sangen.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

The Fiddle and the Drum brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music. Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming's voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton. Through mountain songs, haunting ballads, and folk hymns, The Fiddle and the Drum honors the roots and emotional power of Appalachia, just in time for America’s 250th anniversary.

Repress on red vinyl. One of Rio de Janeiro's most exciting singer-songwriters of the last fifteen years is now living in Los Angeles, where he stands on the verge of an overdue American breakthrough. Rogê - born Roger José Cury - gained an avid following for his swinging samba-funk, tinged with Brazilian Soul. His acclaim rose when he cowrote the theme song for the 2016 Olympic Games in Brazil. Seu Zé is the first new music from the Brazilian artist since the release of his debut American-made album, Curyman, in March of 2023. Lavishly produced by the Budos Band's Thomas Brenneck, a top session guitarist and collaborator with the stars (Lady Gaga, Beyoncé & Jay-Z, Amy Winehouse), Seu Zé is meant to capture the spirit of the people on the streets. It's a "Partido Alto" kind of samba that has its origins in the religious parties in rural communities where jongo (a style of music deeply rooted in Africa) was played. Brazilian energy has a universal ability to inspire and Rogê continues to accomplish this through his music and performance masterfully.

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

Despite the thousands of kilometers between them, Monterrey and Medellín have always seemed to move in parallel. Both cities rise around guardian hills that watch over their people, and if you look closer, even the concrete that forms the backbone of each city traces back to these rugged metropolises.

The list of coincidences could go on—small, almost conspiratorial links that chance has woven between the two places. Adding another chapter to this unlikely connection is Regal86, who had already crossed the bridge once before to dive into the depths of Colombia’s “city of eternal spring.”

Doble Filo, his first full-length cut to vinyl, now becomes his latest calling card. The eighth release on Discos Nutabe’s catalog arrives with six tracks—six sharp-edged pieces that lay bare Regal86’s sonic marginality.

It’s a form of exclusion that isn’t imposed but chosen, a deliberate stance to sidestep the demand for exotica that still shapes much of Latin America’s electronic landscape. This is spicy, rough-edged techno—ruleless and unruly—driven by dense, clipped progressions that plunge you into a vortex masquerading as a rayado ritual.

There’s no overload of concept here, nor any caricature of the extravagant. This album simply delivers music built to tear through any club or dive, without false promises or unnecessary labels. If there’s one thing worth highlighting about Doble Filo as a whole, it’s the way it consistently—and almost implicitly—reasserts its core premise from start to finish: these techno tracks are meant to be played wherever the hell you want.

In a moment when oddities tend to be rewarded more than usual, Doble Filo doubles down on fundamentals, reclaiming the spirit of early electronic music and carrying it into an era where immediacy seems intent on blurring the honesty of those who shape the sound.

For Regal86, sonic hustle is the only thing that keeps his spirit steady.

Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven"s second album II & III saw the folk-punk of the band"s debut LP morphing into an even wider melting pot of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band"s most defining songs. Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads ("Sad Lovers" Waltz") to call-backs to the European folk instrumentals of the debut ("No Krugerrands For David", "4 Year Plan"). Also featured is the band"s bluegrass-Americana take on Sonic Youth"s "I Love Her All the Time", feeding their appetite for cover songs. This deluxe double CD set brings together the original II & III album with a 17 track live album of material from Camper Van Beethoven shows supporting REM on their Life"s Rich Pageant tour. This audio was mostly recorded at the Lincoln, Nebraska show from October 10th, 1986, but is supplemented with audio from other shows of the tour. The Teal Vinyl re-issue features a newly revisited collage version of the artwork, plus a reproduced 11"x11" insert, designed by Victor Krummenacher using original photos, lithograph prints, lyrics and leaflets.

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

Jack Callahan und Jeff Witscher waren echt müde. Seit der Jahrtausendwende hatten sie sich beide in der amerikanischen Underground-Experimental-Musikszene abgemüht, unter Namen, die du vielleicht kennst oder auch nicht: Rene Hell, Marble Sky, die Reihe, um nur einige zu nennen. Ihr erstes Album Think Differently war das Ergebnis einer Reihe von Endpunkten: der Auflösung ihrer Underground-Szene und, nicht zuletzt deswegen, der Tatsache, dass die abstrakte Musik, die sie seit jeher getrennt und gemeinsam gemacht hatten, nicht mehr so gut ankam wie früher. Wo sonst sollten sie hingehen als auf die andere Seite des Hufeisens: zur Popmusik. Warum also nicht den Zeichen der Zeit folgen? Eine Gitarren-Pop-Rock-Hymne zum Jahrtausendwechsel aufnehmen, die davon handelt, dass man als alternde Underground-Musiker keine Noise-Musik mehr machen will. ,Sorry to Hear That" ist ein Album über ,Think Differently". Wenn ,Think Differently" ein meta-konzeptuelles Album war, dann ist ,Sorry to Hear That" ein meta-meta-konzeptuelles Album. Meta Meta+Hodos. Es wurde über einen Zeitraum von 9 Monaten nach dem ersten Album aufgenommen. Es war eine Zeit persönlicher und beruflicher Umbrüche: Der anfängliche Optimismus aufgrund der Aufmerksamkeit, die "Think Differently" erhielt, schlug schnell in Fanatismus um und mündete unweigerlich in Angst, Enttäuschung und Zerwürfnis. Das Album, das sie schließlich aufgenommen haben, ist ein Dokument und eine Erzählung über diese Zeit. ,Sorry to Hear That" ist eine Fortsetzung, die klanglich und konzeptionell dort ansetzt, wo das erste Album aufgehört hat. Hier gibt es mehr Gitarre, mehr Breakbeats, mehr selbstbezogenes Unwohlsein und mehr humorvolle Selbstironie. Es fängt perfekt ein, was das Duo von Anfang an vermitteln wollte: Es ist ein mitreißendes Album voller Kommentare von beiden Seiten, dem Spieler und dem Gespielten, die bis ins Unendliche gesteigert werden. ,Sorry to Hear That" hat eine Reihe von Gastauftritten von alten und neuen Kumpels aus der Independent-Musikszene: Marlon DuBois, Frontmann von Shed Theory, Dylan Baldi und Jayson Gerycz von Cloud Nothings, Flannery Silva alias F.G.S., Jazz Lambaux und andere.

Wewantsounds is delighted to continue its extensive reissue program of Meiko Kaji"s early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse-famous for her starring roles in Lady Snowblood and Stray Cat Rock-was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji"s signature mix of Japanese Pop and Groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki"s cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion.

Caçador de Horizontes is the fourth and most ambitious album by Brazilian composer and songwriter Raphael Gimenes. Conceived as an expansive double album, it brings together voice and acoustic guitar with richly arranged strings, brass and a wide palette of percussion, engaging with the tradition of Brazilian songwriting while evoking the harmonic sensibility of artists such as Milton Nascimento, alongside elements of modern classical music.

Inspired by travels across the American continent, the album moves between intimate moments and large-scale instrumental passages, creating a cinematic and emotionally resonant atmosphere. Produced by Lucas Delacroix, Alexandre Andrés and Gimenes himself, it features more than 30 musicians from different countries and was supported by the Danish Arts Foundation (Statens Kunstfond).

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

Re-Release auf clear, purple marbled Vinyl.

Personified, reinvigorated, and re-imagined!

Tech-metal outfit FALLUJAH expand horizons and solidify their position as one of America’s most exciting artists on their new album, Xenotaph, through Nuclear Blast. The Bay Area-based quintet’s confidence in the lineup that made their previous album, Empyrean (2022), such a resounding success—earning high marks from Metal Injection, New Noise, and Guitar World—has been reconfigured slightly, with guitarist Sam Mooradian (INHALE EXISTENCE, SAM MOORADIAN) and drummer Kevin Alexander (DISEMBODIED TYRANT. BROUGHT BY PAIN) bringing their jaw-dropping musical proficiency to the fold, as vocalist Kyle Schaefer, guitarist Scott Carstairs, and bassist Evan Brewer enter a new chapter with FALLUJAH. Moored by singles ‘Kaleidoscopic Waves,’ ‘Labyrinth of Stone,’ and ‘Step Through the Portal and Breathe,’ Xenotaph is FALLUJAH personified, reinvigorated, and re-imagined.
As a details-oriented record Xenotaph benefits from moments of low tension, atmospheric delight, and Schaefer’s winged clean vocals. This
dynamic isn’t particularly new to Fallujah, but the group spent considerable time honing what each song needed—from blast-laden speed runs and jazz-fusion solos to vocal restraint and brutality—which resulted in a brighter, more exhilarating experience. Musically, it truly feels like the listener is embroiled in the album’s sci-fi concept and Peter Mohrbacher’s stunning cosmogonic cover art, which is aesthetically in line with his previous covers (Dreamless and Empyrean) for FALLUJAH. Close encounters with ‘Step Through the Portal and Breathe’, ‘Labyrinth of Stone,’ and ‘Kaleidoscopic Waves’ spark wonder and stimulate the soul.

Matias Aguayo returns with Anenoa, a vibrant and imaginative new album arriving May 29, 2026. Known for continually redefining the possibilities of electronic music, Aguayo’s latest work expands his exploration of voice, rhythm, and collective experience — creating songs that invite participation as much as they reward listening.

Across more than two decades, Aguayo has remained one of the most inventive figures in contemporary electronic music. From co-founding the influential duo Closer Musik, to his long-standing creative relationship with Kompakt, and the creation of the genre-defying C meme label, Aguayo has consistently pushed dance music beyond convention — blending raw electronics, storytelling, humor, and performance into something deeply human and alive.

Now based in Mexico, Aguayo’s music has absorbed the vibrant energy of community-driven dance culture. Much of Anenoa is sung in Spanish and shaped by a spirit o collaboration that runs throughout the record. Long known for building creative communities through his label and performances, Aguayo brings together a diverse group o artists across Latin America, Europe, and beyond, turning the album into a constellation of voices and perspectiveS

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Nashville Pussy’s second album High As Hell reissued on vinyl for the first time via Svart Records Nashville Pussy is an American rock band from Atlanta, Georgia formed in 1996. Their blend of southern hard rock with tongue-in-cheek lyrics about all the rock’n’roll clichés have delighted audiences around the world for three decades and the band is still active to this day. Their sophomore album High As Hell was originally released on TVT Records back in 2000 and is now getting its first reissue treatment on vinyl via Svart Records. The album is a raw, high-energy fusion of AC/DC-style hard rock, Motörhead, and Lynyrd Skynyrd, delivering a non-stop, guitar-driven sound with praised guitar work by Ruyter Suys. Nashville Pussy stepped up their game with High As Hell by catchier riffs and solid songwriting, offering a loud, unapologetic, and ferocious 40-minute ride.

Das neue Projekt von Joe Lovano trägt den programmatischen Namen Paramount Quartet – und tatsächlich
versteht der Saxofonist diese Formation als künstlerischen Meilenstein. „Mit diesem Quartett sind wir an
einem einzigartigen Ort angekommen“, erklärt Lovano. „Es ist etwas ganz Besonderes, etwas Neues. Und
diese ‚cats‘, sie spielen mit einem globalen Bewusstsein.“ Zu diesen „cats“ zählen der Gitarrist Julian Lage,
der Bassist Asante Santi Debriano sowie der Schlagzeuger Will Calhoun, der auch durch seine Arbeit mit
der Rockband Living Colour bekannt wurde. Gemeinsam schlagen sie ein neues, abenteuerliches Kapitel
in Lovanos weit gespanntem Œuvre auf. Anlässlich der Tournee, die der Aufnahme vorausging, würdigte
die Financial Times das Konzert in London mit den Worten: „Lovanos jüngstes Projekt, das Paramount
Quartet, fügt einem modernistischen Kern Anklänge von Americana hinzu und erkundet dieses Terrain mit
Freiheit, Fokus und Feuer.“ Die klangliche Palette des Albums ist ebenso facettenreich wie die beteiligten
Musiker unterschiedlicher Generationen: kraftvoll und extrovertiert in manchen Momenten, intim und
zart in anderen. Neben Eigenkompositionen Lovanos finden sich eindrucksvolle Interpretationen von „Lady
Day“ – einer Hommage von Wayne Shorter an Billie Holiday – sowie von „First Song“ des Bassisten Charlie
Haden. Aufgenommen wurde das Album im Februar 2025 in Südfrankreich, produziert von Manfred Eicher.

Andreu G. Serra and Kiran Leonard first met in Lisbon nine years ago, arriving in the city within weeks of each other by chance. Living together in a crumbling warehouse in Alto São João, they recorded a series of improvisations that became The Piri Piri Samplers (Memorials of Distinction, 2019): Serra’s abrasive, tape-warped guitar lines colliding with Leonard’s stark, pedal-free counterpoint. They played a single gallery show, left Lisbon that summer, and then spent almost a decade living in different countries.

When Stroom reissued The Piri Piri Samplers in 2024, the label suggested the duo make a new record. At first, it seemed impossible: Leonard was in London, Ubaldo in southern Catalonia, and their attempts at long-distance recording quickly collapsed into nothing. But the near-failure sparked something. Leonard travelled to Catalonia to restart the process in person; soon after, Serra moved to South London, and the pair began meeting every week.

The result is Making Friends: a richer, more expansive album built over six months. Where The Piri Piri Samplers was assembled from raw improvisations, Making Friends transforms fragments into fully realised songs, weaving together nylon and steel-string guitars, piano, drums, bells, samplers and more. For the first time, Serra and Leonard sing together, each in his own language - Catalan and English - sometimes translating one another in real time.

Musically, Making Friends still carries the jagged dissonance and free-blues spirit of the duo’s earlier work, while opening outward toward everything from emo and blown-out noise to fractured chamber pop. There are only three guests on the album, and they are worth mentioning: Rachel Leonard and Antonia Serra (the musicians' mothers) on the seventh tune, and the American poet Pete Simonelli (of Enablers) appears on Top of Duboce / Tyne Bridge Crossing, one of the album’s two sprawling centerpieces.

At its heart, Making Friends is an album about friendship: about distance, reunion, family, and the stubborn need to make music together. It begins with uncertainty and disconnection, but ends somewhere stronger - with, as put on the closing track, “molta il.lusió per lo que pugue vindre” or “much excitement for what may come.”

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

FEAR - das gemeinsame Album von Jared Mattson von The Mattson 2 und Ruban Nielson von Unknown Mortal Orchestra - wurde im Juni 2024 aufgenommen. Alle Aufnahmen und der Mix fanden in Palm Springs statt. Gemastert von Matt Colton in den Metropolis Studios in London. --- "Ich wachte gegen Mittag auf, desorientiert, noch halb im Traum. Musik lief - unbekannt, voll ausgereift, die Art von Klang, von der man annimmt, dass sie zum Leben eines anderen gehört. Einen Moment lang dachte ich, ich würde noch schlafen und Musik hören, von der ich mir wünschte, ich hätte sie gemacht. Dann dämmerte es mir: Ruban Nielson war bereits wach, im Studio, und hörte sich an, was wir geschaffen hatten. Wir wussten es beide. Diese Musik hatte etwas Unvermeidliches an sich - als wäre sie weniger geschaffen als vielmehr entdeckt worden. Wir hörten sie uns immer wieder an, lachten und schüttelten den Kopf. Ein Track rief ein gemeinsames Bild hervor: einen immergrünen Wald an einem See bei Sonnenuntergang. Ruban blickte plötzlich auf, die Augen weit aufgerissen, als hätte man ihm gerade eine Botschaft überreicht. ,Ich habe den Titel", sagte er. American Eagle. Der Name wirkte genauso wie die Musik - klar, offensichtlich, unbestreitbar. Der amerikanische Traum: Hot Dogs, Cola, Fahrten bei Sonnenuntergang. Wir brachen beide in Gelächter aus, Tränen in den Augen, weil wir minutenlang so heftig lachten. Wir schwammen in seinem Pool. Das Gespräch hörte nie auf. Der Fluss blieb konstant, nährend, mühelos. Dann sagte Ruban es noch einmal - den Satz, der bereits zu einem Grundsatz geworden war: ,Lass uns mehr davon machen, das genau so klingt." Also taten wir das. Zwei Tage später war ,FEAR" fertig." - Jared Mattson

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

Neu-Auflage auif schwarzem Vinyl im Gatefold

Die schwedischen High-Energy-Rocker The Hellacopters haben kürzlich ihr 30-jähriges Jubiläum gefeiert und nach der Veröffentlichung ihres neuen, vielgelobten Albums »Overdriver« am 31. Januar 2025, das zum zweiten Mal in der Bandgeschichte Platz 1 der schwedischen Charts erreichte 1 der schwedischen Charts erreichte – ist es nun an der Zeit, ihrer treuen Fangemeinde etwas wirklich Nostalgisches zu bieten.

»Cream Of The Crap! Collected Non-Album Works • Volume 3« ist der lang erwartete Nachfolger einer Reihe von Raritäten-Sammlungen, die 2002 begann und Material aus einer Vielzahl von Singles, EPs und Compilations vereint. Die 24 Titel dieses Sets wurden ursprünglich zwischen 1995 und 2004 veröffentlicht, die meisten davon nur auf Vinyl, und umfassen Originale wie »Disappointment Blues«, »Freeway To Hell«, »Doggone Your Bad-Luck Soul« und »Long Gone Losers« sowie Coverversionen von Songs von Motörhead, Wilson Pickett, Mc5, Smokey Robinson, Alice Cooper, The Ramones, The Nomads, Adam West – dessen Sänger Jake Starr die Liner Notes für diese Veröffentlichung verfasst hat – und vielen, vielen anderen.

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Im Frühjahr 2019 reisten ShitKid - Åsa Söderqvist und Lina Molarin Ericsson - in die USA, um ein paar Auftritte beim SXSW-Festival in Austin, Texas, zu spielen. Doch noch vor dem Festival schafften sie es, ein paar Tage im Studio unterzubringen - zuerst in LA mit den legendären Melvins und dann in Austin mit Paul Leary von den Butthole Surfers. Das neue Album ,Duo Limbo/Mellan himmel å helvete" versammelt die Aufnahmen dieser beiden Sessions, von denen die Hälfte ShitKids erste Aufnahmen in ihrer Muttersprache Schwedisch sind - mit vier Songs als Ausgangspunkt machte sich die Band daran, diese sowohl auf Englisch als auch auf Schwedisch aufzunehmen, was eine Spielzeit von knapp über 26 Minuten ergibt.

VERY LIMITED TRANSPARENT PURPLE COLOURED VINYL - 100 UNITS ONLY FOR EUROPE


Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex's fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”

“So Help Me God is the long-awaited second album from Kelsey Lu, arriving June 12 2026 via Dirty Hit. Moving between shadow and release, the 10-track record follows her groundbreaking 2019 debut Blood and is co-produced by Lu, Jack Antonoff and Yves Rothman, mixed by Oli Jacobs, with contributions from Sampha, Kamasi Washington and Kim Gordon. Across the record, Lu blends distorted guitars, choral swells and dark electronic pulses into a sonic landscape that moves between devotional intensity and cinematic scale. So Help Me God expands Lu’s singular creative universe - where music, visual art and performance converge into one multidisciplinary project, marking the return of one of contemporary music’s most singular voices.”

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.