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Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

,Stürmische und kathartische Dark-Pop-Perlen", schrieb Gorilla vs Bear über Jessica Weiss' frühe Soloarbeiten. Die Sängerin und Songwriterin von Fear of Men bringt dieselbe lyrische Präzision und emotionale Intensität in ihr Soloprojekt New German Cinema ein. Es hat fünf Jahre gedauert, zwischen London und LA, aufgebaut aus nächtlichen Dateien, langen Stillephasen und der stillen Beharrlichkeit zweier Menschen, die versuchen, etwas Schönes von entgegengesetzten Enden der Welt aus zu vollenden. Produziert mit Alex DeGroot (Zola Jesus, Cate Le Bon), wirkt es sowohl forensisch als auch hingebungsvoll, das Produkt von jemandem, der die Katharsis nicht überstürzt. Pain Will Polish Me präsentiert sich sowohl einsam als auch verbindend, als wäre es aus Fernübertragungen zwischen zwei Traumzuständen entstanden. Weiss nennt es eine Meditation über Pop und den europäischen Arthouse-Autoren Rainer Werner Fassbinder. Es verfolgt, wie Intimität und Kontrolle ineinander übergehen, bis es unmöglich ist zu sagen, wo das eine endet. Die Songs handeln von den Teilen von dir selbst, die sich in der Liebe auflösen, und von den kleinen Gewalttaten, die damit einhergehen, wenn man bekannt ist. Sie bewegen sich durch klaustrophobische Beziehungen, Obsession, Hingabe, Zyklen des Leidens, die sich allmählich wie Hingabe anfühlen. Die Sprache ist Pop, aber das Gefühl ist etwas Fremderes, Kälteres, Innerlicheres. Die Songs bewegen sich im Schatten. Es ist ein Album darüber, sich selbst zu verlieren, um zu sehen, was übrig bleibt. Ein Dokument der Liebe als Besessenheit, Wiederholung, Überleben. Eine Meditation über die Liebe als Spiegel und Untergang, in Fragmenten gestaltet und dann zu einem Ganzen zusammengefügt.

In ,Osni the Flare", dem zweiten Teil von Tristan Allens mythischer Trilogie, zeigt der Komponist, Produzent und Puppenspieler, wie ein Sterblicher durch die Entdeckung des Feuers zu einer Gottheit wird. ,Osni the Flare" wurde über vier Jahre hinweg mit wortlosen Gesängen, Orgeln, Okarinas, einer Menge Spielzeuginstrumenten und einem ausgeklügelten Sounddesign aufgenommen und erzählt in vier akustisch und visuell beeindruckenden Akten von den Ursprüngen der Flamme und der Zeitlichkeit. Allen webt einen Schöpfungsmythos, der zwischen Schönheit, Schatten und wehmütiger Glut wechselt, und schafft so ein Portal zu einem sorgfältig gestalteten, emotional kraftvollen Klang und einer Geschichte, die durch ein fantastisches Reich hallen. Allen wurde in Saratoga Springs, New York, geboren und hat Kindheitserinnerungen an den Aufenthalt seiner Familie in Japan. Sein Weg führte ihn zu prägenden Begegnungen, darunter mit seinem Lehrer Andy Lorio, der das wachsende Interesse und Können des jungen Musikers am Klavier durch Improvisationstechniken förderte, und Amanda Palmer, die ihn mit 16 Jahren während eines Sommerprogramms am Berklee College entdeckte und seine erste Veröffentlichung durch Crowdfunding finanzierte. Nachdem er an der Berklee Klavier studiert, das Live-Elektronik-Kollektiv Nue mitbegründet, mit der Metal-Band Dent durch China getourt und zwei Solo-Klavier-EPs veröffentlicht hatte, zog Allen 2018 von Boston nach Brooklyn. Eine Anzeige auf Craigslist führte zu einer Puppenspielausbildung bei Mike Leach, der ihnen sechs Monate lang beibrachte, wie man eine Marionette richtig führt, was ihnen eine Stelle als Darsteller am renommierten Puppetworks Theater einbrachte. Diese harte Arbeit, zusammen mit dem Kontakt zu den Artefakten des Bread and Puppet Theater ihres Vaters und dem balinesischen Schattenspiel, brachte Allen zu ihrer kreativen Praxis: Komponieren für akustische Instrumente, elektronisches Arrangieren und Auftritte mit Puppenspiel. Osni the Flare erzählt einen Schöpfungsmythos, in dem die Titelfigur in einem Garten aufwacht und Äpfel von einem Baum pflückt. Von einem Loon herbeigerufen, macht sich Osni auf, den Baum vor der Kälte des Winters zu schützen. Als der Loon von einem Drachen verschlungen wird, wagt sich Osni in dessen Bauch und entdeckt dort Glut. Als er diese Glut dem Baum anbietet, entzündet sich dieser - der Ursprung des Feuers selbst. Iso, der Gott des Meeres, greift mit einer Flut ein, die Osnis Garten überschwemmt. Nach seinem Tod gelangt Osnis Seele in das Reich der Schatten, wo sie sich Tin und Iso anschließt und zur Gottheit des Feuers wird - Osni the Flare. Das Album klingt menschlicher und kindlicher als sein Vorgänger ,Tin Iso and The Dawn" und wechselt von der Perspektive der Götter als Beobachter zu der des ersten sterblichen Charakters in Allens Welt. Unterstützt durch neue Liebe, kanalisiert das Projekt Gefühle in Musik, die zu einem ganz eigenen Zauber wird. Wie Tin Iso beginnt und endet das Album mit Klavierklängen als Portal, das die Heimat repräsentiert, während Osni sich auf eine Reise durch drei Reiche begibt: das Land der Lebenden, das Zwischenreich und das Jenseits. Osni the Flare wurde fast komplett mit einem Aston-Kondensatormikrofon in Allens Wohnung in Brooklyn mit Blick auf den Cypress Hills Friedhof aufgenommen und besteht aus Spielzeugklavier und Flöten, Okarinas, Harmonium, Pumporgel, E-Bass und Kontrabass, Gadgets und einer umfangreichen Sammlung von Spieluhren und Glocken. Die Gesangsmelodie - inspiriert vom Summen seiner Partnerin Virginia Garcia Ruiz, das an Pans Labyrinth erinnert - war Allens erster Ausflug in den Gesangsbereich, wobei er eine Melodie ohne Worte verwendete, um den Zuhörern zu ermöglichen, die Protagonisten zu bleiben. Die Flöten wurden Note für Note akribisch aufgenommen, darunter balinesische Sulings, Fundstücke aus chinesischen Souvenirläden und vogelförmige Okarinas. Die Spieluhren wurden langsam aufgezogen, einzeln gesampelt und dann neu arrangiert und gestimmt, um Virginias Summen zu verdoppeln. Ein ausgedientes Casio SK-1 mit einem kaputten Lautsprecher wird mit einem Harmonium kombiniert, um Akkordtexturen zu erzeugen. Stundenlange Improvisationen, die durch Bastl Thyme und NanoVerb geleitet wurden, erzeugten lange, ausklingende Delays, wobei die besten Momente für Songs ausgewählt wurden. Feuergeräusche entstanden durch Fingernagelklicken auf Klaviertasten. Feldaufnahmen hielten das Zerlegen eines Klavieruntergestells, das Löschen von Kerzen und Geräusche aus einem Hospiz fest. Die Stimme des Drachen spricht Worte aus Allens erfundener Sprache. Die Melodie liegt oft im Bass - inspiriert von Goth und Gamelan - mit nach oben gerichteten Verzierungen. Der detailreiche Ansatz spiegelt eine Punktierung wider, die Allens Original-Artwork für das Albumcover ähnelt und durch ihre obsessive Arbeit kleine Teile zu einem großen Bild zusammenfügt - unter der Dusche, vor dem Einschlafen, mitten im Satz. Das Klavier wurde von der Toningenieurin Katie Von Schleicher bei Figure 8 Recording neu aufgenommen, gemischt wurde das Album von Paul Corley. Der technische Leiter Jim Freeman arbeitete vier Monate lang am Halsgelenk und fünf Monate lang an den Schultern der Basswood-Stabpuppe, die von Bruce Schwartz' Ballerina inspiriert ist. Freeman verbrachte Jahre damit, ein selbstgebautes LED-System zu entwickeln, um das Puppenspiel von der Bühne aus zu beleuchten, und sein unwillkürliches Pfeifen während der Arbeit wurde heimlich aufgenommen und ist im Schlussmoment zu hören. Die Herstellung der Puppen wurde von Miryam Moutillet und Lauder Weldon überwacht, die hybriden Köpfe wurden von Duygu Bayar Ekren entworfen. Seit der Veröffentlichung von Tin Iso im Jahr 2023 hat Allen in der experimentellen Puppenspiel-Community von New York City eine Heimat gefunden und wird von der Jim Henson Foundation und La MaMa unterstützt. ,Osni the Flare" steht für Tristan Allens kontinuierliche Weltgestaltung mit akribischer Kontinuität - viele bewegliche Teile, die in funkelnder Kohäsion präsentiert werden, wobei sich jede Komponente aus einer Idee entwickelt, wie eine Fantasy-Serie, die im selben Reich spielt. Das Album erreicht das, was sich Allens kindliches Ich beim Anschauen von Fantasy-Filmen vorgestellt hat: Musik, die nicht so klingt, als würden Menschen Instrumente spielen, sondern wie das Werk der fantastischen Welt selbst. Durch die Kunst des Puppenspielers, ,wahre Lügen zu erzählen", lädt Allen die Zuhörer ein, etwas Ursprüngliches und Unmittelbares zu erleben. Während Osni sich von einem Sterblichen zu einer Gottheit verwandelt, zeichnet das Album nicht nur den Ursprung des Feuers nach, sondern auch den Ursprung des Mythos selbst.

Febuary & Summer Shade haben sich zusammengetan, um die neueste EP der Band ,Run Like a Girl" auf 10-Zoll-Vinyl zu pressen. Diese limitierte Auflage kommt mit erweitertem Artwork, einschließlich eines brandneuen Texthefts, und ist auf pinkfarbenem ,Strawberry Nesquik"-Vinyl erhältlich. ,Run Like a Girl" wurde 2025 online veröffentlicht, mit einer limitierten CD- und Kassettenauflage vom DIY-Label Milkcrate Merch. Die fünf neuesten Songs der Emo-Band aus Las Vegas wurden von Medien wie Stereogum als ,die heftigste und eindringlichste" Emo-Veröffentlichung des Jahres gefeiert. Nach einem arbeitsreichen Jahr mit Tourneen mit Bands wie Midrift und First Day Back startet Febuary 2026 mit Auftritten bei Coachella, Something in the Way und Outbreak.

Die limitierte 7"-Vinyl präsentiert einen der letzten Studio-Momente des verstorbenen David Johansen - eine intime, akustische Liebeserklärung voller Verletzlichkeit und Reife Seine Stimme trägt jene rauhe, unverwechselbare Tiefe, die ihn seit den Tagen der New York Dolls auszeichnete: ehrlich, ungeschönt, unmittelbar. "Gonna love you baby, till I lose my mind." An der akustischen Gitarre erschafft Earl Slick - bekannt durch seine Arbeit mit David Bowie und John Lennon - schwebende, fast sphärische Klangfarben, die Johansens erdigen Gesang umrahmen. Gemeinsam formen sie ein nuanciertes Zusammenspiel aus bluesiger Erdung und kosmischer Leichtigkeit. Der Track steigert sich in ein kraftvolles Mundharmonika-Finale, das Blues und Rock miteinander verschmilzt und den Song in eine spirituelle Intensität führt. Am Ende bleibt die Erinnerung daran, was uns Menschen am stärksten bewegt: L.U.V. - die Liebe.

TOO BAD JIMS - Over The Hill ist eine leidenschaftliche Hommage an den legendären North-Mississippi-Bluesman R.L. Burnside. Das britische Trio aus Brighton - bestehend aus Little Victor, Son Jack Jr. und Nick Simonon (Bruder von Paul Simonon, The Clash) - verbindet rohe Energie, hypnotische Grooves und den unverkennbaren Hill-Country-Sound zu einem zwingenden, rauen und erdigen Blues-Erlebnis. Was einst als spontane Zusammenarbeit zweier vielfach ausgezeichneter US-Musiker begann, entwickelte sich zu einer Band, die den Spirit der Juke Joints aus Nord-Mississippi in die Gegenwart transportiert. Minimalistische E-Gitarren, treibende Bottleneck-Soli und ungeschliffener Gesang formen einen Sound, der "absolutely scorching" (Living Blues Magazine) und "relentlessly upbeat" (Blues Blast Magazine) genannt wurde. Over The Hill erscheint streng limitiert und liefert einen kompromisslosen, unmittelbaren Blues, der gleichermaßen Tradition ehrt und vor roher Spielfreude strotzt. Für alle, die echten, unverfälschten Hill-Country-Blues lieben.

Not long after Strong Persuader became an unexpected crossover hit in 1986 - which was hard to imagine then and seems like a near impossibility now - Cray decided that he would rather pursue the sound of Stax and Hi soul than be a full-fledged bluesman. He punctuated his songs with stinging licks not dissimilar to Albert King, but the sound was closer to O.V. Wright. But what really separated Cray from his forefathers is that instead of getting dirty and gritty, he stayed classy and tasteful. After 25 years and 14 albums, Robert Cray has been mining the same low-key, mellow Memphis soul-blues groove for well over two-thirds of his career. He's found his sound and he's sticking to it. Now for the first time ever available on vinyl Twenty, his 14th album; a thoroughly pleasant listen indeed, it pack's a punch, and has just all the right ingredients. Twenty is available as a limited numbered edition of 750 copies on crystal clear 180 gram vinyl and includes an insert.

Colored vinyl reissue of the fifth studio album by the Denver based thrashers Havok, originally released in 2020. V is a sharp, aggressive, and refined entry in modern thrash metal, praised for its technicality and classic sound. The album features new bassist Brandon Bruce (his only release with the band) and showcases tighter songwriting, building on their previous work with elements of old-school and technical thrash.

Yeun Elez opens a breach: that of a forgotten threshold, a gateway to Hell concealed beneath the peat and legends of the Breton marshes, from which Hoel Moce borrows the name for this project.

Born from Celtic tales passed down in hushed tones, it summons wandering souls, suspended spirits, and those who have already reached the end of their journey. Having escaped from Techno Thriller, Hoel founded Yeun Elez in 2022, as an autonomous and haunting sonic territory.

Surrounded by talented collaborators (Maria: NaturaMorta, Lou Savary de Reymour), he weaves a ritualistic and visceral music, traversed by dreamlike landscapes, misty battlefields, and a fantastical medieval Brittany.

Between pagan symbolism and spectral visions, the project explores the murky depths of the human condition. Thus, birth, love, decline, death: the themes emerge as archaic truths. Betrayal and revenge exist alongside devotion and the quest for an ideal that transcends us.

Mixed by Luc Bersier (Reymour) and then mastered by Tioma Tchoulanov (UVB76, Nze Nze), this album by Yeun Elez doesn't reconstruct the past: it invents it to better haunt it.

Music like a rite of passage, both rooted and timeless, like an inner journey, dark and necessary, to a place where myths refuse to die.

Yellow Vinyl

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

Nach dem "makellosen und zeitlosen Soul" (The Guardian) des 2019er-Vorgängers "American Love Call" öffnet "Private Space" von Durand Jones & The Indications die Tür zu einer breiteren Palette von Klängen und führt die Band kühn in eine synthielastigere Soul-Welt aus mit Streichern durchsetzten Disco-Beats. Das harmonische Zusammenspiel zwischen Aaron Frazers sanftem Falsett am Schlagzeug und Durand Jones' kräftigem Gesang sitzt noch immer tadellos und wird von Blake Rhein (Gitarre), Steve Okonski (Tasten) und Mike Montgomery (Bass) perfekt abgerundet. The Indications bleiben auch auf ihrem dritten Album wahre Meister darin, Revival-Sounds mit einer modernen Haltung zu verschmelzen. "Private Space" atmet den Geist der vergangenen Disco-Ära und die zehn Tracks liefern so eine dringend benötigte Dosis Eskapismus nach diesem turbulenten Jahr 2020. Das Album entstand nachdem die Band einen Großteil des Jahres getrennt voneinander verbracht hatte. Die Freude des Wiedersehens und am kreativen Miteinander ist auf "Private Space" jederzeit spürbar. Der hoffnungsvolle Sound setzt auf die Idee, dass Freude uns befreien kann. Die Kraft eines guten Songs, ein Licht in der Dunkelheit zu sein. Bandleader DURAND JONES fasst es treffend zusammen: "At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me."

Debut solo album from leader of legendary psych band Föllakzoid, Available on white color vinyl! RIYL: Föllakzoid, Beatrice Dillon, Huerco S., Arca, Amnesia Scanner, SOPHIE, Kaitlyn Aurelia Smith. Musician and filmmaker Domingæ is probably best known as the founder of experimental psych band Föllakzoid. Written whilst stranded in Mexico and Tokyo on her way to a world tour with Föllakzoid, her new debut solo album Æ has taken the decompositional system she devised for the band and added the depth of inner exploration and a symbiotic relationship with musical craft. The resulting sound is as groovy and hypnotic as the best Föllakzoid tracks but with a seductive and darkening electronic texture. She has become a channel in which the shadows inhabit. Domingæ's sounds and formats are articulated via depuration, expanding in time and space via the subtraction of shifting elements. The process of unlearning and uninstalling previously established creative softwares in order to achieve dissolution has always been a central focus in her creative pursuit. Æ is a result of said experimentation, the dissolution of preconceived notions to create a minimal sound yet rich in textures.

Aufgenommen 1986, ist das die großartige, verschollene Country-LP von Fred & Toody Cole (Weeds, Lollipop Shoppe, Zipper, Torpedoes, Rats, Western Front, Desperate Edge, Dead Moon, Pierced Arrows usw.)! Alle Songs sind Eigenkompositionen - ein paar traurige, beschwingte Balladen und ein paar richtig punkige Nummern. Bei zwei Songs spielen Fred & Toddy mit ,Rollie", einer klapprigen Roland-Drum-Machine, die den Takt nicht so gut halten konnte. Die restlichen Songs wurden mit einer kleinen, knallharten Band aufgenommen.

Just east of Hollywood, Tommy Peltier"s made sweet music in the Echo Park hills for over sixty years. A jazzman first, he recast himself in 1970 as an LA troubadour, crafting a set of glitter-light pop tunes that somehow missed release "til now. Recorded "70-"76 all over town & mixed and mastered by Jim O"Rourke, Echo Park is an encompassing trip through a whole other time and place. Echo Park captures the smooth sounds, glamour "n free spirits to be found just down the street from Tinseltown in its golden day. Tommy has continued to play music, releasing new stuff with Plastic Theatre Art Band in 1996, and a number of releases under his own name, most recently in 2011. And at the ripe young age of 90(!), he"s still playing today!

"Nachpressung als limitiertes gelbes Vinyl! Das in Australien gegründete und in LA ansässige Duo VOWWS meldet sich mit „I'll Fill Your House With an Army“ zurück, ihrem bisher ehrgeizigsten und am besten umgesetzten Album.

„I'll Fill Your House With an Army“ (2025) ist der Höhepunkt der kühnsten Ideen der Band und zeigt, wie VOWWS, bestehend aus Rizz und Matt James, ihre charakteristische „Death-Pop“-Ästhetik vertiefen: eine genreübergreifende Mischung aus industrieller Elektronik, alternativem Rock, cineastischer Nostalgie und melancholischer Pop-Sensibilität. Co-produziert von Billy Howerdel (A Perfect Circle) und mit Gastauftritten von Josh Freese (A Perfect Circle, NIN, Devo) und James „Munky“ Shaffer (KORN), ist das Album eine Reise durch Sehnsucht, Entfremdung und die surreale Schönheit des Chaos.

Dieses Album zeigt perfekt die dynamische Bandbreite des Duos: von verzerrter Intimität bis hin zu gewaltigen Klangattacken reflektieren VOWWS ein zerbrochenes Spiegelbild des modernen Zustands - romantisch, aber desillusioniert, viszeral und doch seltsam erhebend.

Nachdem sie sich durch Touren mit den Deftones, Twin Temple und Poppy bereits eine kultige Fangemeinde erspielt haben und gerade einen bahnbrechenden Live-Auftritt im Golden Gate Park neben System of a Down und The Mars Volta absolviert haben, sind VOWWS bereit, ihr Vermächtnis mit dieser Veröffentlichung zu zementieren. Ihr künstlerisches Ethos, unbeugsam in einer Ära der Wegwerfbarkeit, hat sie auch in die Welt der High Fashion geführt, wo sie mit Comme des Garçons, Givenchy und Byredo zusammenarbeiten.

Pariah’s cult album re-issued! “Blaze of Obscurity” brings you pure Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. There’s Heavy Metal, Power Metal, Thrash Metal, Death Metal, the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it Heavy metal? NWOBHM? Thrash Metal? Pariah did not make it easy to describe their sound. It might be too sophisticated to simply label it Heavy Metal, which in its infancy was a rather simple affair.

They don’t sound like any Metal band out there, perhaps discounting some of the more aggressive and technical ones, and then the signature NWOBHM sound is added. The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan in the past. Undeniably, Satan has gone a long way; from humble NWOBHM beginnings, to Experimental/Melodic Mettal (in Blind Fury) and something that could be described as a NWOBHM/Thrash Metal hybrid (“The Kindred”). It’s as if they’ve been experimenting trying to find their identity, and theyfinally found it. Stylistically, “Blaze of Obscurity” could be seen a step back to “Suspended Sentence”, but this time around they got everything right, down to the last note. Those who have heard Satan know what to expect: great guitar playing.

And sure enough, “Blaze of Obscurity” is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Pariah/Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking. It is not fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance.

The verdict: “Blaze of Obscurity”: the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find very much to appreciate here.
Tracklisting

Mercury Studios freut sich, die Veröffentlichung einer aufwendigen Neuauflage zum 20-jährigen Jubiläum
von Therapy?s beliebtem elften Studioalbum „One Cure Fits All“ bekannt zu geben, das am 27. März
erscheint. Das Album wurde unter der Aufsicht der Band neu gemastert und wird als Deluxe-Doppel-CDEdition erhältlich sein, die eine exklusive zweite CD mit seltenen B-Seiten und Demos zu jedem Song des
Albums enthält.
Darüber hinaus wird „One Cure Fits All“ zum ersten Mal auf Vinyl veröffentlicht, gepresst auf schwarzem
Vinyl und einer roten Variante.
Lange Zeit nicht auf Streaming-Plattformen verfügbar, wird diese neu gemasterte Ausgabe das Album
endlich weltweit auf Streaming-Diensten verfügbar machen.

Mit der neuen Ausgabe der Vintage Sounds Vinyl Collection kehrt ein echter musikalischer Schatz zurück - diesmal ganz im Zeichen der Bossa Nova. Diese liebevoll kuratierte Zusammenstellung präsentiert 16 zeitlose Klassiker, die den unverwechselbaren Klang Brasiliens geprägt haben und bis heute weltweit für entspannten Groove und federleichte Eleganz stehen. Auf dem Album versammeln sich die wichtigsten Künstler einer Ära, die Musikgeschichte geschrieben hat: Joao Gilberto, Baden Powell, Silvia Telles, Quincy Jones und natürlich Antônio Carlos Jobim, dessen Kompositionen bis heute als Herzstück des Genres gelten. Freuen Sie sich auf unvergängliche Perlen wie "Chega De Saudade", "Garota De Ipanema", "Desafinado", "Corcovado", "A Felicidade", "Soul Bossa Nova", "O Barquinho" oder "Meditaçao" - alle sorgfältig ausgewählt und auf hochwertigem Vinyl neu erlebbar gemacht.

Das fünfte Studioalbum von Avenged Sevenfold, "Nightmare", stieg 2010 auf Platz 1 der Billboard 200 Charts und auf Platz 5 der UK OCC Charts ein. Nach dem unerwarteten Tod des Schlagzeugers Jimmy "The Rev" Sullivan ist das Album seinem Andenken gewidmet und spiegelt in seinem Themen Tod und Verzweiflung wider. Mike Portnoy von Dream Theater sprang am Schlagzeug ein, um die Aufnahmen fertigzustellen. Metal Hammer bewertete das Album mit acht von zehn Punkten. Billboard bewertete es mit vier von fünf Punkten und Kerrang! gab dem Album vier von fünf Ks. Das Album gewann die Golden God Awards für den besten Schlagzeuger, den besten Gitarristen und das Album des Jahres. Es wurde für die Kerrang! Awards als bestes Album und beste Single (Nightmare) nominiert und vom Revolver Magazine für Buried Alive zum Song des Jahres 2011 gekürt. "Like their previous outings, the group incorporates a New Wave of British Heavy Metal influence throughout Nightmare while paying tribute to `80s hair metal with guitar god appeal; but playing retroactive music doesn't seem to concern them, as long as they play it more skillfully than their forefathers. The group's influences may be worn on their sleeves, (check out the chugging Metallica "One" breakdown in "Buried Alive," or the Queensrÿche-style power-ballad "Victim"), but there is no denying that they have some of the best chops in the metal world. M. Shadows continually amazes with his vocal acrobatics, the opening riff of "Natural Born Killer" ramps up to an inhuman speed. "Save Me" ends the album as one of their most epic songs to date, in a proper 21 gun salute, as thunderous blasts and guitar divebombs interweave into a heartfeltoutro. It's a fitting tribute for their fallen 28-year-old comrade, and excellent proof of the band's ability." - Für Fans von Metallica, Slipknot, Bullet For My Valentine, NWOBHM, Heavy Hair Metal, Metal

c 3 I'm Lost (You're Dead) feat. Jamie Webster



[c] 3 I'm Lost (You're Dead) [feat. Jamie Webster]



[c] 3 I'm Lost (You're Dead) [feat. Jamie Webster]

As collaborative projects often do, 33 has in time found a more fixed form, a kind of structure that turned it from a loose collection of collaborators gravitating around founders Bill John Bultheel and Alexander Iezzi into something resembling more of a traditional band. Not that there is anything conventional in their creative process tho, nor in the music itself… Nontheless Tripolar - their second album and first for Haunter - seems to take them closer to song territory than ever before.

The (progressive) graduation of multi-instrumentalist Cem Dukkha and vocalist/clarinet player Ivan Cheng from collaborators to full-time members has brought 33 to a more refined awareness of their possibilities as a creative unit, although their compositional process has retained a high level of spontaneity and musical madness. Tripolar was in fact assembled by editing hours of improvisation that Bultheel, Iezzi and Dukkah recorded with no specific endgame in mind. The sessions saw them exchange a variety of acoustic, electronic and electric musical instruments: percussions, guitars, strings, piano, hurdy gurdy, synthesizers and even CDJs as a tool of live sampling manipulation.

By molding the pieces into what they are now, the band managed to concoct some beautiful vignettes of contradictory mental and emotional states, as sonically playful as a renaissance fair happening within a broken timestream. Cheng’s lyrical and vocal contributions helped them coalesce even further into proper songs, adding a melodic presence that’s at once seductive and uncanny. But vocal duties are often ceded to guests, namely Danish pop-neoclassicist Astrid Sonne, Kenyan metal guru Lord Spikeheart, Irish goth raconteur Olan Monk and Japanese body-poet Golin.The amount of different sounds arranged into each of the tracks produces a unique sense of awe and bewilderment, a testament to the incredible talent and craft the musicians have employed into putting together such a broad range of influences and approaches into a coherent and extremely effective musical journey.

An equally erratic thematic thread seems to run through all the tracks, one ultimately preoccupied with mental health and its ramifications. Without turning the project into a concept album, 33 and their collaborators have sprinkled it with references to personality disorders and mental conditions that are all too relevant to the contemporary age, reflecting on the lineage of human inner life. A wide display of lyrical and musical tools is employed to explore these themes, ranging from Sonne’s expressionist depiction of ADHD in the opener, to Cheng’s queer-themed reinvention of an Irish murder ballad in closing track ‘Babymusicc’. Tracing lateral trajectories for introspection, Tripolar is not only highly captivating, but it ultimately sounds esoteric in the best possible way: progressively revealing layer after layer of incredible aural magic, its true meaning living in the form and in its manic scope of energies.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

This double LP yellow vinyl 20th anniversary release of G. Love's "Lemonade" celebrates one of his most beloved and successful records. The release accentuates G. Love’s unmistakable blend of blues grit, hip-hop cadence, and sun-kissed songwriting and captured a creative peak that welcomed an all-star cast of collaborators including Jack Johnson, Ben Harper, Marc Broussard, Blackalicious and more. Critics praised its warmth and ease, often calling it one of G. Love’s most effortlessly joyful projects, and fans have carried its songs with them for two decades.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album proper, 'All Clouds Bring Not Rain'. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it's striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you're somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. Verity's distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs' more unorthodox elements are arranged, which is where Matthew's unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that's accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. "Exciting and unpredictable" The Guardian "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus "Stunning, kaleidoscopic tunes" Electronic Sound "Engagingly eclectic" UNCUT "Divinely tuneful yet confrontational" The Wire "Kaleidoscopic art-pop and adventurous psych-rock with an immersive, experimental aura." KEXP.

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

As Selofan's fifth studio album, Vitrioli, from 2018, is a testament to the tragedy of life. The Greek duo, Joanna Pavlidou and Dimitris Pavlidis, who recorded the album in the Fabrika Records home studio, continue on in their poetic, but heartbreaking, music set to a dance beat. Between languages (Greek, English, German, and Spanish), Selofan feels on the brink of mania with Vitroli. However, the madness is controlled, the songs are restrained hysterics that culminate into the alchemic perfection of the band's specific moody sound.
From synthpop to synthpunk elements, the twelve-track LP leads listeners through dark corridors and into haunted, empty beds. There is a resignation to a doomed destiny with Vitroli—a trait that connects all Selofan releases—as a bitter pain and loneliness that cannot, or will not, subside.

The album begins with "Give Me a Reason" whose lyrics feel universal in this day and age: Give me a reason, to get out of bed / I could just watch the ceiling instead. Its heartbreak is profound as bells and voice pads echo under Joanna's voice. The adjacent music video for the song was directed by Dimitris Chaz Lee, and the band describes the video as "depicting the fragile nature, conflicts, emotional demands, and vulnerability of each person in a relationship."
"Billie Was a Vampire" is a story about an undead creature who works at a nightclub followed by the urgency of "Black Box." Brass sounds moan against the fast beat and suggest a frenzied need to escape.

"I'm Addicted" became the second single for the LP. I am addicted, you are mine, Joanna demands of the lover. The music video, also directed by Dimitris Chaz Lee, depicts a clean, white photoshoot primed for the most beautiful creatures of the Athenian wave scene. Alex Macharias, from the legendary Greek band In Trance 95, acts as the photographer for the session, as the models pose and flail under the bright bulbs. The director states: "Addiction is a mental state, something inside all of us. It altered our perception and created a parallel world of avant-garde beings and flashy lights making us part of this everlasting bond."

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

The track shows SUEP at their best - glistening synth pop with Marr-esque jangle, sweet but emotionally incisive. Singer Georgie Stott - also known for being the keyboardist of the recently ended Porridge Radio - is at peak performance, marrying catchy melodies with off-kilter storytelling.
Receiving acclaim across BBC 6 Music and the indie press for their ‘car boot sale’ pop music, SUEP rummage through the jumble bin of music history, selecting and reassembling its best parts into something playful, strange and deeply artful. The band are affiliates of the Gob Nation collective - including The Tubs, Sniffany & The Nits, Ex-Void, and others., described by the Guardian as uniting around “a leftfield sensibility, lacerating wit and snotty attitude.”

With a slightly darker edge than their delightful EP Shop or last year’s groovy The Rain, Highway II tells the story of hope slamming into disappointment - a Valentine’s date gone wrong. Tears, cigarette breaks, running makeup and snotty sleeves paint a picture of painful emotional dislocation. It comes with an incredible, multilayered dance-routine music video from frequent collaborator, artist Jess Power.

Singer Georgie Stott says: “The lyrics for this poured out of me on Valentine’s Day when me and my partner went out on a date in the Limehouse area, over the river from where we lived in Rotherhithe. I got drunk too quickly, he got grumpy, and tears started streaming down my face because I just wanted to have a nice romantic time. We made up in the Canary Wharf Wetherspoons at the end of the night, but I went to have a cigarette before, to get out all my sobs and wrote all the lyrics on my phone in one go. Then at a practice studio we quickly wrote it around some chords I made up in the room.”
Forever is a confident debut, a masterpiece of modern indie songcraft. Across the album SUEP dip into country, synthpop, garage rock, post punk, and pub rock, but always retain their signature penchant for melodic hooks, snappy structures and straight-to-the-heart lyrics. Artfully unpretentious, the album was recorded by friend Matt Green, best known for his work with The Tubs, and mixed by Mike O’Malley of the band caroline.

Led by Georgie Stott and Joshua Harvey, SUEP have become fixtures of south-east London’s underground through a series of shared living spaces, improvised studios and DIY venues. Now with George Nicholls (The Tubs, Joanna Gruesome, GN Band), William Deacon (PC World), and Louis Forster (The Goon Sax, Expiry) completing the line up, their debut is finally on its way.
Forever is a glimpse into one of the best bands on the scene, not fitting into any trend, but also never fading into obscurantism - SUEP are a band that wear a joie de vivre loosely but fashionably. Now is their time to shine.

Rooted in modern blues but unafraid to stretch beyond tradition, the record crackles with grit, groove, and lived- in emotion, presenting an artist who isn't waiting for answers, he's moving forward without them. Across the album, Stillman digs deep into themes of self-reckoning, loss, pride, and renewal.

Songs wrestle openly with identity, shame, and hard- earned perspective, balancing moments of vulnerability with sharp wit and raw confidence. Whether confronting inner demons or finding humor in heartbreak, the writing feels honest and unfiltered, anchored by soulful vocals and muscular musicianship . What Happens Next? is an album about growth through motion-- accepting change, facing consequences, and choosing momentum over fear. High- energy, emotionally grounded, and deeply human, it marks a defining step forward for Gabe Stillman , capturing an artist fully stepping into his voice and daring the listener to do the same.

Three next level remixes with corresponding instrumentals all done by the legendary PREFUSE 73: "BUTTERFLIES" feat. STEVE SPACEK, "BLAMO!" feat. COL RED, and "GO TO SLEEP" feat. COL RED. Vocals on the A-side, instrumental mixes on the B-side. Custom die cut sleeve.

Featuring legendary artists and studio collectives including The Revolutionaries, The Aggrovators, Niney & The Observers, Twelve Tribes of Israel, Ken Boothe, Gregory Isaacs, Jimmy Riley and Phil Pratt , this release delivers deep basslines, spacious mixes and timeless rhythms.

Released in time for April, the album naturally aligns with long-established countercultural tradition , while remaining a serious, archival document of roots reggae and dub at its most atmospheric and powerful. An essential vinyl dub released on 180-gram incl. sleeve notes for reggae collectors, sound-system enthusiasts and vinyl buyers alike.

Formed in Galway City, Ireland James McGregor (vocals/ guitar), Sean Connelly (guitar) and Damian Greaney (drums) went to school together there and met Tom Freeman (bass) on the music scene. Relocating to London in 2019, the quartet signed to Alan McGee's new record label 'Creation23' almost overnight. They have since impressed audiences across Europe with live performances at festivals including Rock Werchter, Eurosonic and Electric Picnic, performing to a huge crowd at Sefton Park in Liverpool in support of Kings of Leon, as well as a head- turning televised appearance on Sky 1's Soccer AM. Media have been quick to show their support too plus previous singles, taken from their 2023 debut "Exit Strategy" received praise on BBC Radio 1's Annie Mac on her "New Names" showcase, BBC 6 Music's Steve Lamacq on his 'Recommends' show, received day-time radio play on RTE 2FM, and impressed the legendary Rodney Bingenheimer on Sirius XM.

The four-piece are drawn together by not only a mutual appreciation of music past and present but also a love of films and books, notably the ones on the more 'noir' side of the spectrum. You could say Arctic Monkeys got them into a band, The Strokes showed them how tightly you could distil it and Radiohead showed them how wide you could take it. But these days there not afraid to also put Billie Eilish and Charlie XCX into that mixture and films from director Fellini to "Drive". What matters is that from starting out playing acoustic folk, that turned into 3 minute (post-)punkish songs, they now have expanded a lot from there, taking in all the experience they have now recording and touring. Pushing the emotion by being authentic and creating what you really want despite the noise and haste around you.

Both lyrically & musically, 'VOiD' reflects a disillusionment with a world increasingly defined by division, ideological rigidity & the loss of nuance. The album documents a conscious withdrawal from the noise - a retreat into a personal void. "Metal as well as Rock, from the head as well from the heart" - Classic Rock DE Much of 'VOiD' is driven by frustration with the binary nature of modern discourse, where context & intent are routinely discarded in favour of winning arguments. The record rejects that environment entirely, choosing introspection over confrontation & exploring Darran Charles' (lyricist & vocals) balancing of misanthropy with optimism & isolation with connection.

"Their blend of indie-rock & alternative metal has emotion & depth" - Buzz Magazine The writing process for 'VOiD' was exacting & often punishing, with songs repeatedly reworked in pursuit of emotional impact. Long- standing collaborators Tom Price & Gavin Bushell play a vital role throughout, while the introduction of new bassist Francis George - the band's first line-up change in twelve years - brings a subtle but important shift in the overall feel of the rhythm section.

Alongside the legendary Mercyful Fate and more obscure acts such as Alien Force, Randy, and Crystal Knight, Copenhagen's Witch Cross are undoubtedly one of the best Danish metal bands of all time. Their 1984 album “Fit For Fight” is definitely among the top five metal records in the country. One of the two guitarists on this masterpiece was a certain ‘Cole Hamilton’. His real name is Ole Hamilton Poulsen. He joined the band after the recording of Witch Cross' debut single, “Are You There” (from 1983). His partner on guitar was Mike Wlad (his birth name is Michael Koch). Mike Wlad is not only a founding member of Witch Cross, but also their main songwriter. After the premature end of the original Witch Cross, Mike Wlad formed a band called Harlot, which released a hard-to-find album called “Room With A View” in 1988. He then moved to London. Witch Cross are now active again and are currently working on their third album.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.