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Seven years after 2019’s ‘The Dusk Loom’, Petrels returns with a pair of new albums, Infangthief and Outfangthief. The first of these releases, Infangthief, was originally written and recorded in 2022, before being reworked in light of a subsequent album, Outfangthief, due to be released later this year.

The two albums act as companion pieces, mirrors revealing facets of the other, overlapping in sound and subject matter. Though Outfangthief may have been written after Infangthief, it is no mere follow-up, with it's own creation causing a re-visiting and re-working of the earlier album, which in turn informed the writing of its twin.

Taking their titles from Old English legal terms ("thief seized without" and "thief seized within”), the central thread running through both albums is the illusion of assumed human authority - that which is given and that which is taken by force. With Western society seemingly hellbent on willingly embracing a brutally destructive economic model (even in its death throes), these albums attempt - in their own small way - to undertake the essential task of imagining alternative ways of being.

Petrels is the solo project of musician and artist, Oliver Barrett. Since releasing his debut, Haeligewielle, in 2011 (#9 in A Closer Listen's Best Albums of the Decade), Petrels has toured across Europe and shared a stage with the likes of Jóhann Jóhannsson, Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Working from his home in Somerset, UK, Barrett has released numerous albums through his Floating Limb imprint, as well as mixing and/or mastering hundreds of releases for the likes of Keiji Haino, Loren Connors & Alan Licht, Judith Hamann, Incapacitants, Mette Rasmussen & Sofia Jernberg, Yasunao Tone and more

“Petrels sidesteps the chilliness found in much of the music of his peers, replacing it instead with an almost spiritual ecstasy, his ravishing synths and almost choral vocal treatments calling out in cosmic, wide eyed wonder at the universe.” – Paul Margree, Louder Than War

Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.

Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.

While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

Fontaines D.C. announce their fifth studio album, Dopamine Chamber, released on 16th October via XL Recordings. Produced by James Ford, it is the follow-up to 2024’s UK platinum-certified Romance – and the sound of a band moving decisively away from the guitar language of their early records into something colder, stranger and more synthetic. It arrives today alongside lead single “Marianne” and its accompanying video, directed by Dave Meyers.

Dopamine Chamber arrives like a constellation behind undulating sighs of smog: potent balladry, anthemic melodies glinting through the murk. In a world tipping towards collapse, it asks how pleasure mutates amid peril—and what our pursuit of it reveals about us. Across the album, Fontaines D.C. – Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan and Tom Coll – move between gratification and dread until the two meld together, reflecting the overwhelm of artificial intelligence, environmental collapse and political violence all riding the same algorithms as memes, jokes and celebrity culture. “The album itself is a dopamine chamber,” says Chatten. “You step inside and we test these different mind- or mood-altering pieces of music on you.”

Where Romance held its tension in balance, this record tips it. “I think Romance was maybe 60 per cent human and 40 per cent corrupted by automation, and a loss of feeling,” says Chatten, who spent time among the faded grandeur of Venice, Vienna and Sicily in search of lyrical inspiration. “This one feels more like 60 per cent corrupted — the mask is wearing the face a little more.” He resisted any pull towards easy optimism: “I felt it would be more powerful to leave the hope out and reflect the ugliness honestly. This one needed to feel more like a catastrophic warning.”

“Our albums have always questioned a sense of place,” says bassist Conor Deegan. “First Dublin, then being away from Dublin, and then trying to find the romance elsewhere. On this record, the question became: where do you escape to?” Into the self, perhaps – or hedonism, fantasy, cosmetic perfection, eternal youth or the endless refresh of a screen.

Fontaines D.C. have spent five albums refusing to repeat themselves – from Dogrel (2019) through A Hero’s Death (2020), the No. 1 Skinty Fia (2022) and the anarchic, kaleidoscopic Romance (2024). Dopamine Chamber is their most radical turn yet: cold synthesiser tones, marching drums, samples and triggers, several songs with no guitars at all, and the swooning strings of 1960s Italian pop pulled into something synthetic. For guitarist Conor Curley, the aim was to break from the band’s own reference points: “I was trying to find stuff that pointed into the future.” It was made with James Ford between London, the English countryside and Palermo, where Chatten recorded vocals in a makeshift booth built from mattresses and cushions.

“There’s a poignant sense of us being on the brink of some other kind of form of humanity, or non-humanity,” says Chatten. For their fifth album, Fontaines D.C. have built the chamber. What happens to the listener inside it will be the experiment.

The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).


"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic


‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)


The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.


Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.


Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)

Orphée schildert einen Weg von der Dunkelheit ins Licht, inspiriert durch die verschiedenen Versionen des
antiken Orpheus-Mythos, von Ovid bis Cocteau. Die vielschichtige Erzählung über Tod, Wiedergeburt,
Wandel und die Kurzlebigkeit der Erinnerung lässt sich auch als Metapher für künstlerische Kreativität
deuten. Orphée bietet eine vielseitige Klangpalette: Es gibt akustische Instrumente solistisch oder im Ensemble kombiniert mit Elektronik und den geheimnisvollen Lauten der “Nummernsender” auf Kurzwelle.
Sie ist angelehnt an viele Facetten seiner vorangehenden Werke und bindet Musik für Solocello, Orgel,
Streichquartett, Streichorchester und A-cappella-Gesang mit ein.
10 Jahre nach dem Debut wird das gefeierte Album Orphée erstmals als Crystal Clear Vinyl veröffentlicht.

Belfast meets Bradford for a showcase of haunted tribal trances, whirring drum-machine ragas and subsonic ambience. A monolithic face-off on wax. A speaker-troubling duel to the sonic death.

Black Bones and Miles J Paralysis delve into the foundations of Crying Outcast’s fourth transmission: the split EP Black Cross. A release that’s sure to worm its way deep into your musical psyche.

Weapons-grade DJ tools for the margin travellers. Certified. Essential.

Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.


A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.


This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.


Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.

That's Life is the second album by Sham 69 and probably the first concept punk rock record. The first wave of punk was all about singles and there are two fine ones here: Hurry Up Harry and Angels With Dirty Faces. Anyone who can suffer through an episode of East Enders should be able to follow the "day in the life" narrative. A pretty great record that is anchored up by two great singles and a novel concept for an LP.

That's Life is now available again on black vinyl.

Mit "Buddha-Bar 30 Years" feiert eine der weltweit bekanntesten Marken für Lounge-, Downtempo- und anspruchsvolle elektronische Musik ihr 30-jähriges Bestehen. Die hochwertige Jubiläumsedition vereint drei sorgfältig kuratierte Mixe von DJ Ravin, Kenneth Bager und Carlos Campos, die gemeinsam die stilistische Vielfalt und klangliche Identität von Buddha-Bar widerspiegeln. Zwischen Lounge, Balearic Sounds, Organic Grooves, Ethno-House und modernen elektronischen Klangwelten entsteht eine facettenreiche musikalische Reise, die den internationalen Erfolg der Marke eindrucksvoll dokumentiert. Ergänzt wird die Edition durch ein exklusives Artwork des zeitgenössischen Künstlers Yoons, das den Sammlercharakter der Veröffentlichung zusätzlich unterstreicht. Als musikalische Retrospektive und hochwertiges Lifestyle-Objekt richtet sich Buddha-Bar 30 Years gleichermaßen an langjährige Anhänger der Reihe, Sammler und ein internationales Publikum mit Interesse an stilvoll kuratierten Compilations.

Muss sich alles ständig so schwer anfühlen? Claud Mintz ringt ständig mit dieser Frage. Und zwar nicht in Form von höflichen kleinen Wortgefechten, sondern in Form von großen, langwierigen, existenziellen Kämpfen - von der Art, die einen letztendlich dazu bringen könnte, den Kurs des gesamten Lebens zu ändern. Die 10 Songs auf seinem facettenreichen und glanzvollen dritten Album ,Me and the Music" zeigen den 27-jährigen Singer-Songwriter und Produzenten aus Brooklyn, wie er sich mit dieser Frage auseinandersetzt und schließlich triumphierend zu etwas gelangt, das einer Antwort nahekommt: Die Dinge können schwer sein, aber das bedeutet nicht, dass man keinen Spaß haben kann. Das Leben kann schwer sein, aber das Bier in Ihrer Hand ist es nicht - warum sollten Sie es nicht für einen Moment in die Höhe recken, mit den Freunden um Sie herum mitsingen und Ihre Sorgen für die Dauer eines perfekten Indie-Pop- Songs vergessen? ,Me and the Music" ist Clauds erstes Album seit drei Jahren, seit dem 2023 erschienenen, hochgelobten ,Supermodels". Sowohl ,Supermodels" als auch ,Super Monster" aus dem Jahr 2021 waren weitgehend inspiriert von ,dieser einen unklaren Beziehung", von der er irgendwann während des Schreibens von ,Me and the Music" erkannte, dass sie ,eigentlich nie wirklich etwas war". ,Supermodels" war ein so ernstes Album, und ,ich habe einfach so lange in meinen Gefühlen geschwelgt", sagt Claud. ,Es gibt einen Unterschied zwischen Aufrichtigkeit gegenüber dem Leben und dem Leben zu ernst zu nehmen." Diese Erkenntnis veränderte alles: Im Titelsong von ,Me and the Music" singen sie: ,Das ist der letzte Song, den ich von dir ruinieren lasse", und das meinten sie auch so. Nachdem Claud diesen Song geschrieben hatte - in den berühmten Electric Lady Studios zusammen mit ihren Freunden Hank Heaven und Annie DiRusso -, begannen sie, sich völlig befreit zu fühlen. ,Dadurch wurde viel Bedauern losgelassen, das ich mit mir herumgetragen hatte, und es ermöglichte mir, zu denken _ das macht so viel Spaß", sagen sie. ,Musik zu machen macht so viel Spaß." Das Markenzeichen von Me and the Music sind also Songs, die die Komplexität des Erwachsenwerdens und des Lebens in der Welt einfangen, ohne dabei den Sinn für Verspieltheit oder Spaß zu verlieren. Es ist ein typisches ,Slice-of-Life"-Album , das neue Romanzen, Insider-Witze, Gap-Werbespots, die Band ,America" und das Land Amerika thematisiert und all diese Dinge mit Sorgfalt und Rücksicht behandelt. Die Lead-Single ,She Doesn't Love Me" von ,Me and the Music" ist in vielerlei Hinsicht der Kern des Albums - ein leichtfühliges Lied darüber, wie es ist, in den 2020er Jahren in Amerika queer und trans zu sein. (Es ist eine kraftvolle, mitreißende Hymne, die vor Schmerz nicht zurückschreckt - und trotzdem Lust macht, wie Claud in dem Titel singt, die ,Biere in die Luft zu recken".) Als Claud den Song gemeinsam mit Heaven und DiRusso schrieb, waren sie fest davon überzeugt, dass es ein Yacht-Rock-Song werden sollte; das Demo klang letztendlich dennoch ,Lo-Fi und Indie". ,Me and the Music" wurde von Claud und John Congleton (Alvvays, St. Vincent) produziert und bedeutet für Claud, dass sich der Kreis schließt: Mit diesem Album hatte Claud endlich das Gefühl, als Produzent selbstbewusst genug zu sein, um die Rolle des Co-Produzenten zu übernehmen (und hat seitdem eine Reihe viraler Singles von Romy Mars produziert). Die Zusammenarbeit ist natürlich ein wesentlicher Bestandteil von Clauds Arbeit - wer wären wir ohne unsere Freunde? Neben Claud gehört er zu einem Viertel zu Shelly, einer Band, die er gemeinsam mit Clairo, Noa Getzug und Josh Mehling gegründet hat. Auf ,Me and the Music" arbeitet Claud bei dem Titel ,The Legend" erneut mit ihrem langjährigen Kollaborateur Dan Nigro (Olivia Rodrigo, Chappell Roan) zusammen. Der Song thematisiert das Gefühl, tief in jemanden verliebt zu sein, der nicht mit einem gesehen werden möchte, sagt Claud: ,Es geht gewissermaßen um eine beschissene Beziehung und den Wunsch, die Liebe zur Schau zu stellen, ohne jedoch dazu in der Lage zu sein ", erklären sie. Doch wenn es auf ,Me and the Music" ein echtes Liebeslied gibt, dann ist es ,I Owe You", ein Dream-Pop-Road-Song, der hingebungsvoll und facettenreich ist. Er fängt den Geist von ,Me and the Music" als Ganzes ein: die Dinge Tag für Tag zu nehmen, Bilanz über das zu ziehen, was einen umgibt, und die schönen Dinge anzunehmen, wenn sie sich bieten. Das fühlt sich gar nicht so schwer an.

If you dig deep enough into the internet's lower depths, you'll find a shaky video shot on a camcorder. In 43 seconds, we see a makeshift drum kit built out of backyard Ostbahnhof trash, hear distorted vocals, and feel the anarchic energy of band and ravers dissolving into each other. It's now been twenty years since Bonaparte played their very first show at the legendary Bar25 on Berlin's Spree river. The ringmaster of this unhinged musical theater was Tobias Jundt then, and it's Jundt again now bringing the Bonaparte extravaganza back to the stage. New and nostalgic sit close together when the party's been going this long. Or, as they put it: "PARADISE IF YOU CAN STAND IT."

From late October through mid-November, Bonaparte will tour Germany, Austria, and Jundt's native Switzerland at full intensity, the full lineup - band to burlesque. Since their 2006 debut through their supposed farewell in 2019, Bonaparte played over 800 shows in 28 countries. Bottom line: "Too Much" isn't enough to properly celebrate a body of work like this. And the new songs from "PARADISE IF YOU CAN STAND IT" are far too significant not to bring to the stage. The lo-fi trash-punk of Bonaparte's earliest records has been built out with added layers, in production (largely alongside British avant-garde electronic artist HELiX) and in the songwriting itself.

The world certainly hasn't gotten any simpler since 2006. Tracks like "EVERYBODY PRESiDENT," loosely riffing on Zoe Leonard's poem "I Want A Dyke For President," and the corrosive "BRAiN ROT" mirror the social chaos we find ourselves in 2026. "OBEY (THERE iS STiLL A RiOT GOiNG ON)" is just as furious, though here the principle of hope still holds, as a multigenerational choir concludes "everything will be okay." Jundt speaks across generations again on "i LOVE YOU (MORE LATER)," dedicated in equal measure to his parents and his daughters: "Let the echo chamber bleed - from here into eternity."

The reconciliation and hope Bonaparte allows for and tends to, amid violence and all that noise, make "PARADISE IF YOU CAN STAND IT" a singular document of an artist grown wiser. Separation and grief don't cancel out love and vitality - they depend on each other. Ultimately, the album is a record of searching for and finding a home. To arrive, you have to let go.

And what better place to let go than in step with Bonaparte's wild, hedonistic party circus, finally back to gently terrorize our cities?

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

The first wave of British punk was overrun with smart kids from upper-class backgrounds playacting at being working-class yobs. Sham 69 was different; every bit as thick-headed and provincial as the band sounded, they took a perversely populist pride in its lack of musical or intellectual sophistication, just like The Exploited and Anti-Nowhere League.

Side one of Tell Us The Truth was recorded live, and it perfectly captured the Cockney vibe, complete with football chants and a spontaneous chorus of "Knees Up, Mother Brown." Frontman Jimmy Pursey's banter with the audience is impressive, and all the songs are brimmed with straight-ahead live energy. The studio side is a template for brash UK punk rock: snotty, in-your-face, fast and loud.

Tell Us The Truth is now available on black vinyl.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

2026 Repress

In these cold days we're pleased to present a potion to warm the soul as Feral finally release his 5th Hypnus record. This is the first release of our 6th year which introduces a new, custom made sleeve design that further articulates the adventurous and cinematic philosophy of our music.

Most of you will be acquainted with Feral by now as he's been an essential part of our guild for quite some time. Those of you who enjoyed his last two EP's will be pleased to find the sound of "Court of Light" to be a solid evolution of his inimitable dubbed out deep techno sound.

Early support from Claudio PRC, Deepbass, Ness, Svreca & TM404 to name a few.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

Das neue Album "The Lying Swans" der deutsch-brasilianischen Musikerin und bildenden Künstlerin Gloria de Oliveira entfaltet sich wie ein Werk des Magischen Realismus - bevölkert von Vögeln, Heiligen, Sirenen, blutigen Gesichtern, Geisterschiffen und gespenstischen Erscheinungen - und lädt die Hörer*innen in ihr bislang unmittelbarstes und komplexestes Werk ein. De Oliveiras drittes Album aber eigentliches Debut wirkt wie ein Werk der Gothic-Literatur, angestoßen durch das Bild einer Frau, die aus einem Spukhaus flieht; dieses zentrale Motiv prägte auch die visuelle Welt des Albums. Produziert von Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) und aufgenommen zwischen Island, New York und Berlin, ist das Ergebnis eine traumhafte Welt, in der Zauber und Gefahr nebeneinander existieren. Nach der EP-Compilation "Fascination" (2020, Reptile Music) sowie "Oceans of Time" (2022, Sacred Bones) - ihrer Zusammenarbeit mit David Lynchs langjährigem Sounddesigner Dean Hurley - führt "The Lying Swans" de Oliveira in neues Terrain. Sowohl thematisch als auch klanglich scheinen diese neun Songs aus den nebligen Gefilden von Hall und ätherischem Fuzz-Sound herauszutreten und eine erdige, greifbarere und damit verletzlichere Seite zu offenbaren. Dennoch bleibt ihre seraphische, sehnsuchtsvolle Stimme der Mittelpunkt, flankiert von einer beeindruckenden Riege an Musikern: Schlagzeuger Matt Chamberlain (David Bowie, Tori Amos, Pearl Jam), Gitarrist Lennard Zander, Cellistin Gyda Valtysdóttir (múm), Harfenistin Marilu Donovan (LEYA, Eartheater, Julie Byrne) und Keyboarder Ulfur Hansson wirken mit, während Ambient-Ikone Tor Lundvall eine seltene Spoken-Word-Darbietung beisteuert. Lina Andonovskas Querflöte spielt eine tragende Rolle und verleiht den Songs einen ebenso luftigen wie beunruhigenden Klang - inspiriert sowohl von de Oliveiras brasilianischen Wurzeln als auch von den Giallo-Soundtracks der 1970er und 1980er Jahre, jenen atmosphärischen italienischen Horror-Krimis, die stilisierte, drastische Gewalt und Voyeurismus mit prachtvoller Schönheit verbinden. Inspiriert von Lyrik, Literatur, Film und bildender Kunst ebenso wie von Musik, haben de Oliveira und Dunn ein Album geschaffen, das sich mühelos zwischen dem Spektralen und dem Pastoralen bewegt - ein Werk, in dem Anklänge an Fantasy- und Giallo-Soundtracks, alte Folk-Traditionen sowie die rhythmische Zartheit von Bossa Nova, MPB und Tropicália verschmelzen. Auch die Texte verweben Mythologie mit Anspielungen auf Miltons Paradise Lost*sowie die Lyrik von John Keats, Emily Brontë und Anne Sexton. Ein durchweg erhabenes Werk. Als CD (Digisleeve) mit Booklet oder auf LP (in klassisch Schwarz, Coke-Bottle-Green oder weiß-blau marmoriert) mit bedruckter Innenhülle & inside-out Sleeve.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

The seminal psych-rock classic The Evil One by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

The Evil One has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers The Evil One to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of The Evil One opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with Gremlins Have Pictures and Don’t Slander Me to follow in 2027.

God of War is Douglas Dulgarian (They Are Gutting A Body Of Water), Scott Turner (hooky) and Sam Silbert (hooky, circle of fire).


It's 2007. You’re watching your older cousin play SSX tricky. How is he such a monster at this game. Dude for real what the fuck. Such style, such finesse. I know he smokes weed. Should I tell Aunt Vicky? No no no- that would ruin this moment. He is racking up points that were formerly unheard of, and with such grace. There’s no expression on his face. And considering that he just sat open mouthed at the dinner table staring into nothing for forty minutes, this revelation is more than remarkable. It seems as if he has always existed in this moment. As if his very essence was plucked from the ether. And perhaps he has. He was made for this moment.

God of War is Douglas Dulgarian (They Are Gutting A Body Of Water), Scott Turner (hooky) and Sam Silbert (hooky, circle of fire).


It's 2007. You’re watching your older cousin play SSX tricky. How is he such a monster at this game. Dude for real what the fuck. Such style, such finesse. I know he smokes weed. Should I tell Aunt Vicky? No no no- that would ruin this moment. He is racking up points that were formerly unheard of, and with such grace. There’s no expression on his face. And considering that he just sat open mouthed at the dinner table staring into nothing for forty minutes, this revelation is more than remarkable. It seems as if he has always existed in this moment. As if his very essence was plucked from the ether. And perhaps he has. He was made for this moment.

Priding themselves in having cultivated a community and culture at their club nights, they play some of the best music ever cut to wax. It might not be quite what you’d expect from a typical northern soul night, it isn’t stepping back into the past, it’s the music stepping forward into 21st century.

“We’re not interested in nostalgia – we love soul music because it’s brilliant. It probably still resonates with young people because it has a message of something bigger than what’s inside your own head – that what really matters resides in relationships with other people, not material things. We think that is beautiful” – DNSC.

“Deptford Northern Soul Club have emerged as the new faces of northern soul” – Yuck.

As featured in Alan Byron’s documentary Northern Soul: Still Burning (2026).

“By recontextualising northern soul in a modern context, they empower the genre to continuously evolve, imparting new meaning to younger, perhaps previously unaware audiences” – Pilot magazine

Minimalista Records' first vinyl does not choose one face: it chooses four. Two MURI collaborations (with C.I.S.C.O and C4STRO), a track from Martim Tonic, and the production debut of Little Freak, the new alias of Alex Mendes, form an Assemblage that favours diversity over uniformity. A conscious decision: to show from the very beginning that the label's philosophy, minimal as a lens not a limit, holds more than one sound. Lisbon, 2026. The first pressing of a scene taking shape.

Nach der Veröffentlichung der Lead-Single ,Glowin'" im Jahr 2025 kehrt Mike James Kirkland mit seinem lang erwarteten Album ,The Business" zurück. Begleitet von den Monophonics präsentiert Kirkland eine facettenreiche, von Bläsern geprägte Sammlung, die beschwingten Soul nahtlos mit gefühlvollen Balladen verbindet und damit seinen Platz als eine der beständigen Stimmen des Genres bekräftigt. Das Album beginnt mit dem energiegeladenen ,Ready Or Not", in dem Kirkland selbstbewusst verkündet: ,Baby, I am ready", und damit den Ton für ein triumphales Comeback angibt. Produzent Kelly Finnigan lässt in ,Where Did We Go Wrong" die üppige Raffinesse des Philly-Soul einfließen und unterlegt Kirklands Reflexion über eine Liebe in Aufruhr mit Bläsern, Flöte, Waldhorn und Sitar. Finnigan arrangiert zudem das romantische ,Leading Lady" und begleitet Kirkland beim zarten ,Remembering Our Love" im Hintergrundgesang. Der Midtempo-Titelsong ,The Business" widmet sich sozialen Themen und verbindet fließende Streicherklänge mit Texten, die systemische Ungerechtigkeit und polizeiliche Unterdrückung thematisieren. Im Gegensatz dazu fängt ,Joyriding" die Unbeschwertheit des Sommers mit einem mitreißenden Groove ein, der zu den Höhepunkten des Albums zählt. Die vielbeachtete Single ,Glowin'" bildet den Abschluss des Albums. Inspiriert von der Version der Rationals aus dem Jahr 1969 des von Dr. John komponierten Stücks spiegelt der Song Kirklands beständige Botschaft wider, spirituelles Gleichgewicht und Glück dem materiellen Erfolg vorzuziehen. ,The Business" wurde zwischen Ende 2021 und Mitte 2022 geschrieben und aufgenommen, unter Mitwirkung von Jimmy James (Parlor Greens) und Lou King (Ironsides). Das Album verbindet Kirklands zeitlosen Gesang mit der üppigen Musikalität der Monophonics und markiert damit eine willkommene Rückkehr des legendären Soulsängers.

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Es ist ihr drittes Studioalbum und das erste, das bei Fat Wreck Chords erschien. Mit der Verbindung von Punk und Hardcore schufen Strike Anywhere mit Dead FM einen musikalischen Stil, der eine klare Alternative zum Mainstream-Pop-Punk bot und die Underground-Szene des folgenden Jahrzehnts maßgeblich prägte. Das von Brian McTernan produzierte Album hebt sich aus der Masse politisch orientierter Veröffentlichungen hervor, indem es komplexe politische, ökologische und gesellschaftliche Themen mit zutiefst persönlichem Songwriting verknüpft. Damit setzte das Album Maßstäbe für den modernen melodischen Hardcore. "14 break-neck hardcore tracks laden with a passion rarely achieved in modern music. Seriously, this is going to melt your face_ with love." -Fat Wreck Chords 2006 Erstmals seit Erstveröffentlichung reissued, also genau 20 Jahre nicht neu aufgelegt gewesen! Für Fans von The Flatliners, A Wilhem Scream, Rise Against, Avail. Grape Coloured EU Vinyl-LP (Auflage 500), CD noch erhältlich.

Synth driven perpetual punk rock, darkened by atmospheric touches in its production and songwriting, yet uplifted by its intention to distill that darkness into light. Pop music from France on either side of the punk explosion has never shy’d away from electronic elements and on Nuits Blanche’s Helás LP there is plenty to remind us of that legacy. The sounds we are given rub against neither pop or dance, but instead absorbs the impact of quite tough sounding street punk. Four on the floor drums, like Disco’s ghost stamped across the face by the weight of the electric guitar run with songs not out of place if “A Country Fit For Heroes” got shoved inside the sleeve of “Wanna Buy A Bridge” and the two became one. Helás has the heft and the violence of boots treading across concrete en masse but within that is the lightness and the style of a dark smokey room filled with people wearing dark glasses and considering the inevitability of the pointlessness of existence…off the dance floor anyway. (Jonah Falco)

"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.

*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem

Naturestrip, Naarm, Australia write:

"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.

few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.

let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.

think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.

utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."

Limpe Fuchs performs a live improvised score to an almost-lost silent western action film in a darkened Brussels theatre, continuing the tradition of the silent film pianist. Intimate and poetic: moonlight, projected images reflecting on the audience's faces, and a family connection (her grandfather once played violin for silent films) make this a uniquely personal recording.

Brooklyn-based DJ and producer Son of Lee is a native New Yorker who's been active in the local underground for over a decade. He launched this label back in August with a doozy of an EP that soon sold out, and so we're glad he's back. These are four more flame-hot disco edits marbled with references to many classic sounds and artists. 'Stop Making Cents' is jangling disco-pop, while 'Different Places' slows down to an 80s synth chug and 'Louis-Dreyfus Dance Face' brings some erotically charged disco sophistication and 'Nichols In May' is a mid-tempo and dubbed out delight with funky guitars for days. Classy and effective.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.