Cerca:good

Girls At Our Best! were one of the greatest and most influential bands to emerge in the early 1980s as part of a new wave of independent acts. DJ John Peel championed them, playing their singles repeatedly and inviting them to record a session for his programme. Wry vocalist Judy Evans and brutal yet melodic guitarist James Alan who’d met at art college in Leeds fronted Girls At Our Best!, the proto-Indie band that formed from the ashes of Alan’s 1977 punk band SOS! Pleasure, the sole album, reached number two in the Indie Chart. It was an album so different from the rest of the post-punk indie pack that you can still play it now and completely baffle new listeners. As John Peel said about Roxy Music, it just doesn’t seem to relate to anything else.

Hailing from the southwest side of Detroit, Michigan, Dusty Rose Gang makes music that sounds like a celebratory summer evening with friends on the beach of the city’s crown jewel, Belle Isle. The band’s feel-good rock & roll rests its laurels alongside many of the city’s musical heavyweights, bringing a swagger and heft present in the best of the MC5 and the Stooges, while balancing the subtle tones and attitude found in prime-era Sabbath, Queen, Jimi Hendrix and the Flower Travellin’ Band. It should be no surprise that the band’s songwriter, Dusty Rose, haunted the same high school halls as the MC5 at Lincoln Park High, as much of the attitude, poise and spirit can be found on the band’s A-One From Day One long player debut for the legendary Riding Easy Records. The songs shimmer and shake, shredding through solo after solo, while packing just enough hazy 70’s influence to make it sound like Dusty Rose Gang has been here all along. This is Detroit rock n’ roll made by lifers for lifers, the no-bullshit real deal that the Motor City has been breathing since before Gene Simmons coined the term “Detroit Rock City." A-One From Day One was produced and recorded by Warren Defever at Free Party Bar, Hamtramck and mastered at Third Man Mastering. Engineered by Cam Frank. The album was recorded with Brett Donlon (bass), J. Rowe (drums, percussion), Kara Meister (backing vocals), and Warren Defever (mellotron, organ). The current line-up of Dusty Rose Gang features Dusty Rose (guitar, vocals), Brett Donlon (bass), Blake Hill (drums) and Josh Budiongan (guitar).

In May 1981 B-Movie and Soft Cell went into Advision Studios in London with the same producer, Mike Thorne (Wire, Bronski Beat, China Crisis, The Communards) to record singles for the label they were both signed to. Phonogram had really wanted to sign B-Movie but had also committed to Soft Cell, having been coerced into it by Stev0, who managed both artists and wouldn’t let them have one without the other. B-Movie commenced recording the dark moody anti-fame anthem ‘Marilyn Dreams’, whilst Soft Cell got underway on a cover of an obscure Northern Soul classic. When both songs were released in July 1981, ‘Tainted Love’ became a worldwide hit and shot Soft Cell to international fame, making them the biggest stars of 1981. B-Movie had formed in 1979, in Mansfield, a typical northern town in the middle of the Nottinghamshire coalfield. Originally a three piece featuring, vocal / bass, guitar and drums, they expanded by adding a keyboard player to broaden their initial post punk sound. Local Lincoln independent record label, Dead Good Records, firstly put them on the compilation LP ‘East’, followed by 7" inch EP and then a mini-album releases, which led to an appearance on the legendary Some Bizarre label (alongside the likes of Blancmange, Depeche Mode, Soft Cell and The The)
Major label interest followed, from which came the deal with Phonogram, B-Movie initially re-recording the track ‘Remembrance Day’, which reached No61 in the UK chart in early 1981 and, more importantly, was played by BBC Radio 1 DJ John Peel, and appearing in his Festive 50 for that year. All of the recordings the band made during their Phonogram period have been consigned to the Universal Music vault for several decades, with the band finally managing to have these returned in 2024. The various tapes have been digitised and restored, resulting in the creation of what would have been their 1982 debut LP ‘that never was’. Ten tracks including the three singles plus seven previously unreleased recordings. The CD version contains a further seven recordings including the 12” versions, single B-sides and the track “Moles’” from the Some Bizarre compilation.So “Hidden Treasures” from B-Movie, is only four decades late but still able to sit seamlessly alongside contemporaries like The Chameleons and The Sound. The LP is a darker, more brooding and psychedelic affair, more akin to the gothic elements of the Bunnymen or Joy Division, than the ‘pop sensations’ Phonogram wanted them to become. By both opening and closing this chapter of B-Movie, it puts them firmly in the same bracket as their new wave and post-punk contemporaries, which is the least they deserve, as one of the great ‘lost’ bands of the early 1980’s. "It’s nice to hear B-Movie are finally getting a chance to release their forgotten gems’” Matt Johnson (The The) Vinyl

Easy Does It, Dylan Scott's third studio album, includes the platinum hits "ThisTown's Been Too Good To Us" and "What He'll Never Have" along with 6 brand new songs. The album will be available digitally, on CD, and the vinyl will include a bonus track of "My Girl" since that song has never been available on vinyl. Dylan has written several of the songs with Ashley Gorley(songwriter hall of famer).

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

Auf Festivalbühnen waren Cari Cari 2017 und 2018 nicht mehr wegzudenken. Und doch stehen die beiden erst am Anfang. Das Album feiert diesen mit dem prototypischen Titel »Summer Sun« – und gibt damit die Schlagrichtung vor. »Anaana« versammelt die Unmenge an Eindrücken aus vielen Reisekilometern, Nächten und Abenteuern in einem glühend heißen Druckkochtopf; unterhaltsam, schnell und abwechslungsreich.

Eine gewisse Liebe zu den Welten von Ennio Morricone und Quentin Tarantino ist nicht von der Hand zu weisen – und damit auch der Hang des Duos, mutig entlang eines schmalen Grats zu tänzeln: Cari Cari vermengen zahlreiche Popkulturzitate und weltmusikalische Einflüsse mit einer Prise Ironie und viel Charme. So dürfen sich zwischen kessem 60s-Gitarrensound und tribal beats auch Maultrommeln und Didgeridoos tummeln, die SML auch auf der Bühne zur Begeisterung des Publikums immer wieder auspackt. Und so gelingt der Tanz dem Duo mit jener jugendlich-frischen Mühelosigkeit, die die beiden schon die genannten Bühnen im Sturm erobern ließ.

Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.

Lately, if you blink you may miss Goose fly by. Attributing much of their success to a dedicated and exponentially expanding fan base, steady creative output, and a collective commitment to improvement, the band is now universally recognized as a premier musical act nationwide. Dripfield, Goose's forthcoming studio offering, is a tale of introspection, carefully dissecting the details of the journey. Produced and engineered by D. James Goodwin at The ISOKON in Woodstock, NY, Dripfield is the band's first full-length project completed exclusively with an executive producer. Known for his unconventional recording style and eclectic equipment collection, Goodwin guided Goose through an entirely new process of album creation. Undoubtedly the product of multiple sold out concerts and consistent recording and songwriting, Dripfield is anchored by the theme of balance. Fittingly, the project features a mix of unheard originals and re-imagined catalog staples.

t's been a half century since Pavlov's Dog burst onto the burgeoning progressive rock scene of the early 1970s. Hailing from the city of St. Louis, Missouri, their heady blend of rock, classical and folk music turned them into cult legends. The band has seen lots of lineup changes and internal turmoil over the years, leading to extended breaks between album releases. But today, David Surkamp - lead singer, main songwriter and last remaining original member of Pavlov's Dog - continues to fly the banner high, accompanied by an accomplished group of musicians that is a credit to the band's good name. For decades, Pavlov's Dog's "lost album" - "Has Anyone Here Seen Siegfried?" - recorded in St. Louis in 1977 - was available only in inferior quality. With the rediscovery of the master tapes several years ago, it became possible to hear the album as originally intended. Tensions within the band had reached the boiling point as they entered the studio and would lead to a breakup soon thereafter. Nevertheless, tracks like the piano ballad "Only You" and the somber "Suicide" are brilliant additions to the band's canon.

Beat Revolution is the new 14-song album by MUCK AND THE MIRES available April 25 from Dirty Water Records (London), featuring their smash radio singles “Cool Imposter” and “Beat Revolution” + 12 brand new revolutionary tracks.
On BEAT REVOLUTION, their 7th full-length album, we find the band marching forward into the sounds of Powerpop (“Overnight Delivery”), Punk Rock (“Julia’s Got a Boyfriend”), and pure Nuggets-era Garage Rock (“She’s Too Good For You”).
“With a blend of ‘50s kitsch, late ‘60s garage rock guitar and one of the most repetitious hooks ever, ‘Cool Imposter’ quickly marked out a place as one of their strongest tracks to date.”- Real Gone
“Now here's a political campaign we can all get behind! “ ‘Beat Revolution’ features the signature Muck sound — recalling '64 era Beatles if they'd somehow time travelled into the future and heard the Ramones. Be sure to volunteer today! Faster and Louder
“’Beat Revolution’ is pure classic early garage rock 'n' roll, and who doesn't need that sound more often? - If It’s Too Loud
Boston's Muck and the Mires, have been described as a blend of the HAMBURG era BEATLES and the CBGBs era RAMONES. They have built a worldwide following through relentless touring, radio and satellite airplay and a string of recordings (considered by many to be cult classics) produced by Kim Fowley and Jim Diamond. The band gained worldwide recognition when they were featured on MTV as the winners of Little Steven Van Zandt's (E-Street Band/Underground Garage) national battle of the garage bands contest. Beat Revolution is the followup to their highly successful album, Greetings From Muckingham Palace, which earned a Coolest Song in the World (“I’m Your Man”) on the Underground Garage SIRIUS XM show.

Bo Wosticz is a passionate music producer and DJ from the northern parts of Sweden. He has previously released own tracks as well as remixes under various names, but with this new project, he returns to his roots, creating music with a wonderful blend of electronic and acoustic elements, influenced by sounds, melodies, and rhythms from around the world, Suinga is a shuffling percussive kalimba led mellow house groove Jon Beltram delivers a subtly more energetic remix Return to Fender has an early evening rooftop feel electric pianos sit on a chugging baseline and light pads. Gnallbulver picks up the pace, just a little for the discoteque. Polished mid tempo Nordic Balearic goodness

These New Puritans veröffentlichen am 23. Mai 2025 ihr neues Album "Crooked Wing"!

"Crooked Wing" ist das fünfte Album von These New Puritans und ihr erstes neues Studioalbum seit sechs Jahren. Produziert von Jack Barnett und seinem langjährigen Mitarbeiter und Bark-Psychosis-Pionier Graham Sutton, enthält es Gastauftritte einer eklektischen und unberechenbaren Reihe von Mitstreitern, von Caroline Polachek bis zum britischen Jazz-Kontrabassisten Chris Laurence.
Das neue Album des experimentellen Kult-Duos bietet einen Sound, der sowohl brutal als auch wunderschön klingt, und festigt TNPs Ruf für visionäre Musik, die sich jeder Kategorisierung und Konvention entzieht, während sie gleichzeitig tiefes Eintauchen und Hingabe belohnt.

Mit 'Stand Together' kehrt Aloe Blacc eindrucksvoll zurück - ein Album voller Soul, Hoffnung und Haltung. Der US-amerikanische Sänger, der mit Songs wie 'I Need a Dollar' und dem Welthit 'Wake Me Up' (mit Avicii) internationale Bekanntheit erlangte, zeigt sich auf seinem neuen Werk gereift und zugleich so relevant wie nie.

'Stand Together' ist eine musikalische Hommage an Menschlichkeit, Empowerment und gesellschaftlichen Zusammenhalt. Jeder Track ist inspiriert von einer Organisation oder Bewegung für sozialen Wandel - getragen von Aloe Blaccs unverwechselbarer Stimme und seinem Gespür für mitreißende, zeitlose Melodien.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Colored vinyl repress of last Pinback album, originally released in 2012. On one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we've taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like "Good To Sea" and Summer In Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded album that likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph. The touchstones are still there: Zach Smith's stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredible immediacy of Rob Crow's voice that could make a phone book sound compelling; and the musical and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotional resonance throughout. It's the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we've come to count on, but will never again take for granted. For Fan of The xx, Deerhunter, Built To Spill, Broken Social Scene

In 2005, Headphones arrived as a seismic shift in David Bazan's already formidable canon- a collection of synth-driven confessions that push the boundaries of narrative songwriting. Stripped down to its barest essentials, the album finds Bazan and collaborators Tim Walsh and Frank Lenz constructing an audaciously raw soundscape: no guitars, just synthesizers, live drums, and Bazan's unmistakable vocals. Twenty years later, it remains a masterwork of emotional excavation and geopolitical reckoning, as relevant today as the day it was released. This 20th Anniversary edition, remastered by Christopher Colbert at National Freedom (The Walkmen, Richard Swift, Pedro the Lion), is housed in a gatefold jacket with expanded artwork by Grammy-nominated designer Jesse LeDoux, plus liner notes by writer and Belmont University Associate Professor David Dark. The self-titled album threads a delicate needle, simultaneously personal and prophetic. Songs like "Major Cities" tackle the macrocosm of American imperialism with clarity and anger, while tracks like "I Never Wanted You" unearth the raw wounds of interpersonal defeat. These are stories of inner and outer collapse, of bullies (both personal and political) wreaking havoc, yet rendered with humanity. Even in its darkest moments, though, Headphones pulses with the hope that honesty might light a way forward if only we'll bear witness to the truth. On its twentieth anniversary, Headphones feels more vital than ever. For those who've lived with it since 2005, this reissue is a chance to revisit an old wound, to press on it and see what's healed and what still aches. For new listeners, it's a chance to sit with something audacious and true an album that invites us to reckon with the ways we fail each other-and the ways we might still be good. Twenty years on, Headphones remains a rare album that doesn't just speak to you, but asks you to listen harder. + PROJECT FROM DAVID BAZAN OF PEDRO THE LION + DELUXE 20TH-ANNIVESARY REMASTERED REISSUE WITH BONUS TRACKS + DELUXE FIRST PRESSING ON LIMITED EDITION OPAQUE YELLOW VINYL LIMITED TO 750 COPIES + EXPANDED GATEFOLD ARTWORK BY GRAMMY-NOMINATED ARTIST JESSE LEDOUX + LINER NOTES BY DAVID DARK + REMASTERED BY CHRISTOPHER COLBERT (THE WALKMEN, RICHARD SWIFT, PEDRO THE LION) + LP INCLUDES BONUS 7" ON BLACK VINYL WITH TWO BONUS TRACKS

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

Etwas mehr als ein Jahr nach der erfolgreichen Erstveröffentlichung wird am 23. Mai die "Saviors (édition de luxe)" über Reprise Records erscheinen. Diese erweiterte Ausgabe des Grammy-nominierten 14. Studioalbums enthält neben den bekannten Hits sieben zusätzliche, bisher unveröffentlichte Tracks, darunter exklusive Akustikversionen von "Suzie Chapstick" und "Father to a Son". Die Resonanz auf "Saviors" war bereits herausragend – mit einer Top #2 Platzierung in den deutschen Charts und drei Grammy-Nominierungen unterstreicht das Album die anhaltende Relevanz und Kreativität von Green Day.

Die Band festigt ihre globale Präsenz weiterhin durch Headliner-Auftritte bei renommierten Festivals wie Coachella und einem anstehenden Headliner-Slot beim Hurricane und Southside Festival.

Jerry David DeCicca is songwriter and producer. He makes his living as a vocational rehabilitation provider for special education students and adults. He"s produced albums for Ed Askew (Tin Angel Records), Bob Martin and Ralph White (Worried Songs), Will Beeley (Tompkins Square), Chris Gantry (Drag City), Larry Jon Wilson (1965 Records/ Drag City) and worked on reissue projects for Numero Group. Collaborators on his DIY solo albums include David Hidalgo, Kelley Deal, Augie Meyers, Jeff Parker, Spooner Oldham, Will Oldham, and many others. He lives in the rural town of Bulverde, TX with his two dogs, three cats, five toads, and wife. His previous band, The Black Swans, released 5 albums and toured for 10 years.

Etwas mehr als ein Jahr nach der erfolgreichen Erstveröffentlichung wird am 23. Mai die "Saviors (édition de luxe)" über Reprise Records erscheinen. Diese erweiterte Ausgabe des Grammy-nominierten 14. Studioalbums enthält neben den bekannten Hits sieben zusätzliche, bisher unveröffentlichte Tracks, darunter exklusive Akustikversionen von "Suzie Chapstick" und "Father to a Son". Die Resonanz auf "Saviors" war bereits herausragend – mit einer Top #2 Platzierung in den deutschen Charts und drei Grammy-Nominierungen unterstreicht das Album die anhaltende Relevanz und Kreativität von Green Day.

Die Band festigt ihre globale Präsenz weiterhin durch Headliner-Auftritte bei renommierten Festivals wie Coachella und einem anstehenden Headliner-Slot beim Hurricane und Southside Festival.

Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale. "Szabodelico" paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. "Szabodelico" feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking where did the time go? The answer of course is: Szabodelico.

At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public’s interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I’ll Come To You seems even more pertinent… and strangely haunting.
The Jonathan Miller-adapted 1968 ghost story was originally part of BBC’s Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews.

The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on ‘Intro’ before breathing new life into the primitive John Carpenter-like drum machine on ‘Supernatural Breakfast’, while ‘Walk On The Beach 2’ sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on ‘Nightmares’, with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut ‘Evidence Of Spiritualism’

"I loved Julia Sabra’s Natural History Museum—it was released at the end of the year and is quietly devastating. Her lyricism and sensitivity in timbre and harmony is akin for me to the great Linda Perhacs. The songs are intimate and infinite feeling at the same time—I love the raw and soft poetic settings of love and death." Julia Holter (Best album 2024- Fader)

“This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect - with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir.

This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community.
These songs would’ve probably stayed in my “songs in limbo” folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I’m eternally grateful.”









[h] 8.Dis, quand reviendras-tu? [Barbara cover]

K.K. Hammond is a slide guitar playing songstress living in the backwoods of the UK. She takes her influence from the Delta Blues players of the 1930s, the roots music of Appalachia and its ancestors fusing the vibe of the swamp with a sprinkle of Southern gothic horror, K.K. writes traditionally inspired roots music but twists it her own unique way for an untapped sound that appeals to contemporary music listeners as well as classic blues fans.

K.K's music has garnered critical acclaim worldwide as well as airplay on a multitude of blues radio shows internationally. This includes the Cerys Matthews BBC Radio 2 Blues Show and the award winning Gary Grainger Blues Show.
A video of K.K. playing a slide guitar cover of "Nothing Else Matters" with her good friend Kaspar "Berry" Rapkin accompanying her on banjo was shared by Metallica on their official TikTok and described by them as "Incredible"!

K.K.’s biggest success to date arose from the release of her debut album Death Roll Blues. The vinyl and CD run sold out via pre-order prior to the album's official release date. Upon its release, the album hit the #1 spot in the UK iTunes Blues chart and subsequently bagged another #1 spot in the US iTunes Blues chart. It also exceeded her expectations by breaking into the #12 spot in the mainstream iTunes charts (across all genres) and the #18 spot in the UK iTunes mainstream chart. It was also the #3 best seller of all time for an iTunes Blues album pre-sale. Death Roll Blues also enabled K.K.’s first breakthrough into the Billboard Blues Charts with a #7 position.

K.K.'s has also had some great successes with her self produced and directed music videos. The music video for Heart Shaped Box winning a multitude of awards including wins at the Video Nasties Genre Film Festival, the David Film Festival in Turkey, the Euro Music Video Song awards, the Anatolia Film Festival, The Golden Wheat Awards, as well as K.K. receiving an honorable mention at the London Director Awards.
U.K. born, K.K. took an interest in guitar, Americana and roots Blues from an early age. She spent some years exploring the back roads of the USA eventually settling in the remote, forested English Countryside, where she works her farm. A self-professed hermit living in an isolated spot in the woods, K.K. enjoys exploring the wilderness surrounding her home to seek inspiration for her song writing.

Second solo album by Arthur Satan, released on Born Bad, after 'So Far So Good', his pop solo debut, which was a pleasant surprise for fans of his notthat-garage group JC Satan 'A Journey That Never Was' is so big you'll need special furniture to accommodate this unreasonable, maximalist parade, crammed full with 1960s pop influences.

The record plays with heritage like a kid would unabashedly plan for a birthday party. No stupid treasure hunt, we're bowling with the heads of our foes, guitars are literally bleeding through the mix. T-Rex burgers, fountains of chocolate choruses dripping on Brian Wilson - shaped giant cookies: let's indulge. Each song is a musical family, each verse is an album, each riff is a title. In his Christmas gift list, Arthur probably circled absolutely every toy: his taste for completism never disappoints. He played almost every instrument, mixed the album and designed a whole graphic universe to go along with it. A visual artist by trade, also made a point of drawing a monumental fresco spreading out the fantasy landscape that haunts this album.

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

THE CAPELLAS are a rhythm & blues / raw soulful Beat Quartet from the UK, featuring Elsa Whittaker on vocals (The Missing Souls, The Jack Cades), Mike Whittaker on Guitar (Thee Vicars, The Baron Four, The Jack Cades), Mole on bass (The Embrooks, The Baron Four) and Yan Quellien on Drums (The Barracudas, Chrome Reverse) The band have played shows in the UK, Germany and Spain, and they have slowly started conquering crowds with their highly danceable shows, so make sure to bring your dancing shoes! They have released their first EP "Take Your Chance with The Capellas" on Sweet Grooves Records (Spain) which has since then been repressed and they have just finished recording their first LP "Untamed" featuring 9 fabulous self-composed tracks plus one mind-blowing cover version of the classic "Love's Gone Bad" (Chris Clark). What a fantastic debut album by a fantastic group!

These New Puritans veröffentlichen am 23. Mai 2025 ihr neues Album "Crooked Wing"!

"Crooked Wing" ist das fünfte Album von These New Puritans und ihr erstes neues Studioalbum seit sechs Jahren. Produziert von Jack Barnett und seinem langjährigen Mitarbeiter und Bark-Psychosis-Pionier Graham Sutton, enthält es Gastauftritte einer eklektischen und unberechenbaren Reihe von Mitstreitern, von Caroline Polachek bis zum britischen Jazz-Kontrabassisten Chris Laurence.
Das neue Album des experimentellen Kult-Duos bietet einen Sound, der sowohl brutal als auch wunderschön klingt, und festigt TNPs Ruf für visionäre Musik, die sich jeder Kategorisierung und Konvention entzieht, während sie gleichzeitig tiefes Eintauchen und Hingabe belohnt.

Detroit deep house don Rick Wade back in full force! Four cuts of pure groove, lush vibes, and soulful grit. Limited wax, no sleep!

Laurent Garnier : cool release
Radio Slave (Rekids) : Woah !!! Rick knows.
Ben Sims : Now downloading. Will check asap!
DJ Bone (FURTHER) : So deep so dope! Love every track here.
DJ Sneak (I'M A HOUSE GANGSTA) : superb work
Jaye Ward (Dalston Super Store / Netil Radio) : super deep super lush
Marcel Dettmann : thx
Ryan Crosson (Visionquest) : Been playing Rick's music for 20 years. thanks for sending
Arno (Pressure Traxx / Einzelkind / Half Baked) : In a world that gets more and more crazy and unpredictable it feels good to know that some things can still be relied upon. Like Rick Wade and his crunchy deep house jams. Thanks! I was pleasantly surprised to receive such a good digital promo. Keep up the good work. Greetings from Berlin
Pat Hyland (Northside Loft Society) : Loving this EP. Rick‘s House interpretations are the finest. Full Support. Your Love Is........ Magic!
Mike Shannon (Cynosure) : Big Daddy Rick is goin' deep!
Harri (Sub Club) : lovely stuff, will play and support
Fred P : Dope...
Kai Alce (Real Soon) : Classic sounds of Rick Wade!
Enrica Falqui (ERIS, Plexus 4) : Dusk Runner for me, thanks!
William Kiss (Rekids) : Lovely!
Kléo (Rush Hour) : deep and soulful just the way it's supposed to be!
Bill Brewster (NTS) : Best track: Your Love Is
Gerd (4Lux / Clone) : Amazing house tracks by Rick Wade as usual! Phonogramme killing it too!
Aleqs Notal : Love it !!! Full support
Jorkes (Freeride Millenium) : lovely. thanks so much for sending. xoxo
Geir Aspenes (G-Ha (Sunkissed)) : Nice, thank u
Dorian Paic (Raum Musik) : Your Love Is is the one for me. Thx for the promo!
Dj Hutch (Ambers) : Lovely stuff this