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The debut studio album from multi-platinum singer RAYE. Featuring number one single Escapism feat. 070 Shake.

Four times BRIT nominated, RAYE is one of the most streamed artists in the world with over
2.3 billion streams of her music. She has a double-platinum, four platinum, two gold and
three silver singles to her name. She is also indisputably one of the UK's premier
songwriters. Her songs have amassed over 3 billion streams, having written for some of the
world’s biggest artists including: John Legend, Ellie Goulding, Khalid, David Guetta, Diplo,
and Beyonce. In 2019 she was awarded The BMI Impact Award in recognition of her 'groundbreaking artistry, creative vision and impact on the future of music, in 2022 she was
nominated for the Ivors Songwriter of the year, landed R1 Brits List and made her debut solo
TV performance on Jools Holland. During the summer of 2021, her cries of frustration for not being able to release her album were heard worldwide, leading to a mutual separation from her label and allowing her to
carve her own path. Having made her public tirade, followed by her personal 'declaration of
independence', Raye in effect has obligated herself to deliver the ground-breaking first
album that her 2019 BMI award prophesied.

States Of Bliss’ is the next album by Fred P, his third full length in the last year, following ‘Oasis’ and ‘Abstract Soul’ and the most expansive of the three. Produced on the move in hotels and airports, as well as Fred's studio in Berlin, ‘States Of Bliss’ is described by Fred as “a collection of musical imaginations that truly inspire one to actions of positivity and balance, incorporating a range of emotive moods to create an environment for expansion within a sonic structure.”

Within the two parts States Of Bliss becomes a musical landscape spanning dance floor grooves such as ‘In The Flow’ with a vocal sample by Cassy, to the psychedelic acid jazz of ‘Live Your way’ moving into the meditative ambient goodness of ‘Awakening Desire’. There’s also the jazz track ‘NY’ recorded in 2012 that was remixed for the legendary "Selected" compilation. Not leaving any realm unnoticed, ‘River’ is a sought after soundscape and ‘Elevated States’ see’s Fred delves into trippy electronica. In the club or listening at home, Fred’s music makes perfect sense on either side.

Feel Good & Whatever Tomorrow — Chet Faker

Released for RSD 2022 in Australia, features previously unreleased version of Whatever Tomorrow and the new single Feel Good from his 2021 album Hotel Surrender

Mother Tongue keeping the pressure high and unleashing straight away the follow up to the deadly YJ Vol.1.
This second Yellow Jackets double A sider feautures Chicago’s royalty Ron Trent and the extra talented multi instrumentalist Other Lands.

Again one track per side and full powerful cutting to maximize the sound impact in pure YJ philosophy. Ron Trent ‘The Medi’ was actully constructed while riding trains and in hotel rooms through Italy, used as a secret weapon in special occasions…and we can hear why: a mind expanding suite that keeps evolving and going in places and spaces while constantly beating you hard! On the Flipside Other Lands brings things down to more abstract realms with the floating almost Kraut inspired jam ‘Matter’.

A very special release and a hint of what Yellow Jackets has in store for us in the near future…

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Anané Electrifies With New Version of Dancefloor Classic “Get On The Funk Train”

Known worldwide as one of the New York City’s most vibrant, charismatic and talented producer / DJs, Anané is uniquely positioned to bring light to the 1977 Number 1 Disco Hit “Get On The Funk Train,” originally released by the Munich Machine and produced by the renowned Giorgio Moroder

In addition to being a singer Anané is also DJ with residencies in New York, Ibiza and Naples. She knows how to move the dancefloor and how to elevate the mood of the room from first creating the vibe to getting the crowd into a groove; ultimately taking the dancefloor into full fledged party mode. Her strong and distinctive character can be traced to her experiences growing up in Cabo Verde’s capital city of Praia located on the island of Santiago during a time of extreme political strife, and to her many years of working hard to establish herself in the always competitive music industry. It takes a lot to tackle a classic and make it uniquely your own, but that’s exactly what Anané has accomplished with this fresh and vibrant new version of “Get On The Funk Train.”

With her wealth of talent as a performer, Anané is also highly accomplished as a record label owner. Her Nulu and Nulu Electric imprints over many years have been the source of some of the most played and sought after club bombs in the Afro House genre that is currently in vogue with DJs around the world. Her Nulu Movement line of merchandise represents the stylish, cutting edge fashion vibe of her NYC residency at Le Bain in the Standard Hotel, with designs created by Anané herself.

As befitting an artist so well respected and admired in the community, the producer and remixer team behind this project consists of several of the most legendary and successful producers in the industry. The recording was originally produced by Grammy Award winning producer / artist Louie Vega, one of the world’s premier producers who has the rare distinctive of attaining massive success in multiple genres including House, Freestyle, R&B and just recently he has been focusing on revitalizing the great musical genre known as Disco. The production includes live strings arranged by two of the most highly accomplished members of NYC’s storied musical history Patrick Adams & Leroy Burgess, and electric guitar by Carlos Alomar, formerly David Bowie’s music director. Remixes were supplied by Todd Terry, a man who is known as one of the original New York City based producers who help create the House Music genre that we know today, and by the recently formed production team of Michael Gray and Mark Knight, two of England’s most respected and successful producer / DJs. These two stars of the industry have generated a uniquely groove focused remixer style that has had DJ’s worldwide eagerly waiting each new production.

Inside his quiet, neon-lit room after midnight, the night settles in shades of blue and violet. Screens glow softly, shelves sit lined with dormant consoles, and the outside world feels distant beyond dark windows and sleeping streets.

4 AM Chill Session is an invitation to watch the stars flicker with each spin of the vinyl. In the quiet hours of the night, let the blend of dreamy melodies and relaxed electronic rhythms pull you into a new dawn with this early-morning synthwave compilation. The nostalgic, intimate atmosphere of these 20 tracks will keep you grounded as the hours fade toward morning.



The physical edition is a visual extension of the music: pressed on double "Starry Night" splatter vinyl, the deep blue and sparkling white patterns mirror the celestial aesthetic of the 4 AM sky.

[a] A1 WYS x dreamẅalker Remix - Snowman [dreamẅalker Remix]

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.

For well over a decade, MONOLORD have caused mass riff hypnosis with longform epics steeped in repetition, volume, and heaviness. One of heavy music’s most consistent and beloved bands, MONOLORD are gearing up for their next chapter with a new album titled Neverending. In looking for a new take on the genre, MONOLORD approached the legendary producer Sylvia Massy, known for her work with Tool, System of a Down, and Johnny Cash, among many more. The payoff from this new process is undeniable. Neverending feels like the culmination of 13 years of heavy, molten music, with a keen eye towards creating a sharper album. “The recording of this album is an example of the spirit of MONOLORD’s camaraderie,” says bassist Mika Häkki. “We’ve looked back and seen for the first time how much we have done as a band collectively, and realized what an intense 13 years it has been.” "The lyrics on this album are more personal than before because I went through some major life changes in the last couple of years,” guitarist/vocalist Thomas Jäger says. “I usually write about religion and how people are superstitious, but this record is more about relationships between people. But it’s not all about me. Sometimes I’m writing from another person’s perspective.” Neverending’s lead single “You Bastard” offers listeners a sharp contrast: A propulsive groove offset by lyrics about suicide. There’s two sides to suicide,” Jäger points out. “There’s the person who commits suicide and the people who gets left behind...The choruses represent the person left behind, and that person is calling the other a bastard—but it’s not pointing fingers or saying, ‘You suck.’ It’s more like, ‘You left me here with all the bullshit.’ It’s an understanding that life is not easy." Though it might not be immediately obvious, album opener “Iodine” was inspired by 70's rock epics like Lynyrd Skynyrd’s “Free Bird,” The Eagles’ “Hotel California,” and Led Zeppelin’s “No Quarter." Elsewhere, album closer “It’s Neverending” is the first MONOLORD song that Jäger doesn’t sing on. Instead, the death-metal style vocals are performed by former Entombed bassist Jörgen Sandström, (also of Grave, Domedagen and Firespawn.) 13 years on, MONOLORD’s path takes a new turn, and Neverending becomes the band’s most befitting album title. “It's been a wild ride and still is,” says drummer Esben Willems. “I've spent a quarter of my life in this band. Looking back, I'm incredibly proud of what we've accomplished along the way, and in many ways, this album feels like the essence of everything we've done so far. My mindset is the same it's always been, to be the absolute best the three of us can be.”

Set in Tasmania and offering a fresh take on the zombie genre. Clark reveals the films emotional heart with tender strings and choral recordings, whilst underpinning with glorious bass sounds that could be taken straight from recent studio album Steep Stims. Plus the occasional requisite jump scare, pin drop tension and vocal eeriness.

Wer sich Drunks Debütalbum ,A Derby Spiritual" aus dem Jahr 1996 noch einmal anhört, wird feststellen, dass es charmanter, sanfter und - wenn ich das so sagen darf - farbenfroher ist, als es sein stoischer Slow-Core-Ruf aus den 90ern vermuten lässt. Und man könnte sogar bemerken, dass Rick Alversons Stimme einen bisher ungeahnten, von Niederlagen gezeichneten Tom-Petty-Singsang aufweist. Der Sound der Band aus Richmond ist zweifellos zurückhaltend, knarrend und karg. Doch die Jahrzehnte haben diesem alten, traurigen Kerl einen wärmenden bernsteinfarbenen Schimmer verliehen. Das Black-Hole-Radio-Stück am Ende des atemberaubenden Openers ,Collarbone" scheint das Kommen von ,Yankee Hotel Foxtrot" vorherzusagen. Und hier in der seltsamen Gegenwart könnten Stücke wie ,Germany Skies", ,Gideon's Trumpet" und ,Gizmo" nahtlos in den heutigen Indie-Country-Boom eingefügt werden. Der seltsame Walzer aus Akkordeon und Geige in Stücken wie ,Indeliberate Matrimony" und ,Coming Home" klingt - wage ich es noch einmal zu sagen - wie Mellencamp aus der ,The Lonesome Jubilee"-Ära am Boden eines Fasses Schnaps. Alversons Lyrik schwankt zwischen dem hoffnungsvollen Nihilismus seines zeitgenössischen Songwriter- und Dichterkollegen aus Virginia, David Berman, und dem tiefgründigen Post-Beat-Minimalismus von Robert Creeley. Ich schwöre, wenn er in dem hoch-und-einsamen, von der Mundharmonika getragenen ,Window Sill" seufzt: ,I feel willy-nill/I pissed upon your window sill", klingt das im Lenderman'schen Sinne des Wortes verdammt romantisch. Im Rahmen des 30-jährigen Jubiläums von Jagjaguwar wird ,A Derby Spiritual", Jags zweite Veröffentlichung überhaupt, zum ersten Mal auf Vinyl gepresst. Ein drei Jahrzehnte langes Unrecht wird endlich wiedergutgemacht. Tatsächlich erscheinen im Rahmen der Feierlichkeiten zum 30-jährigen Jubiläum des Labels eine Handvoll dieser frühen Veröffentlichungen aus der Charlottesville-Ära von Jagjaguwar auf Vinyl.

He knew now that this was the only way with life. He knew now that fear and pleasure go together like the nut and the shell. - Vicki Baum, Grand Hotel (1929)

Five years after his debut Music For Video Stores (2020), Squama co-founder Martin Brugger is back on the label with his new album The Shell.
It's an introspective record on which field recordings, noisy synths and lo-fi folk guitars yield contemplative emotions with a veiled dream-pop sensibility, the sparse instrumentation and an eerie atmosphere mirroring the quarrels of the inner self.
Otherwise created in solitude in his Munich studio, the record features two contributions from label mate Lilian Mikorey (aka PILLBERT).

Written, rehearsed and recorded in Los Angeles during the collapse of the global order and the devaluation of American democracy, Songs You'll Never Hear portrays a self-destructive world in 8-lavishly produced songs Richly orchestrated arrangements contrast with the hauntingly desperate subject matter. While the world comes apart at the seams, Vanderwolf 's songwriting, production and vocals have never been so defiantly together.

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

Multi-Instrumentalist, Produzent & The Pineapple Thief Frontmann Bruce Soord kehrt 2026 mit einem starken neuen Soloalbum zurück.

Als Gründungsmitglied und Hauptsongwriter von The Pineapple Thief hat Bruce Soord das letzte Jahrzehnt damit verbracht, seine Stimme zu verfeinern, die emotionale Direktheit mit musikalischer Zurückhaltung in Einklang bringt. »Ghosts In The Park«, sein neuestes Solo-Album, ist sein bisher persönlichstes und ungeschütztes Werk: eine Platte, die von Verlust, Erinnerung und den stillen Räumen geprägt ist, die sich offenbaren, wenn das Leben weitergeht, während alles andere stillzustehen scheint.

Das Album wurde über einen Zeitraum von zwei Jahren geschrieben, während Soord ausgiebig mit The Pineapple Thief auf Tournee war, und entstand in Hotelzimmern, fremden Städten und in Momenten erzwungener Einsamkeit. Vor diesem Hintergrund verarbeitete Soord den langwierigen Verfall und schließlich den Tod seines Vaters sowie das Fortschreiten der Alzheimer-Krankheit seiner Mutter. Diese Erfahrungen bilden das emotionale Rückgrat von »Ghosts In The Park« - Trauer in Bewegung, unvorhersehbar auftauchende Erinnerungen und die stille Entschlossenheit, weiterzumachen.

Die Akustikgitarre steht im Mittelpunkt des Albums, oft in rohen Erstaufnahmen, die direkt in Hotelzimmern aufgenommen wurden, bevor sie sorgfältig mit Studioaufnahmen kombiniert wurden. Diese Spannung zwischen Zerbrechlichkeit und Kontrolle bestimmt den Klang des Albums. Tracks wie »Concepción«, »Meet Me On The Downs« und das Titelstück entstanden an bestimmten Orten - Chile, Hamburg, Oberhausen -, wobei jeder Ort einen subtilen Eindruck in der Musik hinterlässt. Parks, Häfen und anonyme Räume werden zu wiederkehrenden Schauplätzen, an denen Vergangenheit und Gegenwart nebeneinander existieren, durchschnitten von flüchtigen Momenten der Klarheit inmitten der Unordnung.

Das Album wurde fast vollständig von Soord selbst eingespielt, mit Bassbeiträgen von Jon Sykes bei »Kept Me Thinking«, und wurde in einer Kombination aus Hotelzimmeraufnahmen und Studiosessions aufgenommen, um die Unmittelbarkeit seiner Ursprünge zu bewahren. »Ghosts In The Park« wurde von Steve Kitch gemastert und ist ein starkes, reflektierendes und evolutionäres Gegenstück zu Soords gefeierten früheren Soloarbeiten

Multi-Instrumentalist, Produzent & The Pineapple Thief Frontmann Bruce Soord kehrt 2026 mit einem starken neuen Soloalbum zurück.

Als Gründungsmitglied und Hauptsongwriter von The Pineapple Thief hat Bruce Soord das letzte Jahrzehnt damit verbracht, seine Stimme zu verfeinern, die emotionale Direktheit mit musikalischer Zurückhaltung in Einklang bringt. »Ghosts In The Park«, sein neuestes Solo-Album, ist sein bisher persönlichstes und ungeschütztes Werk: eine Platte, die von Verlust, Erinnerung und den stillen Räumen geprägt ist, die sich offenbaren, wenn das Leben weitergeht, während alles andere stillzustehen scheint.

Das Album wurde über einen Zeitraum von zwei Jahren geschrieben, während Soord ausgiebig mit The Pineapple Thief auf Tournee war, und entstand in Hotelzimmern, fremden Städten und in Momenten erzwungener Einsamkeit. Vor diesem Hintergrund verarbeitete Soord den langwierigen Verfall und schließlich den Tod seines Vaters sowie das Fortschreiten der Alzheimer-Krankheit seiner Mutter. Diese Erfahrungen bilden das emotionale Rückgrat von »Ghosts In The Park« - Trauer in Bewegung, unvorhersehbar auftauchende Erinnerungen und die stille Entschlossenheit, weiterzumachen.

Die Akustikgitarre steht im Mittelpunkt des Albums, oft in rohen Erstaufnahmen, die direkt in Hotelzimmern aufgenommen wurden, bevor sie sorgfältig mit Studioaufnahmen kombiniert wurden. Diese Spannung zwischen Zerbrechlichkeit und Kontrolle bestimmt den Klang des Albums. Tracks wie »Concepción«, »Meet Me On The Downs« und das Titelstück entstanden an bestimmten Orten - Chile, Hamburg, Oberhausen -, wobei jeder Ort einen subtilen Eindruck in der Musik hinterlässt. Parks, Häfen und anonyme Räume werden zu wiederkehrenden Schauplätzen, an denen Vergangenheit und Gegenwart nebeneinander existieren, durchschnitten von flüchtigen Momenten der Klarheit inmitten der Unordnung.

Das Album wurde fast vollständig von Soord selbst eingespielt, mit Bassbeiträgen von Jon Sykes bei »Kept Me Thinking«, und wurde in einer Kombination aus Hotelzimmeraufnahmen und Studiosessions aufgenommen, um die Unmittelbarkeit seiner Ursprünge zu bewahren. »Ghosts In The Park« wurde von Steve Kitch gemastert und ist ein starkes, reflektierendes und evolutionäres Gegenstück zu Soords gefeierten früheren Soloarbeiten

Lily Was Here is the soundtrack album to the 1989 Dutch drama film of the same name (original Dutch title: De Kassière, The Cashier), released in 1989 and produced and largely written by British musician David A. Stewart, known as one half of the pop duo Eurythmics.

The most notable element of the soundtrack is its title track, an instrumental duet pairing Stewart’s guitar work with saxophone performances by Candy Dulfer. The track was released as a single and achieved chart success in multiple countries, including reaching #1 in the Netherlands for five weeks, number six on the UK Singles Chart and number eleven on the US Billboard Hot 100.

In addition to original compositions, the album includes a newly recorded version of the Eurythmics’ 1984 song “Here Comes the Rain Again,” featuring vocals by Annie Lennox. It also features vocals by Virginia Astley on "Second Chance"

The soundtrack of Lily Was Here is available as a limited edition on red vinyl.

Während wir auf ihr zweites Album ,Di Hotel Malibu" warten, verwöhnen uns Thee Marloes mit einer atemberaubenden Doppel-A-Seite. Die A-Seite, ,Under the Silver Moon", ist ein knallharter Two-Stepper, der sowohl die bitteren als auch die süßen Seiten einer Fernbeziehung einfängt, vor einem luftigen musikalischen Hintergrund. Die musikalische Leistung und die Produktion ziehen dich vom ersten Snare-Schlag an in ihren Bann, während Frontfrau Natassya Sianturis honigsüße Stimme durch Metaphern und Prosa lebhafte Bilder heraufbeschwört. Auf der B-Seite offenbart ,Through the Changes" die zarteste Seite des Sounds der Band. Kraftvoll und zart zugleich reflektiert der Song darüber, wie wir uns vorstellen - und damit ringen -, was nach dem Tod kommt. Natassya sehnt sich nach Gesellschaft und Gesprächen mit einem geliebten Menschen, der verstorben ist, mal erinnert sie sich an gemeinsame Momente, mal hinterfragt sie, ob es Sinn macht, weiterhin mit ihm zu sprechen und an ihn zu denken. Ihr Gesang ist so intim, dass es unmöglich ist, nicht jedes Wort zu spüren, während die Band die perfekte, zurückhaltende Begleitung liefert.

e A5 Harbour (At Hotel2tango) [feat. Elizabeth Glenn-Copeland]





[e] A5 | Harbour (At Hotel2tango) [feat Elizabeth Glenn-Copeland]

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Das Debütalbum von My New Band Believe entstand unter ungewöhnlichen Umständen: Während eines Aufenthalts in einem chinesischen Hotel fühlte sich Cameron Picton plötzlich krank. In seinem delirierenden Zustand entstanden Bilder und Textfragmente, aus denen später Songs wurden - darunter auch der Ausdruck "My New Band Believe", der zum Projekt- und Albumnamen wurde. Picton empfindet den Titel zugleich als kitschig und brillant: eine bewusste Wiedervorstellung, ein Neuanfang, der zwischen Ich-Bezug und kollektivem Anspruch oszilliert. Als Bassist und zweiter Frontmann von black midi war Picton Teil einer Band, die für komplexe Strukturen und kontrolliertes Chaos stand. Nach deren Auflösung 2023 begann er ohne festen Plan mit Studioarbeiten. Aus dieser offenen Phase heraus formierte sich My New Band Believe, unterstützt von Musiker:innen wie Kiran Leonard, Caius Williams, Steve Noble, Andrew Cheetham und Mitgliedern von caroline. Das Album bewegt sich assoziativ durch unterschiedliche emotionale Ebenen. Klanglich setzt es überwiegend auf akustische Arrangements statt auf elektronische Effekte, bleibt dabei jedoch dynamisch. Einflüsse wie Bert Jansch oder Judee Sill sind spürbar. Songs wie "Actress" oder "Opposite Teacher" verbinden Zurückhaltung mit plötzlichen Ausbrüchen. "Target Practice" verwandelt Vigilantismus in eine theatralische Mitsing-Hymne, während "One Night" und "Heart of Darkness" intime, suchende Figuren zeigen. Picton gelingt es, diffuse Ängste in eindringliche, mehrdeutige Popmusik zu übersetzen.

Das Debütalbum von My New Band Believe entstand unter ungewöhnlichen Umständen: Während eines Aufenthalts in einem chinesischen Hotel fühlte sich Cameron Picton plötzlich krank. In seinem delirierenden Zustand entstanden Bilder und Textfragmente, aus denen später Songs wurden - darunter auch der Ausdruck "My New Band Believe", der zum Projekt- und Albumnamen wurde. Picton empfindet den Titel zugleich als kitschig und brillant: eine bewusste Wiedervorstellung, ein Neuanfang, der zwischen Ich-Bezug und kollektivem Anspruch oszilliert. Als Bassist und zweiter Frontmann von black midi war Picton Teil einer Band, die für komplexe Strukturen und kontrolliertes Chaos stand. Nach deren Auflösung 2023 begann er ohne festen Plan mit Studioarbeiten. Aus dieser offenen Phase heraus formierte sich My New Band Believe, unterstützt von Musiker:innen wie Kiran Leonard, Caius Williams, Steve Noble, Andrew Cheetham und Mitgliedern von caroline. Das Album bewegt sich assoziativ durch unterschiedliche emotionale Ebenen. Klanglich setzt es überwiegend auf akustische Arrangements statt auf elektronische Effekte, bleibt dabei jedoch dynamisch. Einflüsse wie Bert Jansch oder Judee Sill sind spürbar. Songs wie "Actress" oder "Opposite Teacher" verbinden Zurückhaltung mit plötzlichen Ausbrüchen. "Target Practice" verwandelt Vigilantismus in eine theatralische Mitsing-Hymne, während "One Night" und "Heart of Darkness" intime, suchende Figuren zeigen. Picton gelingt es, diffuse Ängste in eindringliche, mehrdeutige Popmusik zu übersetzen.

Moumneh (Jerusalem In My Heart) und Oberland (Oiseaux-Tempête) festigen mit diesem Debüt-Studioalbum als Duo ihre langjährige Zusammenarbeit: eine überzeugende Synthese ihrer jeweiligen und gemeinsamen Sensibilität. Durch die Verschmelzung von elektronischen Klängen mit akustischen Instrumenten wie Bouzouki, Rababa, Clarineau und Saxophon, ergänzt durch Moumnehs arabischen Gesang, entsteht ein Album, das von Empörung und Klage über unsere suprematistische und rassistische Gesellschaft geprägt ist. Das Album verbindet vibrierende Elektronik mit akustischen Instrumenten wie Bouzouki, Rababa, Clarineau und Saxophon, gewürzt mit Moumnehs arabischem Gesang, und ist geprägt von Empörung und Klage über unsere supremacistische und genozidale politische Gegenwart. Radwan Ghazi Moumneh und Frédéric D. Oberland wechseln zwischen Sinnlichem und Unterdrücktem und schaffen mit ihrem Debütalbum eine poetische musikalische Verkündigung der verwandelten Realität und sozialen Amnesie. Diese sieben Titel entstanden in zweijähriger Zusammenarbeit und begannen als eine Reihe von Duetten, die Moumneh im Sommer 2023 im Studio Hotel2Tango in Montréal initiierte. Der arabische Titel von Eternal Life No End lässt sich wörtlich mit ,Eine dunkle, verfluchte Nacht, wie die Suchenden selbst" übersetzen. Das Album ist ein Aufschrei inmitten der Ozeane der Ungerechtigkeit, die die SWANA-Region überschwemmen und das Leben und die Visionen der Suchenden selbst heimsuchen. Der arabische Titel von Eternal Life No End lässt sich wörtlich übersetzen mit ,Eine dunkle, verfluchte Nacht, wie die Suchenden selbst" und das Album ist ein Aufschrei inmitten der Ozeane der Ungerechtigkeit, die die SWANA-Region überschwemmen und das Leben und die Visionen großer Bevölkerungsgruppen verfolgen. Wie Dante und Vergil in Dantes ,Inferno" zeichnen die Kompositionen von Oberland und Moumneh einen emotionalen Strudel nach, während Traumzeit in tranceartige Percussion und hypnotische Melodien einfließt und kollektive Dringlichkeiten kanalisiert, die sich durch Radwans Stimme und arabische Texte ziehen. Oberlands Passagen auf dem Saxophon und der Klarinette beschwören schamanische Beschwörungen des Bösen herauf, während Moumnehs Buzuk oft durch elektronische Bearbeitung und Schwärme mit stürmischer Trauer über sich entfaltende Tragödien untermalt wird. Eine Reihe von Instrumenten vervollständigt die Klanglandschaften: Daf (eine Rahmentrommel aus dem Nahen Osten) und Bongos, eine modifizierte elektrische Rababa, bebender Bass und andere synthetische Filigranarbeiten von Oberland. Eine Reihe von Instrumenten vervollständigt die breiteren Klanglandschaften: Daf (eine nahöstliche Rahmentrommel) und Bongos, eine modifizierte elektrische Rababa, bebender Bass und andere synthetische Filigranarbeiten von Oberlands Buchla- und Deckard's Dream-Synthesizern. ,Es ist in gewisser Weise ein Heilungsprozess", sagt Oberland über das Werk. ,Seit Beginn des Völkermords hatte ich eine komplette künstlerische Blockade und war unfähig, das auszudrücken, was die Menschen durchleben", erklärt Moumneh, der schließlich ,die Worte der Opfer" in seine Texte einfließen ließ. ,Es ist in gewisser Weise ein Heilungsprozess", sagt Oberland über das Werk. ,Seit Beginn des Völkermords hatte ich eine völlige künstlerische Blockade und war unfähig, das auszudrücken, was die Menschen durchleben", erklärt Moumneh, der schließlich seine Instrumente und seine Ausrüstung zusammenpackte und im Sommer 2024 nach Paris flog , um mit seinem langjährigen Freund ernsthaft an dem Album zu arbeiten. Die beiden hatten bereits mehrfach zusammengearbeitet, mit Oberlands Hauptband Oiseaux-Tempête und durch Moumnehs Arbeit als Jerusalem In My Heart und als Produzent/Toningenieur bei verschiedenen anderen Projekten. Eternal Life No End baut auf ihrer langjährigen Freundschaft auf, während Oberland und Moumneh auf neue Weise mit Energien und emotionalen Veränderungen umgehen, ihre Sensibilitäten verschmelzen und tiefere Resonanzen entdecken. , Wir haben Tag und Nacht zusammengearbeitet und gemeinsam klare Entscheidungen getroffen", erklärt Oberland. Dennoch übernahm er auch die Führung, um Moumnehs Stimme in diesen Kompositionen zur Geltung zu bringen - vier der sieben Titel des Albums enthalten Gesang. Das Duo tauschte gewissermaßen die Rollen und wagte sich an neue kreative Prozesse, wobei Moumneh offen Anweisungen von Oberland annahm und seine übliche Rolle als Hauptproduzent von Jerusalem In My Heart beiseite ließ. ,Squeal of Swine" und ,Dagger Eyes" eröffnen das Album mit einem doppelten Schlag in die Magengrube, während Handpercussion, tiefe Synth-Klänge und abprallende Buzuq- und Rababa-Klänge die Bühne für Moumnehs klagenden arabischen Gesang bereiten, der ein Meer von Krankheit widerspiegelt, das derzeit den Zustand der Menschheit überschwemmt. Auf dem Instrumentalstück ,A Dream That Never Arrived" verankert ein Lo-Fi-Beat mit Dancehall-Einflüssen überirdische Melodielinien vor dem Hintergrund eines elektroakustischen Sounddesigns in räumlich-zeitlicher Verschiebung. Eternal Life No End wird von einem audiovisuellen Essay zum elektronischen (und vokalen) Song ,The Serpent" begleitet, der von Oberland zusammengestellt und mit einer Super-8-Kamera in Montréal, Paris und Beirut gedreht wurde, einschließlich Aufnahmen von Gaza-Protesten in Paris und von Oberlands Auftritt beim 25-jährigen Jubiläum des Irtijal Festivals in Beirut. Die libanesische Grafikdesignerin, Druckgrafikerin und Kalligraphin Farah Fayyad steuert ein talismanartiges Kunstwerk mit ineinander verschlungenen Schlangen bei, das ebenfalls von diesem zentralen Albumtrack inspiriert ist.

Nachdem er Songs für die Beach Boys geschrieben und Alben für die Byrds produziert hatte, ging Gary Usher ins Studio, um sein eigenes Projekt zu starten. Während dieses Prozesses wurde Curt Boettcher von der Gruppe The Millennium zu einem festen Bestandteil der Sessions, produzierte zwei Songs und schrieb sieben. Die Männer erhielten auch Unterstützung von prominenten Persönlichkeiten wie Bruce Johnston (The Beach Boys) und Glen Campbell, was das Album zu einem einzigartigen und beliebten Studioalbum machte.

Die Single »The World Fell Down« war mit Platzierungen in den unteren Regionen der Billboard Hot 100 am erfolgreichsten. All dies führte dazu, dass das Album zu einem echten Kultklassiker wurde. Fans sehen es nach wie vor als eines der wichtigsten Alben der Musikszene von Los Angeles in den 1960er Jahren an, und es wurde auch in das legendäre Compilation-Album Nuggets von 1972 aufgenommen.

»Present Tense« ist eine limitierte Auflage von 1000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl.

Youth (original Italian title La Giovinezza) is a 2015 comedy-drama film written and directed by Paolo Sorrentino, starring Michael Caine and Harvey Keitel. Set in a luxurious Swiss Alps hotel, the story follows two lifelong friends: Fred Ballinger, a retired composer who has turned his back on performance, and Mick Boyle, an aging film director determined to finish what he hopes will be his final screenplay. While navigating the quirks of hotel life and revisiting the milestones of their own pasts, the film explores themes of nostalgia, personal legacy, affection, and mortality.

The soundtrack of Youth is a blend of original score by David Lang, and a selection of other carefully chosen pieces, ranging from classical works to contemporary songs. The centerpiece, “Simple Song #3,” performed by soprano Sumi Jo, captures the film’s themes of beauty, loss, and reflection. Alongside Lang’s compositions, the music features “Can’t Rely on You” by Paloma Faith, the classical piece Debussy’s “Préludes: Des pas sur la neige”, and “Third and Seneca” by Sun Kil Moon, amongst others, creating a rich, genre-spanning soundtrack that blends contemporary, classical, and indie influences.

The soundtrack of Youth is available as a limited edition on transparent vinyl and includes a 4-page booklet with liner notes.

Joff Bush and the Bluey Music team proudly present the brand-new Bluey album. Featuring 17 brand-new recordings including ‘Sleepytime’, ‘Flat Pack’, ‘Seesaw’, and the new ‘Bluey Theme Tune (Orchestral Version)’.

“This was our most ambitious album to date - so we wanted something extra special - something we’ve wanted to make for a long time."..."Hearing the music from episodes like ‘Sleepytime’ and ‘The Sign’ in all its orchestral splendour meant tissues needed to be on hand throughout the mixing process.”


“Fittingly, the theme of this album is ‘growing up’. Much of this music, like the episodes they derive from, explore what it means when kids start to discover their independence and venture out on their own. Whether that’s learning to sleep in their own bed or taking a spaceship to Mars. I hope you enjoy ‘Up Here’, as the opportunity I had to make this album is thanks to YOU!"

Released in 2000, Alan Braxe and Fred Falke's “Intro” is five minutes of faultlessly melancholy, perfectly elegant, dance music that nudged French House into the future.
“Intro” is now being re-released for its 25th birthday, using the remastered version of the song from the 2023 re-issue of Alan Braxe, Fred Falke & Friends - The Upper Cuts album, with Braxe and Falke also making new remixes of their golden child. Given that “Intro” was pretty much perfect the first time around, the results are astoundingly strong.
Falke’s remix takes “Intro” into new dimensions, cosmic and suspiciously dubby, a newly-recorded bass line sending the mix on its psychedelic way. Braxe’s remix is raw and dirty, a “hotel room edit” as he calls it, that nods to the history of French House as it sparkles up the spine.
Both tunes are evidence that - actually - you can remix the un-remixable, so long as it is done with infinite love and incredible skill.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

3 track 7" EP from Bristol emo / folk / punk trio Toodles & The Hectic Pity.
Where the debut Toodles LP was a collection of very intensely personal songs, this record comprises three songs that are closer to short stories than personal writing. All three are from imagined perspectives: the perspective of a cat, someone who may or may not be being abducted by a UFO, and people who live in a hotel respectively. They’re all nighttime songs.
The title 'Every Night is a Beautiful Night' pays homage to the 1950 film Harvey starring Jimmy Stewart, who remarks early on in the film “Why, every day is a beautiful day.”
Recorded at JT Soar, Nottingham in March 2025. It was produced and recorded by Phil Booth and Robin Newman, mixed by Robin Newman and mastered by Ed Hall at All Silk Mastering House. The artwork is by Emily Seffar.

Somewhere between the sophisticated songwriting of Leonard Cohen and Jacques Brel, the rugged folk of Bob Dylan and Neil Young, the acoustic pop of Simon & Garfunkel, and the haunting melancholy of Nick Drake and Elliott Smith, there is Philippe B, who reminds us of the depth that can be conveyed with nothing more than a guitar and a few words.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

Elvis 56 is a compilation originally released in 1996 containing 22 of Elvis' best tracks from his first year at RCA: five singles with five B-sides, five songs from his debut and six from his second LP plus a previously unreleased alternate take of "Heartbreak Hotel". That means we see "Hound Dog", "Don't Be Cruel", "Blue Suede Shoes"; quintessential tunes that cemented Presley's status as a true rock and roll icon.

Elvis 56 is available as a limited edition of 2500 individually numbered copies on clear & black marble vinyl and includes a 4-page booklet.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

That’s The Way It Is is Elvis’ 12th studio album, consisting of eight studio tracks recorded at the RCA studios in Nashville and four songs performed live at The International Hotel in Las Vegas. It accompanied the theatrical release of the eponymous documentary film, although it is not generally considered a soundtrack album.

Added to this definitive 4LP legacy edition are four single sides from the period and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the LP. Disc 3 and 4 feature the first complete release of a concert from Elvis’ 1970 "Summer Season” recorded on August 12. The 20-page booklet features an insightful essay, photos and memorabilia.

That’s The Way It Is (Legacy Edition) is available as a limited edition of 500 individually numbered copies on yellow and black marble vinyl.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

The singles are long out of print!! “It's like electronic stoner rock. Very doomy, very sabbath! Sit back and nod your head to it. I don't know what this sounds like!’ JACK OSBOURNE (review of Kling Klang’s Heavydale in Kerrang) KKKKK - Single of The Week // “I could not believe it when I saw that there was a band named Kling Klang from Liverpool. A group named after Kraftwerk's Dusseldorf studio? I had to check them out. Pounding Krautrock inspired Motorik beat, like Neu! welded to incessant Phillip Glass keyboard riffs on acid. But somehow creating their own authentic style. I had to go and say “hello” and offer them studio time. Great maverick music… Their recordings still sound amazing, and like no other band that I have heard before or since.” Andy Mccluskey, OMD // “I first heard Kling Klang when recording The Coral with Geoff Barrow (BEAK>) and we immediately loved them. Heavydale blew me away then and still does. When we curated All Tomorrows Parties festival we invited them to play, then invited them to come on our European Tour for our Album Third. They were so awesome live. For me, when they played it was the beginning of the whole show and not just a support band. So cool this collection of singles is happening.” Adrian Utley, Portishead.

On "Another Year Older," Larry Fleet cements his status as country music’s premier blue-collar soul-singer, delivering a masterclass in honest, salt-of-the-earth storytelling. Shifting his gaze toward the reflective milestones of adulthood, the White Bluff, Tennessee native trades the restless energy of his earlier work for a grounded, hard-won perspective on what truly lasts. The project seamlessly blends the grit of classic 70s country with the soaring, gospel-infused vocal power that has become his trademark, capturing the quiet dignity of the working class and the profound beauty found in the everyday. From the steady wisdom of the title track to the heartfelt odes to faith and family, Fleet treats the passage of time not as a burden, but as a teacher. It is a record for the dreamers and the doers alike—a soulful, unvarnished progress report from a man who has clocked the miles, felt the weight of the world, and realized that getting older is just another word for getting it right.