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Siedah Garrett's seminal 1985 classic 'Do You Want It Right Now' receives 3 new incredible remixes from Dr Packer, BluePrint and Jolyon Petch.

Dr Packer delivers a truly funk-worthy re-work injecting a barrage of the smoothest soul-laced sonics for an early 90s house meets nu disco cut.

Jolyon Petch ramps up the funk with infectious guitar licks and groove-laden bass for his 'Elektrik Disko Mix’.

Burgeoning British producer and Stress Records artist BluePrint drops a rolling progressive house / melodic techno hedonistic dancefloor cut, re-working the classic with absolute finesse with sleek piano work floating euphorically around the iconic lyrics.

Most famous for her song writing credits on Michael Jackson's 'Man in The Mirror', as well as a duet on Jackson's 'I Just Can't Stop Loving You' and 'Don't Look Any Further' with Dennis Edwards, it's no surprise that Siedah Garrett's long career has cemented her as one the most iconic names from the 80's. 'Do You Want It Right Now' which featured in the 1985 movie 'Fast Forward' has been sampled over the years by the likes of Armand Van Helden and covered by Degrees of Motion and this iconic anthem is still considered as one of the game changers during the pivot into the 'Freestyle' movement during the 80's.

DJ Support across the mixes from Danny Howard, Mark Knight, Breakbot, Rudimental, Claptone, Jamie Jones, Sam Divine, Oliver Heldens, Riva Starr, Alaia & Gallo, Judge Jules, Mousse T, Joachim Garraud, Kevin McKay, Russell / Freemasons, Paco Osuna, Oliver Dollar.

Superpitcher is Aksel Schaufler who is resident DJ at the legendary Total Confusion club night at Cologne’s Studio 672 alongside Michael Mayer and Tobias Thomas. After his storming contribution for Speicher 1 and a remix for Contriva's club hit 'Monika' which became one of the hottest moments during the last cold winter nights he presents his beautiful debut 'Heroin'. Kompakt is his work place, technopop his mission - watch out - you' ll get addicted!

Superpitcher ist Aksel Schaufler, der neben Michael Mayer und Tobias Thomas Resident DJ bei der legendären Clubnacht Total Confusion im Kölner Studio 672 ist. Nach seinem aufsehenerregenden Beitrag für die Speicher 1 und einem Remix für Contriva’s Clubhit “Monika“, der in den letzten kalten Winternächten für heiße Momente sorgte, präsentiert er nun seine wunderschöne Debüt-Maxi “Heroin“. Kompakt ist sein Arbeitsplatz, Techno Pop seine Mission - Vorsicht - Ihr werdet süchtig danach werden!
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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.

Following the release of a number of EPs on Swiss, German, British and Australian labels, Trinidad will release their debut album ‘Palm Trees & Thirty Degrees’ on October 16th 2020.

The album draws on the Swiss-based trio’s experience of sustaining the energy of festival and club shows, while also providing the perfect background to a relaxed summer evening with friends.


The project provides an opportunity for the trio to indulge in a range of musical influences, blending together a mix of synthesizers with the haunting tones of a church organ, the warmth of a string quartet and regality of an opera singer. The album grew organically, with inspiration taking hold beyond the confines of the studio: the bonus track recorded with a Jamaican reggae singer in the back of a VW bus in Greece. Soundscapes from Colombia to India were captured and embedded.

With "Palm Trees & Thirty Degrees" Trinidad guide listeners on a journey to a tropical paradise; to a wonderful, perhaps peculiar place of confidence, created and shaped by the mental theatre of the moment.

The soft kiss of a warm breeze hits you as you adjust to your new surroundings ("Desembarco"); leaving the static chatter of your thoughts behind in the "Lobby" (feat. MonoAbe) of your mind; you allow yourself to imagine what the evening holds in store (“Kopfkino”); But first, there’s a drink in the “Sunset Bar”, a refreshing cocktail "Luciola" that serves as a gateway for you to plunge into the night. A night of unlimited possibilities, the first instances a blur ("Sagrada"), as time starts to lose its meaning ("Tempus Fugit"); everything spins, everything is possible, everything is ("Elevate"). Suddenly, hours (or is it days?) have passed – it doesn’t matter; what matters is the first sign of dawn, the unmistakable warmth dissolving the darkness (“Alma”); the beat slows, and you feel the "Libération" of the new day; looking around you see the moments you’ve shared etched on the faces of your friends ("Fleeting" feat. Julia Portmann); It is not goodbye, it is only "Au Revoir".

The album was produced by Trinidad in their own studios in Bern and Zurich. It features collaborations with a number of artists: Cornelia Aeschbacher Firmin (Hang), MonoAbe (Mallets & Percussion), Jack Williams (text of "Fleeting"), Julia Portmann (vocals), Zenyth (vocals) and Michael Meier (electric bass). The songs were mixed by Marcel Schneider, mastered by Benjamin Fay. Raïssa Lara Lütolf was responsible for the graphic design.

Soul Jazz Records' are releasing their long-out-of-print album 'Hustle! Reggae Disco' in a new expanded 2017 edition which now features five extra tracks. This ground-breaking album features non-stop killer reggae versions of original funk and soul classics in a disco style. Reggae disco updates of seminal classics by Anita Ward ('Ring
My Bell'), Chaka Khan ('I'm Every Woman'), Michael Jackson 'Don't Stop 'til You Get Enough,' Sugarhill Gang ('Rappers Delight' here performed by Derrick Laro and Trinity for producer Joe Gibbs) and more, all showing the hidden but inseparable link between the dance floors of New York, Kingston and London.

New bonus tracks to this collection include Derrick Harriott's funky take on Eddie Drennon's 'Do It Nice and Easy', the classic disco reggae of Risco Connection's take on McFadden and Whitehead's 'Ain't No Stopping Us Now' and the London rare groove lovers rock take on Barbara Acklin's soul classic 'Am I The Same Girl'.
'Hustle! Reggae Disco' has been one of Soul Jazz Records' best-selling releases since its first release 15 years ago (and subsequently featured heavily in the early Grand Theft Auto games!). This new edition comes complete fully re-mastered and with all original titles plus new tracks. This new expanded edition now comes a triple album (+ download code), CD and digital album.

'The effect of American R&B and soul music on Jamaican reggae is well documented, but the story doesn't stop there, for disco (and more so now for rap and hip-hop) have also been subsumed into the reggae mix, and while one might suspect that the resulting hybrid would die of its own implausibility, the feral mix of disco with reggae rhythms is so darn infectious that it hardly matters. Once you take your brain out of the frame and just let your feet go, this collection is a dancer's delight all done up in full-blown disco style, but with huge dub-style rhythm tracks ... if you're looking for an impossibly infectious dance collection, this is
it.' All Music

Originally released in 1981 on Streetwave and CBS, Alton Edwards' debut single "I Just Wanna (Spend Some Time With You)" is a boogie-era electrofunk classic blessed with Latin style horn stabs, super-sweet vocals and the heaviest, most squelchy synth bassline known to mankind (or womankind for that matter).

Here it gets the reissue treatment with Streetsounds' founder Morgan Khan's fine original vocal and instrumental mixes (tracks three and four) being joined by two new rubs by veteran British house producer Michael Gray. He wisely retains Edwards' killer bassline, baggy electric piano chords and razor-sharp horns, underpinning them with bustling peak-time house drums on all-action "Remix" and "Dub" variations.

Not one to be pigeonholed, highly respected DJ and producer WILL SAUL has always run the gamut of electronic dance music: from deep house to techno and UK bass, his sets and tracks like to rock the boat of any given genre, taking in contemporary impulses as well as classic inspirations. As label honcho for iconic imprints like Simple or Aus Music, he further honed his ear for the perfect groove and was invited to bring his expert selection to the revered DJ Kicks mix series in 2014. A remix collaboration with fellow UK producer October for Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) turned out to be a fine first foray into Kompakt territory - now to be succeded by the LOST IN TIME EP, for which he teamed up with Bristol-based soundsmith KOMON. Komon & Will have been collaborating for many years, resulting in tracks on Will's DJ Kicks and remixes for labels such as Ninja Tunes (Kelis) and Houndstooth (Throwing Snow). Komon has been a mainstay on Will's Aus Music imprint, with solo releases and regular collaborations with Appleblim. For Kompakt, they turn in a swooping trio of floor-versed cuts that are no strangers to atmosphere and experimentation, but like to keep the crowd in check with outbursts of pressurized funk. Leading the pack is the title cut featuring quality vocals from BEN WESTBEECH (aka Breach), flanked by the introspective DRONE and immersive mover DIGITAL PARADISE - a versatile and powerful outing from two artists that know perfectly well how to set the scene.
(de) Als einer, der sich nie leicht kategorisieren ließ, hat der hochrespektierte DJ und Produzent WILL SAUL stets die gesamte Bandbreite der elektronischen Tanzmusik zum Thema gemacht: von Deep House zu Techno und UK Bass findet alles den Weg in seine Sets und Tracks, jenseits von Genregrenzen und gerne inspiriert von zeitgenössischen wie klassischen Impulsen. Der Macher hinter gefeierten Labels wie Simple oder Aus Music ist bekannt für sein feines Ohr am Groove der Zeit und hat seine Expertise in 2014 für die berühmte DJ Kicks Mix-Reihe zum Einsatz gebracht. Eine Remix-Kollaboration mit dem befreundeten Klangschmied October für Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) entpuppte sich als grossartiger erster Ausflug in Kompakt-Gefilde - nun der Schritt zum eigenen Release mit der LOST IN TIME EP, für die er sich mit dem Bristol-Produzenten KOMON zusammengetan hat. Komon & Will arbeiten seit vielen Jahren zusammen, was bereits zu Tracks auf Will's DJ Kicks and Remixen für Labels wie Ninja Tunes (Kelis) und Houndstooth (Throwing Sbow) geführt hat. Dank seiner Solo-Releases und der Kollaborationen mit Applebim ist Komon ein gern gesehener Gast auf Will's Aus Music. Für Kompakt liefern die beiden ein bissfestes, tanzflur-erprobtes Track-trio ab, das gerne in experimenteller Atmosphähre badet, den Tänzern aber auch gerne mit Hochdruck-Funk Beine macht. Der Titeltrack brilliert mit wundervollen Vocals von BEN WESTBEECH (aka Breach), flankiert vom introspektiven DRONE und dem mitreissenden Schieber DIGITAL PARADISE - eine vielschichtige und kraftvolle Darbietung von zwei Künstlern, die ganz genau wissen wie man den Beat in Szene setzt.

Every record includes a downloadcode to get the whole digital
release for free via Facebook !!
Traumfabrik (Ton Liebt Klang, Gris Musique) just drop their new Ep
after releasing their Darkroom Honey EP as C2M006 - and again
Michael & Florian show that they keep it rolling. Two Primetime
Originals and Remix works from Fabian Schumann (Mangue Records)
and debutant duo Panik Pop are rounding up this 12" as a remarkable
release.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

Acclaimed composer, producer, and multi-instrumentalist, Kutiman and psych-soul singer/musician Dekel reunite for a stunning showcase of lush modern grooves on album “Hope”.

Long-time collaborators, the duo present an album that is a masterclass in heartwarming, positive cinematic soul, contemporary jazz, deep grooves and rich, lush psychedelia. With contemporary indie-grooves alongside soft, hazy instrumentals, the release will appeal to fans of Michael Kiwanuka, Khruangbin & SAULT.

Fust’s first record "Evil Joy" was a bitter domestic drama obsessed with the kitchen-sink passage of time measured by moments of leaving and returning. With "Genevieve", we find a different kind of leaving: leaving behind, leaving one’s old ways, starting anew, a small life together, in “Family Country.” Thus, Genevieve: an historical name for both the saintly and the ordinary, the peasantry and the family, the community and the wife, extreme devotion and absolute forbearance. While sonically and instrumentally louder than Evil Joy, Genevieve is thematically more quiet about its pains—more settled in its ways. It is a collection of pathetic love stories written in dedication to “small life,” moving from gentle exceptions (“I can take the late hours if you’re with me”) to pitiful admissions (“I’m never going to change when I leave…”). What comes with a quiet life? The highest forms of beauty, but we also find here songs of unspeaking companions, the sublime dread of having children, the balance of humility and humiliation, playing the fool for the greater good, and… budget birthday parties. With these stories of possible growth, "Genevieve" can’t help but also feature tried and true examples of crisis and repression: seeking a bygone lifestyle in an old friend who hasn’t changed much over the years, pissing contests, search parties as the form of community for melancholics with no clue what they’ve lost, old flames you won't let go and dying flames you won’t admit. "Genevieve" was recorded throughout 2021-2022 (mostly) at Drop of Sun studio in Asheville NC by Alex Farrar. The painting by Sasha Popovici is exactly right: a domestic scene yet unfinished. Many friends helped to make it much better than it was without them—Xandy Chelmis, Michael Cormier-O’Leary, Indigo De Souza, MJ Lenderman, Courtney Werner.

Produced by Manilow and longtime collaborator Michael Lloyd, What A Time brings together an eclectic and cross-generational group of collaborators, including Kenneth “Babyface” Edmonds, nine-time GRAMMY® winner Dave Cobb, and longtime co-writers Bruce Sussman and Adrienne Anderson. The result is a collection that pairs Manilow’s signature melodic grandeur with fresh textures and stylistic turns — from classic, string-swept torch songs to groove-driven R&B flourishes, heartland rock touches, and gospel-inspired crescendos.

Legendary DJ, producer, radio host, and founder of the Acid Jazz and Talkin' Loud labels, Gilles Peterson, has curated another exceptional collection of tracks and rare versions from the renowned Dutch Timeless Jazz label, which celebrates its 50th anniversary in 2025. The Timeless Jazz Classics Vol. 2 double album features tracks and standout performances by Louis Hayes, Machito And His Salsa Big Band, Mike Nock Quartet, George Adams - Don Pullen Quartet amongst others. Notably, it includes two special tracks, the previously unreleased version of "Morning Song" (Live In Bremen 1978) by Eric Kloss & Barry Miles and bonus track "La Placita" (Live In Willisau 1978) by Marion Brown Quartet.

Timeless Jazz Classics Vol. 2 is available on black vinyl, includes an insert with liner notes, track-by-track information by Gilles Peterson and affixed on the protective sleeve is the 50th Anniversary Timeless Jazz sticker.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Célia Oneto Bensaid reveals the full palette of the master of minimalism: original works, opera and film transcriptions, hypnotic flashes and introspective tenderness.

This album paints a sensitive and vibrant portrait of a composer in constant metamorphosis, for whom repetition becomes breath, emotion and light.

These resonances together form the true ‘Echoes’ of Philip Glass


[b] The Poet Acts (Music from the motion picture "The Hours") [Arr. for Piano Solo by Michael Riesman and Nico Muhly]

[d] "Trilogy" Sonata: II. Knee Play 4 (From" Einstein on the Beach") [Arr. for Piano Solo by Paul Barnes]
[e] "Trilogy" Sonata: I. Dance (From "Akhnaten", Scene 3) [Arr. for Piano Solo by Paul Barnes]
[f] Mad Rush The Hours (Music from the motion picture "The Hours") [Arr. for Piano Solo by Michael Riesman and Nico Muhly

Rot/gelbes Splatter Vinyl, limitiert auf 600 Exemplare. Nach Jahren als Frontmann einiger der ikonischsten Rockbands kehrt Erik Grönwall mit einem Soloalbum mit dem Titel ,Bad Bones" zurück, das am 22. Mai erscheint.Weltweit bekannt für seine kraftvolle Stimme und seine beeindruckende Bühnenpräsenz, hat sich Erik als Frontmann von Skid Row, H.E.A.T. und zuletzt durch Tourneen in ganz Europa und Japan (sowie durch die Aufnahme eines UFO-Jubiläumsalbums) einen Namen gemacht, bei denen er die Lead-Vocals für Gitarrenlegende Michael Schenker übernahm.Mit ,Bad Bones" richtet er den Fokus nun ganz nach innen und liefert ein rohes und ehrliches Statement ab, das ein mutiges neues Kapitel in seiner Karriere einläutet. Die Single ,Bad Bones" gibt die Richtung für ein Album vor, das furchtlos, persönlich und kompromisslos ist. Das kommende Album BAD BONES besteht ausschließlich aus Originalmaterial und markiert eine Rückkehr zum Kern des Songwritings - ehrlich, kraftvoll und zutiefst persönlich.Neben seiner Arbeit auf der Bühne und im Studio hat Erik einen äußerst erfolgreichen YouTube-Kanal aufgebaut, der Millionen von Aufrufen verzeichnet und ein weltweites Publikum anzieht, das von seinen kraftvollen Interpretationen und seiner Authentizität begeistert ist. Mit ,Bad Bones" verleiht genau diese unmittelbare, unverfälschte Verbindung nun auch seiner eigenen, originären Stimme neue Energie.

Nach Jahren als Frontmann einiger der ikonischsten Rockbands kehrt Erik Grönwall mit einem Soloalbum mit dem Titel ,Bad Bones" zurück, das am 22. Mai erscheint.Weltweit bekannt für seine kraftvolle Stimme und seine beeindruckende Bühnenpräsenz, hat sich Erik als Frontmann von Skid Row, H.E.A.T. und zuletzt durch Tourneen in ganz Europa und Japan (sowie durch die Aufnahme eines UFO-Jubiläumsalbums) einen Namen gemacht, bei denen er die Lead-Vocals für Gitarrenlegende Michael Schenker übernahm.Mit ,Bad Bones" richtet er den Fokus nun ganz nach innen und liefert ein rohes und ehrliches Statement ab, das ein mutiges neues Kapitel in seiner Karriere einläutet. Die Single ,Bad Bones" gibt die Richtung für ein Album vor, das furchtlos, persönlich und kompromisslos ist. Das kommende Album BAD BONES besteht ausschließlich aus Originalmaterial und markiert eine Rückkehr zum Kern des Songwritings - ehrlich, kraftvoll und zutiefst persönlich.Neben seiner Arbeit auf der Bühne und im Studio hat Erik einen äußerst erfolgreichen YouTube-Kanal aufgebaut, der Millionen von Aufrufen verzeichnet und ein weltweites Publikum anzieht, das von seinen kraftvollen Interpretationen und seiner Authentizität begeistert ist. Mit ,Bad Bones" verleiht genau diese unmittelbare, unverfälschte Verbindung nun auch seiner eigenen, originären Stimme neue Energie.

Die Gegenkultur-Ikone Hyd bringt ihr zweites Album raus, voll mit dynamischen, abwechslungsreichen Popsongs. Hyd holt ihre kreativen Freunde mit rein, um die Musik zu machen, darunter Hudson Mohawke, Sophie, Finn Keane (der gerade ein mega Jahr hinter sich hat als Produzent für Charli xcx), Marcus Andersson, Saint Patrick und Sophies Bruder Benny Long. Das Artwork wurde vom Fotografie-Phänomen Michael Bailey Gates aufgenommen, die Vinyl-Schallplatte wurde vom Produzenten umru gestaltet und die Musikvideos wurden vom Schauspieler Bobbi Salvor Menuez gedreht. Hayden modelt regelmäßig für Courreges, Junya Watanabe und Balenciaga und wird von der Company Gallery (NYC) für ihre visuelle Kunst vertreten. Hyd war auch der Gründer von QT, einem Performance-Kunstprojekt, das aus Hayden, Sophie und AG Cook zusammensetzt und bei XL Recordings unter Vertrag steht. Hyds neues Album beschäftigt sich damit, was es bedeutet, sich zwischen Formen zu bewegen, eine Form zu übernehmen und sich gleichzeitig in eine andere zu verwandeln; queere Ökosysteme der Fürsorge. ,Als ich 2017 mein Augenlicht verlor, begann ich, anders zu sehen. In völliger Dunkelheit wird dir klar, dass du über deinen Körper hinaus existierst. Da habe ich angefangen, dieses Material zu schreiben."

More than a decade into one of contemporary folk’s most quietly extraordinary careers, Alela Diane returns with Who's Keeping Time? The Portland songwriter’s seventh full-length came as the consequence of intuition, coincidence, and community. “I came to the end of a season last year,” Alela shares. “My daughters had grown a bit. I no longer had babies waking me in the middle of the night. I could hear myself think again.” More and more, those thoughts circled music.

The ultimate spark for Alela’s return to her music community came in April of last year with the death of her close friend and mentor Michael Hurley — folk legend and indispensable presence in the Portland music scene. Tracked live in the attic of her 1892 Victorian home, Who’s Keeping Time? was produced by Sam Weber (Madison Cunningham, Anna Tivel) and brought to life with staples from the local music orbit, including members of the bands Lucius and Blind Pilot and fellow singer-songwriters Anna Tivel and AC Sapphire. Over the years, Alela's lustrous discography has gathered major critical acclaim from the likes of Pitchfork, NPR Music, The Guardian, and plenty more. UNCUT counted her work in their ambitious “50 best singer-songwriter albums” of all time roundup—a canon comprising John Lennon, Joni Mitchell, Joan Baez, Paul Simon—with Consequence echoing that significance, declaring, “Hers is a timeless sound, that of a wayfaring troubadour, which only seems to come a few times a generation.” The Portland songwriter’s seventh full-length album, ‘Who’s Keeping Time?’ will be available on LP, CD and Digitally.

Tauche ein ins Herz des Londoner West Ends mit Paddington The Musical – Original Cast Recording, das
all die Wärme, Magie und den liebenswerten Humor von Paddingtons neuem Abenteuer einfängt. Inspiriert
von Michael Bonds zeitlosen Geschichten und den preisgekrönten STUDIOCANAL-Filmen präsentiert das
Musical neue Songs und Liedtexte von Tom Fletcher, ein Buch von Jessica Swale und die Regie von Luke
Sheppard.
Von mitreißenden Ensemble-Nummern bis hin zu gefühlvollen Balladen feiert der Soundtrack Familie, Freundschaft und die Suche nach dem eigenen Platz in der Welt. Begleite Paddington und die Browns durch
spannende Momente, herzliche Begegnungen - und natürlich ganz viel Marmelade.
Mit dem gesamten West-End-Ensemble aufgenommen, bringt dieses Album den Charme der Windsor Gardens direkt zu dir nach Hause. Erhältlich auf CD und als Sammler-Vinyl ist es ein freudiges Erinnerungsstück
für Fans jeden Alters - der perfekte Begleiter für Londons liebenswertesten Bären.

Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive yet intimate world.

Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures unfold naturally. Drawing together influences that move fluidly between spiritual jazz, synthesizer-driven explorations and ambient textures, the record balances harmonic richness with a gentle sense of openness. Where it diverges from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained.

‘Spacious Heart’ unfolds as a gentle conversation between song and atmosphere, where vocal pieces drift in and out of focus, intimate and reflective. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a quiet, reflective world where feeling, texture and restraint move softly together.

Sleeve art and design by Michael Willis.

Big Bombs EP marks the debut release on Bertie Bassett’s self-titled label, introducing a collection of groove-led house cuts rooted in classic influences and underground club culture.

Already gaining global support from DJs like Marco Carola and, Shaka Loves You and featured on Traxsource’s Essential Afro chart.

Across four tracks, Bertie Bassett delivers a mix of DJ-focused tools and edits, blending raw house rhythms, funk-driven elements and stripped-back arrangements designed for dancefloor use.

From the driving energy of Get House and Back To Underground to the reworked grooves of Man In Black (Edit Mix) and Finga Loop (Bertie Bassett Rumba Remix), the EP offers a versatile selection suited to both peak-time and deeper club sets.

With a long-standing background in house music and production, Bertie Bassett brings a seasoned approach to this first release, combining classic influences with a modern underground edge.

As the first release on the label, this EP sets the tone for the project moving forward, offering strong appeal for DJs looking for fresh, playable house cuts with a raw, groove-led feel.

A natural fit for fans of labels such as Razor-N-Tape, Toy Tonics, Bed Edits and Disco Express.

A DJ-friendly and versatile release for stores supporting underground house and edit-driven sounds.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Cowboy Junkies are set to release Open to Beauty, a collection of songs from their 21st century albums to date. This "Best Of" set will revisit selected tracks from albums "Open", "One Soul Now", "Early 21st Century Blues", "At The End of Paths Taken", "Renmin Park", "Demons", "Sing In My Meadow", "The Wilderness", "All That Reckoning", "Songs of the Recollection" and "Such Ferocious Beauty". Speaking about the new collection, Cowboy Junkies" Michael Timmins said: "We are now 25 years into this century, the beginning of which saw us leave the world of major labels and return to making music as an independent band. We figured this was as good a time as any to look back, reassess, and reflect on the music that we have recorded over these past two and a half decades and, hence, "Open to Beauty - The Best of the 21st Century".

Follow-up to their distinct sold out eponymous debut in 2023, and a vibrant expression of their singular song craft - Produced by Ringlets and Michael Logie (The Mint Chicks) in Auckland at The Lab and mixed by Isaac Keating at Abbey Road Studios - Opened/supported in NZ for the Foo Fighters, Black Country New Road, Water From Your Eyes

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Iconic Atlanta quintet SEVENDUST is back with its 15th studio album, ONE, set for release on May 1, 2026 via Napalm Records. The upcoming full-length LP forges ten simultaneously lean and gut-punching tracks out of gargantuan riffs, seismic grooves, and signature soul-stirring hooks, once again produced by Michael “Elvis” Baskette (Alter Bridge, Falling In Reverse, Mammoth). The group, comprised of Lajon Witherspoon (vocals), Clint Lowery (lead guitar, backing vocals), John Connolly (lead guitar, backing vocals), Vince Hornsby (bass), and Morgan Rose (drums), busts down the door with the first single “Is This The Real You”. Its swaggering fretwork alternately wallops and gallops in lockstep with a pummeling rhythm anchored by thunderous drums. The riff rolls and seethes, and the vocals swing from guttural growls into the embrace of a jazz-y chantable chorus.

A hummable lead ties the bridge together. Echoes of a tensely picked single-note set the tone for “Threshold.” Lajon’s delicate delivery gives way to a contentious distortion-boosted refrain. Then, there’s “Unbreakable,” which has all the makings of a clarion call for the collective and a future live staple. Strains of soft piano slip into the undertow of a towering hook punctuated by a promise, “We were meant to be unbreakable… even when we’re at our lowest lows. And if it gets too cold, I’ll never let you go.” The title track succinctly sums up the record as a whole. Bellowing out of a maelstrom of roaring distortion, Lajon’s voice reaches heavenly heights. For over three decades, SEVENDUST have made countless fans feel a part of something special. The group’s community isn’t passive. Members of the “7D Army” make a very active commitment to being part of this family – as evinced by sold-out shows worldwide and innumerable tattoos of the band’s logo and lyrics. Since 1994, the band has quietly built a legacy without parallel, encompassing sales of nearly eight million albums, a GRAMMY® Award nomination for “Best Metal Performance,” three Top 15 entries on the Billboard 200, hundreds of millions of streams, and the fierce loyalty of millions of listeners in every corner of the globe.

Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO's most accomplished works. This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO's energy on stage. Original 7" edits of the two singles released with this album are included as well as an alternative mix of album standout "It's Killing Me". The set is rounded out with newly written liner notes by Michael Hann, featuring fresh interviews with Phil Mogg and Andy Parker, alongside a collection of previously unseen photographs from the era -- making it an essential addition for fans and collectors alike.

Repress 2026

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

The next of Toolroom’s 4 track vinyl sampler series kicks off with a bang(er!). Welcoming CHANEY back onto the label with possible his finest release to date in the shape of ‘I Choose You’. On Toolroom alone he has amassed over 40m streams across leading streaming stores in just 3 years and can add massive imprints like Defected, Insomniac and Perfect Havoc to his list of musical successes. Everything in this record is 100% original and written by CHANEY himself from the self-played bass line, lush rhodes chords and distinctive, poignant vocals.

Next up is Gene Farris who has been a mainstay on Toolroom in recent years and is a regular artist at our label events all over the World. ‘In My Heart’ lands as an exciting collab with the Basura Boyz, a duo also hailing from Gene’s hometown of Chicago and the chemistry between the 3 of them is evident from the first beat! A super cool, stripped back vocal tech house track that sits in that sweet spot of club and specialist radio.

Kicking off the B-side is Deeper Purpose who returns to Toolroom alongside Jalja & Lazy Joe, after his debut club weapon ‘Stutter’ dropped on the label last year. He has had success across all the scene’s leading imprints over the past 12 months including Fisher’s Catch n Release, Experts Only and Repopulate Mars and this record is an anthem in the making! Jalja is on vocal duties, the vocalist that shot to fame after her huge ‘Hanging Tree’ record alongside Michael Bibi. She adds her trademark ethereal vibe to the record and delivers a typically killer hook - This is a real EAR WORM!!

Wrapping things up on Sampler 14 is a very exciting collaboration from 2 of the scene’s brightest shining new stars; Tony Romera and Crusy. Having been die-hard Toolroom fans for many years, this record came about during a conversation about old Toolroom records, and how they collectively wanted to emulate that slightly progressive tech house but bring it right up to date. And they have certainly done that! A real peak-time dance floor moment here with insane production and a unique, intense build up that is already causing maximum mayhem!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong

Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

2026 Repress

Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.