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The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

Acclaimed songwriter Maria Taylor, best known for her work with Azure Ray, returns with her forthcoming album ‘Story’s End’, a hushed,
cinematic collection that unfolds like an intimate narrative of loss, healing and quiet transformation.
Featuring contributions from Mike Mogis, Conor Oberst, Nate Walcott and Ben Brodin, the album pairs Taylor’s intimate vocals with widescreen strings, bell-like piano and atmospheric arrangements

Stacey Kent is an American jazz singer in the mould of the greats, with a legion of fans, a host of honors and awards including a Grammy nomination, album sales in excess of 2 million and more than one billion streams, and Platinum, Double-Gold and Gold-selling albums that have reached a series of chart-topping positions.

Stacey, a comparative literature graduate with a passion for music, travelled to Europe to further her studies after receiving her degree from Sarah Lawrence College in NY. Through a series of twists of fate, she found herself in London where she enrolled in a graduate music program at the Guildhall School of Music and Drama, where she met her future husband and musical partner, Jim Tomlinson.

Kent's musical journey began with childhood piano lessons. A keen ear and true voice lead her to search out opportunities to express her love of music. However, nothing suggested the shift from the academic path to the one that propelled her to international recognition as one of the foremost jazz singers of her generation. With a catalogue of 13 studio albums, including the Platinum selling, Grammy-nominated Breakfast On The Morning Tram (Blue Note/EMI 2007) and an impressive list of collaborations, Stacey has graced the stages of nearly 60 countries over the course of her career.

Her worldwide fan base is testimony to her ability to express the emotional heart of her songs with delicately nuanced interpretations that transcend borders and defy categorization. Her unique multi-lingual repertoire includes standards, chanson, Bossa Nova, and originals written by Jim Tomlinson, her saxophonist/producer/composer/arranger husband in collaboration with the Nobel Prize-winning author, Kazuo Ishiguro with whom they have worked since 2006. She has also recorded with Brazilian legends, Marcos Valle, Roberto Menescal and Danilo Caymmi, and the celebrated French string quartet, the Quatuor Ébène.

Stacey's last studio album, Summer Me, Winter Me, was released in November 2023 on Naïve Records. A collection of fans' requests from her as yet unrecorded concert repertoire, Summer Me, Winter Me entered the French jazz charts at number 1 and has quickly established itself as a new highlight in her discography. She now returns with A Time For Love.

This Signum Classics release presents four orchestral works by Xiaogang Ye, one of the most prominent figures in contemporary Chinese music, performed by the RLPO under conductor Dane Lam.
Recorded in February 2024 at Liverpool Philharmonic Hall, the album brings together music inspired by Chinese history and personal memory.

Bruce Hornsby’s newest album, Indigo Park, is a concept album of sorts, an extended multi-dimensional inquiry into the nature of aging and memory, often with a lightness of tone – the ways certain scenes linger placidly while others balloon into imagined catastrophe, the ways we remember and the ways we forget. Throughout, Hornsby contemplates moments from his deep past, sometimes trying to “resolve” them, other times looking for clues about his present-day outlook. “It's just an old bastard looking back, while hopefully pushing forward to adventurous and new musical & lyrical areas,” Hornsby says of his new songs, with a smile of characteristic self-deprecation. “To be honest, I've found a way, a path to….grow old gracefully, with help from some newborn friends of mine.” The album is produced by Tony Berg, Will Maclellan and Bruce Hornsby with contributions fro

There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded.
After releasing music made primarily in basement recording environments, Something We All Got is the band’s first flirtation with studio recording. The edges are still sharp, however, with some parts assembled from time-honored lo-fi methods and fun, personally-sourced samples seeping into the production. The sound is explosive and upbeat, with euphoric guitars, bubbly synth lines, speedy drums both played and programmed, and all other manner of sound constantly colliding. Cootie Catcher has three songwriters, Sophia Chavez, Anita Fowl, and Nolan Jakupovski, all of whom have distinctive voices but still manage to overlap in their writing on shared concerns like navigating the lines of romantic and platonic relationships, their city’s social scenes, and struggles in both the microcosmic experience of playing in a band and the zoomed-out challenges of living through late-stage capitalism.
Joy still touches every surface of Something We All Got. “Quarter Note Rock” bounces around the room in a fit of jangling guitar chords, scratched samples, and interplay between breakbeat loops and somersaulting live drums. It’s a blast of positivity even with lyrics about how disappointing it can be to meet your heroes. A smiling electro pop instrumental supports lyrics about having to step painfully away from an almost realized love on “Gingham Dress,” a song that subverts themes of domesticity as a backdrop for the dashed wilt of hopeless devotion.
Cootie Catcher rolls down hills and jumps through flaming hoops throughout Something We All Got without ever dumbing down the visceral emotions that drive these songs. There’s a palpable tension between the band’s exhilarating sonics and the raw, often uneasy sentiments expressed, but it’s an integral part of what makes them unique. Rather than hide behind the kind of calculated vagueness that plagues so much of the indie rock landscape in the time of cursed algorithms, Cootie Catcher runs full-speed toward every confusion and excitement, fearlessly direct and embracing the reality they’re in.

LA-based producer Real Bad Man and LA musician Genevieve Artadi announce their new collaborative album Everything Is Under Control, out October 3rd via the producer’s own Real Bad Man Records. Alongside the announcement, the duo are sharing two new singles from the forthcoming album, “Don’t Gotta Think About U” and “Little Claws”. The former is an electro pop banger that propels Artadi’s intoxicating vocals to the forefront and arrives with an accompanying visual. With Everything Is Under Control, Real Bad Man is proving his versatility as a producer, crafting intricate and lively electronic-forward foundations for an old friend in Genevieve to explore an eclectic, funky approach to her vocals.

Speaking about the single, Artadi says, "'Don’t Gotta Think About U' is about a person celebrating the explosion of her most recent unhealthy romantic relationship. Her spitefulness and delusion of freedom indicate she’s still inside the pattern she hasn’t yet realized she keeps signing herself up for. The sound is melancholic pop, the thread that has always tied Adam and me together despite our musical differences."

"I love juxtaposing dense drums and a very pretty voice," Real Bad Man says of collaborating with Artadi. "That’s what 'Don’t Wanna Think About U' is. We’re also trying to make something catchy at the same time, that’s what I’ve always been drawn to musically is blending genres and moods and get them to work together. As well as pulling Genevieve away from what she does with Knower and her solo stuff.

Real Bad Man’s collaboration with Artadi is a radical shift in approach for the producer, whose previous full-length projects this year were rooted in the distinct strain of underground hip-hop that he’s amassed an extensive catalog in. Everything Is Under Control marks an entirely different, and unpredictable, sonic approach for the duo, embracing experimentation and synth-led electronica that’s reminiscent of Artadi’s work as part with Pollyn (her former band with Adam/Real Bad Man) as well as current duo KNOWER with Louis Cole. Real Bad Man’s latest project extends his prolific run of collaborations this year, embarking in a new genre and sound entirely after releasing full-length projects with ZelooperZ (Dear Psilocybin), Boldly James (Conversational Pieces) and Willie The Kid (Midnight) in the first half of 2025.

Known for her complex, yet playful writing style, Genevieve Artadi has made a name for herself through four solo albums that stretch the gambit of jazz, dream pop and dance music. The last three albums were released on iconic label Brainfeeder Records and the fourth (Another Leaf) was made as part of her being a composer-in-residence with Sweden’s Norrbotten Big Band. She’s also been an accomplished collaborator with her bands Expensive Magnets, Pollyn and KNOWER, and performing and recording with the likes of Thundercat and Snarky Puppy.

Check out “Don’t Gotta Think About U” and “Little Claws” above, see below for more details on Everything Is Under Control and stay tuned for more from Real Bad Man coming soon.

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

It was recorded at Ardent Studio in Memphis featuring Kim Wilson, Jimmie Vaughan, Preston Hubbard and Fran Christina with Dave Edmunds on guitar and vocals, Chuck Leavell on keyboards plus the Memphis Horns adding their unique touch, leading one reviewer to describe it as "sweaty, grimy, bar-room rock 'n' soul". This re-issue is one of the eight (blue) vinyl editions scheduled for release in 2026 that represent the band's complete studio recordings with Jimmie Vaughan on guitar before he left to pursue a solo career. THE 1978 DOC POMUS SESSIONS / GIRLS GO WILD / WHAT'S THE WORD / BUTT ROCKIN' / T-BIRD RHYTHM / TUFF ENUFF / HOT NUMBER / POWERFUL STUFF. These albums are also available in one collection as a CD set with a book. The Fabulous Thunderbirds. The Jimmie Vaughan Years. Complete Studio Recordings 1978 -1989

Cold & uncompromising, Kvist offers black metal loosely in the style of early Dimmu Borgir, Satyricon, & Emperor, yet still maintaining their own distinctive sound & edge. Throughout 6 intricately crafted epics of dark cold atmosphere, 'For Kunsten Maa Vi Evig Vike' is a storm of melodic black metal, with lyrics written in the band's native Norwegian only heightening the feel of the album. The album was recorded at Endless Sound Studios in Oslo (Turbonegro). Kvist only released this one album before the band split up, marking it now as a timeless release, with members later going on to join acts such as Urgehal. Kvist briefly & mysteriously re-surfaced in 2022 with a demo recording of a new track, featured on Peaceville's 'Dark Side Of The Sacred Star' compilation. This special 30th anniversary pressing of 'For Kunsten Maa Vi Evig Vike' is presented on limited marble vinyl

Die britische Post-Punk-Band Wild Swans wagte sich in die Nähe von U2 auf ihrem 1988 erschienenen Debütalbum »Bringing Home The Ashes«.

Die eindringliche Stimme von Paul Simpson verleiht jedem Stück ein emotionales Gewicht; ob er nun versucht, Freude oder Trauer zu vermitteln, sein eisiger Bariton lässt einen bis ins Mark erschauern. Das Album handelt vom Erwachsenwerden, das Aufwachsen in einer Zeit des Krieges und die Suche nach Trost von Gott und der Liebe zu finden.

Die Wild Swans wurden nie als christliche Gruppe beworben, aber Simpson nutzt seine Spiritualität, um Hoffnung oder Verzweiflung auszudrücken. Die Wild Swans malen unauslöschliche Bilder: Simpsons funkelnde Stimme und Kellys ätherische Gitarren verleihen dem Album eine unbestreitbar romantisches Gefühl.

»Bringing Home The Ashes« ist in einer limitierten Auflage von 750 einzeln nummerierten Exemplaren auf Crystal Clear Vinyl erhältlich und enthält eine Beilage.

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005.They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl.

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005.They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl. LP FORMAT DETAILS: Clear blue vinyl with download card in a gatefold jacket.

Hey Mercedes, formed from members of Chicago's emo band Braid, included Bob Nanna, Todd Bell, Mark Dawursk, and Damon Atkinson. They debuted with a self-titled EP (Polyvinyl Records) in 2000 and followed up with extensive touring and two full-length albums: Everynight Fire Works (Vagrant Records) in 2001 and Loses Control (Vagrant Records) in 2003 along with two more EP's: The Weekend EP (Vagrant Records) in 2002 and Unorchestrated (Grand Theft Autumn) in 2004. Dawursk left at the end of 2001 and was replaced by Mike Shumaker. After 359 shows and several releases, the band disbanded in April 2005. They played a reunion show in 2007 and celebrated the 15th anniversary of Everynight Fire Works in 2016 with a remastered re-release and select live performances. In 2025, the band made their live comeback at Las Vegas's second annual Best Friends Forever Festival and will continue to play more shows in 2026. In March 2026, Polyvinyl Records will reissue the complete Hey Mercedes catalog. With several EPs and albums currently out of print, this release will provide Hey Mercedes fans with the opportunity to obtain every Hey Mercedes title on vinyl.

Kerrigan are one of the most promising newcomers from Germany playing traditional heavy metal. The band was formed in Freiburg in 2019 by Bruno Schotten (guitars, bass) and Jonas Weber (vocals, guitars). The duo recorded a demo tape consisting of original compositions “Intruders”, “Force And Will” and “Heavy Metal 2020” plus a cover version of “Rest In Peace” by Wolf (UK). »Heavy Metal 2020« was later released by Fucking Kill Records on tape and vinyl (re-issued by High Roller). For their first full-length album »Bloodmoon«, Kerrigan inked a deal with High Roller Records. »Bloodmoon« was recorded with the help of session drummer Jonathan Döring, an old friend of the band, and received very favorable reviews in the metal press when it was released back in 2023. Together with Jakob on bass, Jonathan is now a regular member of Kerrigan. Three years after »Bloodmoon«, it’s time for the follow-up album by the name of »Wayfarer«. “Dreamy, melancholic and pretty versatile,” this is how guitarist and singer Jonas Weber describes the second Kerrigan album. For him, »Wayfarer« is more or less a direct continuation of »Bloodmoon«. Who knows, maybe Kerrigan have indeed achieved to write a modern heavy metal classic!

Kerrigan are one of the most promising newcomers from Germany playing traditional heavy metal. The band was formed in Freiburg in 2019 by Bruno Schotten (guitars, bass) and Jonas Weber (vocals, guitars). The duo recorded a demo tape consisting of original compositions “Intruders”, “Force And Will” and “Heavy Metal 2020” plus a cover version of “Rest In Peace” by Wolf (UK). »Heavy Metal 2020« was later released by Fucking Kill Records on tape and vinyl (re-issued by High Roller). For their first full-length album »Bloodmoon«, Kerrigan inked a deal with High Roller Records. »Bloodmoon« was recorded with the help of session drummer Jonathan Döring, an old friend of the band, and received very favorable reviews in the metal press when it was released back in 2023. Together with Jakob on bass, Jonathan is now a regular member of Kerrigan. Three years after »Bloodmoon«, it’s time for the follow-up album by the name of »Wayfarer«. “Dreamy, melancholic and pretty versatile,” this is how guitarist and singer Jonas Weber describes the second Kerrigan album. For him, »Wayfarer« is more or less a direct continuation of »Bloodmoon«. Who knows, maybe Kerrigan have indeed achieved to write a modern heavy metal classic!

A collection of fourteen digital reggae, deep roots and dub rarities from the Nigerian underground, spotlighting a time when Jamaican reggae entwined with Nigerian styles, politics and consciousness, creating a bridge between Lagos and Kingston. Fight the Fire is a companion piece to Soundway"s seminal "Doing it in Lagos" and "Nigeria Special" compilations, celebrating the innovation and musical experimentation of Nigeria in the 80s. Features rare tracks from key figures of the time including Oby Onyioha (with a crucial Burning Spear cover) and Orits Williki.

Im Jahr 2002 schrieb t.A.T.u. mit All The Things She Said Popgeschichte. Julia Volkova und Lena
Katina landeten mit dem Song einen weltweiten Nummer-1-Hit und wurden über Nacht zu einem der
polarisierendsten Duos ihrer Zeit. Mit seinem düsteren Synthie-Pop, seiner Eingängigkeit und seinem emotional aufgeladenen Refrain traf der Track sowohl musikalisch als auch kulturell einen Nerv. Die provokante
Performance, das ikonische Video und die bewusste Inszenierung von Außenseiterstatus, Intimität und Rebellion machten den Song zu viel mehr als nur einem Chart-Erfolg. Mehr als 20 Jahre später erlebt „All
The Things She Said“ nun ein starkes Revival, da es in der neu erschienenen HBO-Max-Serie „Heated
Rivalry“ zu hören ist. Der Track unterstreicht die heimliche Romanze zwischen den Eishockeyspielern Ilya
und Shane in der Serie und passt perfekt zum Thema der Serie: verbotene, tabuisierte queere Liebe.
Anlässlich dieses Comebacks wird nun eine 12-Inch-Picturedisc-Vinyl veröffentlicht. Die Platte kombiniert
einen neu interpretierten Remix, eine Extended Version und einen Remix. Hochwertiger Sound, ikonisches
Artwork und ein Track, der Generationen verbindet. Diese Vinyl ist eine Hommage an einen Song, der nie
wirklich verschwunden war und nun lauter denn je zu hören ist.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Portland-based krautrock band Motrik formed in 2013, its four members united by a pledge to modernize their beloved genre. Sharing a passion for pioneers like Can, Kraftwerk, and Trad Gras Och Stenar, the group has demonstrated its ability to deliver over a series of EPs and albums, most recently 2020's acclaimed Artificial Head. As they continue to experiment by incorporating additional influences ranging from funk and jazz to psych and prog Motrik's third full-length, a double LP titled MOON: The Cosmic Electrics of MOTRIK, is a further continuation in the story of an historic genre befitting of the album's cosmic artwork.

Motrik boldly takes full advantage of the space that four sides of vinyl allow on this latest offering. The middle of the album features two long suites that feel typical of the groups dynamic live performances, which frequently feature fog cannons, lasers, and other prop homages to Kraftwerk and company. The 13-minute "Stabilize" emerges from a haze of synth pulses and guitar tones, settling into a steady NEU!-like chug that swells and recedes like an ecstatic wave. On "Space Elevator", the motorik drive from which the band take their name evolves into an insinuating and sensual disco-like throb before the perfect proggy comedown in the final minute.

Bob & Doug McKenzie’s comedic masterpieces are back and beautifully remastered with “The Great White North & Strange Brew 44 3/4 Anniversary,” loaded with features that any real hoser needs*. Including a karaoke version of “12 Days of Christmas” with a bonus lyric sheet, an “Are You A Hoser” poster, 12 page booklet of rare historical and archival photos and quotes from big names in music, film and sports and a blu-ray copy of the “Strange Brew” movie itself. The soundtrack won the duo their second Juno Award for Best Comedy Album. “The Great White North”, achieved multiplatinum status selling over ONE MILLION COPIES of the album! The song “Take Off” featuring Geddy Lee of RUSH and earned them the Juno Award for Comedy Album of the Year.

*baby mice, touques, and beers not included

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

Renowned producer, dj, artist and author Justin Robertson fresh from the success of his Five Green Moons project joins forces with composer and Stone Club co-founder Matthew Shaw on their tribute to mythical band MineralTail. An 11 track cosmic trip through krautrock, weird ambience and loose-limbed grooves that accompanies the story contained in Justin's new novel of the same name. Expect hypnotic electronics and ritualistic rhythms, swirling melodies and glorious riffs.

'Critics agree that the greatest album ever recorded is the self-titled debut by the MineralTail. Recorded after the extinction of humanity by the combination of a Megalithic stone and two dogs, the record remains peerless in its ingenuity, passion and inventiveness. An album that consistently remains at the top of all rankings and charts. Though all such accolades are meaningless, nonetheless its enduring appeal is obvious. Here, at last is the first reliable account of how that record was made. The recording techniques, the creative disputes, the true source of the sound. It is a story of sublime inspiration, skulduggery, time travel, beauty and conflict. But most importantly it is the story of music itself. Because held within the grooves of the MineralTail's breathtaking debut is the voice of God's most dazzling accident. Music.'

Y-TRAXX'S "MYSTERY LAND" RETURNS ON VINYL WITH NEW REMIX BY ROY ROSENFELD:

The legendary trance anthem Mystery Land by Y-Traxx returns to the spotlight. First released in 1995, the track achieved iconic status after featuring prominently in the 2000 box-office No. 1 movie Kevin & Perry Go Large. The original track is now being reissued on vinyl. The release includes the Original Mix, the classic Sickboy Courtyard Mix, the Søluna Remix - winner of the Beatport Remix Contest - and a brand-new remix from Roy Rosenfeld. Available from 3 April via Serious Beats Classics.

With its hypnotic melodies, driving beats, and mysterious atmosphere, "Mystery Land" became a symbol of the 90s trance scene and grew into a cult classic. The track was picked up worldwide by influential DJs, including Paul Oakenfold, and featured prominently on his mix album Perfecto Fluoro (1996).

The new remix by Roy Rosenfeld brings a fresh, modern take to the iconic track, preserving the emotion of the original while adding a powerful peak-time, sunrise energy. Rosenfeld comments: "Remixing Mystery Land was an honor for me. I've loved this track for many years, so the process was very natural and fun. The vision came quickly, keeping the emotion of the original and pushing it into a peak-time, sunrise energy."

ABOUT ROY ROSENFELD:

Roy Rosenfeld is a leading DJ and producer in the house music scene, known for his warm, melodic, and instantly recognizable sound. Since 2009, he has built an impressive international career with releases on labels such as All Day I Dream, Lost & Found, and Rumors, and with iconic tracks like Epika and Kala. His music receives worldwide support from top artists including Solomun, Black Coffee, and Keinemusik. Alongside his studio work, Roy is a highly sought-after performer at clubs and festivals around the globe and the driving force behind the successful No Drama event concept in Tel Aviv.

This release combines nostalgia with contemporary trance production, offering both longtime fans and a new generation the chance to experience this timeless classic in a refreshed form.

All scene-shaking releases deserve their own vinyl pressing, and Dense & Pika's 'Colt EP' is getting it well over a decade after its 2012 release. Containing all of the EP's tracks, from namesake 'Colt' to 'Black Deep', 'Vomee' and 'Airless', this re-release carves the legacy of the U.K. into a must-have, limited-edition vinyl.

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Black vinyl re-press of the initial sold out brown vinyl edition

In den letzten fünf Jahren hat sich Joe Westerlund intensiv mit der Clave beschäftigt, dem metrischen Muster, das zunächst die afro-kubanische und lateinamerikanische Musik geprägt hat und dann in fast alle Bereiche des Jazz und Rock Einzug gehalten hat. Was bedeutete es, dass eine Idee so flexibel war, dass sie so viele Formen annehmen konnte und dabei doch ihre eigene Essenz behielt? Das Ergebnis ist für Westerlund ein Sprung ins Unbekannte: Curiosities from the Shift, ein 12-Track-Spielplatz mit endlos verwobenen Beats und Melodien, auf dem Westerlunds Begeisterung für die Clave auf seinen experimentellen Umgang mit Texturen trifft und seine rhythmische Symphonie mit Freunden Hand in Hand geht, die diesen Raum gemeinsam mit ihm gestalten. Die dreiteilige Suite, die die erste Hälfte von Curiosities ausmacht, beginnt mit den Schrottplatz-Percussions und den entzückenden Bass-Splashes, die ,Tem" umrahmen, und endet mit dem surrealistischen Boom-Bap von Daumenklavieren und Shakers auf ,Can Tangle". Diese Stücke strahlen eine hart erkämpfte Freude aus, als würde Westerlund sich in Echtzeit daran erfreuen, eine potenzielle Sackgasse zu entdecken, aber trotzdem seinen eigenen Weg nach vorne zu finden. Diese Songs wurden zu einer Art Arbeitsplan für das Terrain, das Westerlund auf Curiosities erkundet, vom glorreichen Call-and-Response-Opener ,Nu Male Uno" bis zum unheimlich amorphen Schlussstück ,Felt Like Floating". Alle diese Songs zeichnen sich durch einen erkennbaren Rhythmus aus, wie den galoppierenden Gang in der Mitte von ,Midpoint" und den kopfnickenden Puls, der sich durch ,Persurverance" schlängelt, dessen Name augenzwinkernd falsch geschrieben ist, um seiner Aussprache aus North Carolina via Wisconsin zu entsprechen. Aber das sind nur Sprungbretter für andere Texturen, Stimmungen und Ideen, wie die New-Age-Anklänge - schimmernde Metallophone, zwitschernde Vögel, zurückhaltende Flöten -, die ,Midpoint" durchziehen, oder die Dub-artigen Delays und Gamelan-Hymnen, die ,Persurverance" durchziehen. Dies ist zutiefst vielschichtige Musik, deren treibender Kern durch eine Reihe überraschender Entscheidungen ausgeglichen wird. Bittersüße und Freude, Trauer und Befreiung, Seufzer und Lächeln: All das ist hier vorhanden und verflechten sich bis ins Unendliche. In den Monaten nach den ersten Sessions wandte sich Westerlund an Freunde - darunter Tim Rutilli von Califone, den Saxophonisten Sam Gendel, den Trompeter Trever Hagen und die Violinisten Libby Rodenbough und Chris Jusell. Es waren seine am gründlichsten komponierten und präzisesten Werke, aber er wollte hören, was passierte, wenn seine Freunde in Echtzeit darauf reagierten. Sie lieferten Anmut, Tiefe und Gefühl, wobei ihre Parts den Vorhang zu verborgenen Winkeln rhythmischer Welten öffneten. Westerlund gibt bereitwillig zu, dass er von der Betonung des Grooves und des Metrums des Albums überrascht ist, die sich von abstrakten Klängen abhebt. Nachdem er so lange mit Bands gelebt und gearbeitet hatte, ging er davon aus, dass er mit grundlegenden Metren fertig war. Diese 12 Songs verschmelzen so viele von Westerlunds Leidenschaften zu endlos faszinierenden Stücken, die mit vertrauten Elementen seine Abenteuer ins Unbekannte übertragen. Verspielt, aber zart, wehmütig, aber wundersam, von Beats angetrieben, aber nicht an sie gebunden - dies ist Westerlunds bisheriges Vermächtnis, das Soloalbum, das einen Blick auf eine musikalische und emotionale Landschaft eröffnet, die vielleicht sogar noch reichhaltiger ist, als er es sich jemals hätte vorstellen können.

In his 1954 book The Doors of Perception, Aldous Huxley theorized that every person lives and experiences life on their own island universe. We can try to explain our experience to others using language, symbols, and art, but we'll never be sure that we're feeling something precisely the same as anyone else. This line of thinking has become a source of inspiration for many prolific artists. Now, Cincinnati-based producer Jason Grimez is inviting us to hear what it sounds like on an island of his own creation. The Island of Dr. Bionic is the third installment in Dr. Bionic's Terrestrial Radio series. Due out 5/2/2025 on Chiefdom Records, it's a collection of instrumental fusion for fans of hip-hop, jazz, funk, and beyond. Grimez is the producer, mixer, and mastermind behind Dr. Bionic. He's a Cincinnati-based creator with a deep understanding of 90s hip-hop and DJ culture, and he draws inspiration from music of all kinds. Grimez' ever-growing catalog is best described as organic groove. He calls on a rotating cast of veteran musicians to join him at his home studio to write, record, and try out new ideas. Long-time listeners will find some familiar names in the liner notes, for good reason. 'Life Span' (track 14) features a head-bobbing beat from Marvin Hawkins. Nick Brown is responsible for the dreamy Rhodes performance on 'Shell Of The Soul' (track 11). If Charlie Suit's unforgettable sax performance on 'The Path Of Stars' (track 16) is stuck in your head for more than 3 days, please consult Dr. Bionic. Once the recording sessions are complete, the real production work begins. "We get together and record a ton of stuff, and then I'll go back and cut it and mix it together," Grimez explained. "It all finds a home over time."

”While still retaining their signature, at times undefinable, sound, Blood Cultures explores the avenues of personal storytelling like never before, making ‘LUNO’ one of their boldest albums.” - Atwood Magazine

“Blood Cultures have been providing us with some of the most unique sounds going around this year, all in the lead up to their highlight anticipated new project ‘Luno’, and they’ve finally come through with the goods with an eclectic array of soundscapes and colour combining together for a smashing display of psych/indie-pop.” - Acid Stag

“Finally convalescing into an extremely topical narrative that gives the backbone to their new project, LUNO is a feast for the eyes and ears with multiple music videos providing additional storytelling to a knowingly impactful project.” - Earmilk