Suche:new war

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

In 1990, John Williams created the compilation album John Williams Conducts John Williams - The Star Wars Trilogy, which features 13 of his most memorable tracks from the original Star Wars Trilogy. All performed by the Skywalker Symphony Orchestra, it features the iconic “Main Theme” and “Throne Room / Finale” from Episode IV - A New Hope, “The Imperial March” from Episode V - The Empire Strikes Back, and “Luke And Leia”.

John Williams Conducts John Williams – The Star Wars Trilogy is available as an exclusive “May The 4th Be With You” edition of 1000 individually numbered copies on green/white split vinyl. This 2LP package includes an insert with liner notes by the creator of the Star Wars franchise, George Lucas.

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves. Originally released in 1986.

Fast zwei Jahrzehnte nach der Veröffentlichung des Originalalbums, das mit einem Grammy ausgezeichnet
wurde, lebt die Legende des Buena Vista Social Club mit „Lost and Found“ weiter, einer Sammlung bisher
unveröffentlichter Titel. Einige entstanden bei den legendären ersten Sessions in Havanna mit Produzent
Ry Cooder, andere während der darauffolgenden, außergewöhnlich produktiven Phase.
Das Originalalbum des Buena Vista Social Club wurde 1996 von Ry Cooder und Nick Gold innerhalb von
sieben Tagen in Havanna für World Circuit Records aufgenommen. Es vereinte viele der großen Namen des
goldenen Zeitalters der kubanischen Musik der 1950er-Jahre, von denen einige für die Sessions aus dem
Ruhestand zurückgeholt wurden.
Das Album wurde überraschend zum internationalen Bestseller und zum erfolgreichsten Album in der
Geschichte der kubanischen Musik. Damals ahnte niemand, dass die Platte erst der Anfang eines musikalischen Phänomens sein würde. In den folgenden Jahren tourten die Buena-Vista-Veteranen vor begeistertem
Publikum um die Welt und waren Gegenstand eines gefeierten Spielfilms von Wim Wenders.
Es folgten weitere gefeierte Aufnahmen, darunter Soloalben der Sänger Ibrahim Ferrer und Omara Portuondo, des virtuosen Pianisten Rubén González und des Bassisten Cachaíto López sowie ein mitreißendes
Live-Album, aufgenommen bei einem triumphalen Konzert in der New Yorker Carnegie Hall.
Der Buena Vista Social Club war zu einem bekannten Namen geworden. „Über die Jahre wurden wir oft
gefragt, welches unveröffentlichte Material noch in den Archiven schlummert“, sagt Nick Gold von World
Circuit. „Wir kannten einige Schätze, Favoriten der Musiker, aber wir waren immer zu sehr mit dem
nächsten Projekt beschäftigt, um nachzusehen, was wir sonst noch hatten. Als wir endlich die Zeit dazu
fanden, waren wir erstaunt, wie viel wunderbare Musik es gab.“
Alle Studioaufnahmen für World Circuit entstanden im Egrem-Studio in Havanna während der produktiven
und kreativen Phase nach der Aufnahme des Originalalbums, die bis in die frühen 2000er-Jahre andauerte.
Angereichert mit Live-Aufnahmen aus derselben produktiven Phase, bietet das Material auf „Lost and
Found“ eine enorme und mitunter überraschende Vielfalt. Doch es gibt einen roten Faden, der von einem
Kernteam legendärer Musiker getragen wird, die einen Korpsgeist zum Ausdruck bringen, den jeder, der
jemals vom Buena Vista Social Club verzaubert war, wiedererkennen und genießen wird.

In 2006, "Undiscovered" introduced the UK to one of its most distinctive new voices. Powered by the breakout single "You Give Me Something", the album debuted at No.1 in the UK Albums Chart, and went on to become 5x Platinum in the UK, and achieved Platinum and Gold certifications across Europe, Australia and beyond. Blending soul, acoustic pop and classic British songwriting, "Undiscovered" delivered a string of enduring tracks including "Wonderful World" and "The Pieces Don"t Fit Anymore", establishing James Morrison from the outset and laying the foundation for a successful international career. To celebrate its 20th anniversary, the album returns in new formats for collectors. The vinyl has been cut by John Webber at AIR Studios to showcase the warmth and depth of the original recordings, and a deluxe CD edition features 4 bonus tracks, available exclusively on CD. A landmark British debut of the 2000s, "Undiscovered" remains a defining release of its era.

“Arde” is the creative peak of the Madrid-based experimental collective: 14 cinematic, hypnotic, and emotionally devastating songs that masterfully blend post-rock atmospheres, alt-folk introspection, traditional Spanish elements, and complex, often cathartic arrangements.
The album's UK connection is through Stuart David (Looper, Belle & Sebastian), who championed the band to Sub Pop, leading to their international breakthrough. On Metacritic, it holds a 77/100 score based on 6 reviews, with AllMusic praising its "spectacular balance of beauty and tension”. CMJ New Music Monthly highlighted it as "one of the brightest artistic lights in the diverse Iberian indie-pop scene".
Pitchfork awarded it a 9.3/10 in 2001—the highest score for any Spanish artist to date—describing it as “nothing short of elemental in its beauty”. The album also succeeded in France (PopLane, 2001), with strong coverage in Les Inrockuptibles, Magic!, Le Monde, and Libération. Migala shared stages with key acts like Smog (Bill Callahan), Mark Kozelek (Red House Painters), The Magnetic Fields, Damon & Naomi, and served as Will Oldham’s (Bonnie “Prince” Billy/Palace) backing band during his Spanish tour in 1998.
This new edition has been painstakingly remastered from the original Cubase projects (summer/fall 2000). Every track was exported individually and given a fresh, zero-compromise mastering. The result is a significantly clearer, more open, defined, and powerful sound — especially in the rhythmic foundation — while fully preserving the warm, organic lo-fi character of the original. An absolute must-have for indie, post-rock, alt-folk, and collector sections — a genuine classic that belongs in every serious record store and deserves rediscovery.

Slow Leaves - alias Grant Davidson aus Winnipeg - steht für einen feinfühligen Indie-Folk, der leise spricht und dennoch lange nachhallt. Seine Musik verbindet warmes Fingerpicking, sanfte Psych-Rock-Anklänge und eine Stimme, die direkt ins Herz zielt: klar, verletzlich, tröstlich. Kritiker vergleichen ihn mit Roy Orbison, Nick Drake, Mickey Newbury oder Neil Young - Songwriter, die Emotionen mit Einfachheit und Tiefe verbinden. Davidsons neue Songs kreisen um innere Landschaften: Erinnerungen, familiäre Prägungen, Generationenlinien, kleine Wunden und stilles Wachstum. Er schreibt mit einer poetischen Direktheit, die Intimität schafft, ohne schwer zu werden. Seine Arrangements bleiben bewusst zurückhaltend: Gitarre, behutsame Rhythmik, warme Tastenklänge, dezente Streicher - alles im Dienst einer emotional klaren Erzählstimme. Was Slow Leaves besonders macht, ist seine Fähigkeit, kosmische Themen - Zeit, Einsamkeit, Verbundenheit - in schlichte, menschliche Momente zu übersetzen. Es ist Musik, die Raum lässt: zum Atmen, Erinnern, Trost finden. Ein leises, aber eindringliches Songwriting, das im Kleinen das Große sichtbar macht.

Venom wurde 1979 in Newcastle upon Tyne gegründet. Gegen Ende der New Wave of British Heavy Metal
erlangten sie Bekanntheit. Ihre ersten beiden Alben – „Welcome to Hell“ (1981) und „Black Metal“ (1982)
– gelten als prägend für Thrash Metal und Extreme Metal im Allgemeinen. Das zweite Album war so
einflussreich, dass sein Titel als Name für das Extreme-Metal-Subgenre Black Metal verwendet wurde. Von
Bands wie Metallica, Behemoth, Celtic Frost und Mayhem oft als wichtige Einflüsse genannt, zählen sie zu
den meistverehrten Bands ihrer Generation.
„Into Oblivion“ ist Venoms sechzehntes Studioalbum und präsentiert die langjährige Besetzung mit Cronos
(Bass/Gesang und Gründungsmitglied), Rage (Gitarre) und Dante (Schlagzeug). Es sind ihre ersten neuen
Aufnahmen seit „Storm The Gates“ aus dem Jahr 2018. Ihr neues Album umfasst dreizehn Songs im
typischen Venom-Stil: heavy, düster und eingängig. Es vereint ihren klassischen 80er-Jahre-Sound mit
einem moderneren, progressiveren Ansatz, ohne dabei jedoch die alte Energie und den unbändigen Elan
einzubüßen.

With multiple bass players (at one point eight of them) and an array of rubber masks that give both children and adults sleepless nights, somehow, against all the odds, Evil Blizzard are set to release their fifth studio album of nightmare inducing noise and visuals. Titled, the new album sees Evil Blizzard pushing the boundaries further afield from their early sound of 'multiple bass psych', seeing elements of dub, krautrock and goth to provide a much more Post Punk vibe than previous work. Reference points were 'Metal Box', 'Ritual De Lo Habitual', Can and Discharge (whose singer JJ joins the band on the track 'Wake The Dead In Bedlam') as well as the omnipresent Hawkwind, Stooges and Sabbath vibes. By far the band's most stylistically varied and challenging album and yet their most cohesive body of work since their critically acclaimed second album 'Everybody Come To Church'. As well as their trademark 'multi bass onslaught', this album sees sequencing, sampling and even the use of string instruments made from bone.

Recorded between September and November 2025 at Rock Hard Studios, Blackpool, improvised sessions were edited down into more 'song' structures, then reworked into the final pieces. "Recording this was the hardest work we've done," claims Filthydirty. "Previously, we'd just turn up, turn up louder, press record and sieve through the debris and call it 'an album'. On this album we only had two, maybe three tracks that were finished when we went in, and the rest were worked out in reverse; ploughing through improvisations and jams and seeing what actually had any bones or gristle to work with. “Consequently, we had the time and focus to reappraise what we'd done in the past, highlight what we'd done right and realise where perhaps self-indulgence or lack of focus were overlooked instead of time or budget restraints, he continues. “The result is an album that reflects all our record collections. Lyrically it's been impossible to not absorb the chaos and anger transmitting on every news channel recently, and while we'd never write specifically about a certain issue or matter, the shitshow that is the 2020's definitely made its mark or our thinking.

The brand- new album from Hiss Golden Messenger and the first release with Chrysalis Records. I'm People is a vivid, deeply human album born from a period of rupture, renewal, and vast American wandering. Written across Bolinas, the North Carolina Piedmont, and a Santa Fe motel room, the record traces the artist's search for clarity through landscapes both external and internal. These songs move through heartbreak, aging, fatherhood, desire, disillusionment, and the hard- won hope that remains after the spirit has been scraped bare.

Produced with Josh Kaufman at Dreamland, a decommissioned church outside Woodstock, the album carries the warmth of musicians playing live in a circle, stained- glass light filtering across guitars, drums, and upright bass. Contributions from Bruce Hornsby, Sam Beam, Marcus King, Sara Watkins, Amy Helm, Eric D. Johnson, and members of Dawes enrich a sound world that feels immediate, vulnerable, and fully alive. "I'm People is an intensely human record, and so one that needed to feel immediate, vulnerable, and fully dancing; something you could touch, sing along to, know about, recognize, relate with. I know what the record is to me and I bet it's not so dissimilar from what it's about to you, at least in the broad strokes: The heartbreak and exhilaration, the absolute black comedy of being a person on this razor's edge that is America circa 2025. What other choice do we have than to be hopeful?" - MC Taylor on I'm People. Hiss Golden Messenger is a Grammy nominated artist based in North Carolina, with multiple Album Of The Year and Best Americana Album awards, reaching #2 in the Americana Charts and performances and tours across the world, including the UK and Europe + performances on US TV; Late Night With Seth Myers.

He's worked as an artist, producer, songwriter, and scorer for the past decade, "winning a MOBO (for his work on Bashy's Being Poor Is Expensive)", as well as being nominated for GRAMMY, Juno, and Ivor Novello Awards, along the way. Recently, Runkus felt a deeper calling towards the world of visual art, which has lead to working with Bahamian artist Tavares Strachan, whose multi- disciplinary output has earned him a MacArthur Genius Prize. With the new album, SUPERNOVA, which includes guest appearances by Sean Paul and Peter Tosh, they have reignited a seamless collaboration of music and art, following in the footsteps of pairings like The Velvet Underground & Andy Warhol, Kanye West & Virgil Abloh, and (closer to Runkus's home country of Jamaica) Bob Marley & Neville Garrick. Roots reggae, thumping bass, dancehall energy, and deep lyricism merge together to tell a story of life and death, the sheep and the wolf, the version of you that has to die for the next one to be born, all elements of SUPERNOVA

Rosita is a cheerful, well-liked woman with a fiery desire to have children. Those around her find it irresponsible because she can barely take care of herself. When Rosita does manage to become pregnant, she chooses to keep her pregnancy a secret.

David Martijn, guitarist and synth player in the electro-rock band GOOSE, wrote the music for the full-length album 'Holy Rosita'. His experience as a composer for projects such as 'De Dag', 'War of the Worlds', 'De Twaalf', and '1985' contributed to Martijn's desire to challenge himself again to come up with a fresh, distinctive sound, as he does with every project.

"My initial feeling was that I would have to step far out of my comfort zone to let the music tell this delicate story. I soon felt that the music needed to be light and open, in contrast to the uncertain and complex reality in which Rosita finds herself. Therefore, it seemed like a good plan to keep the score very close to Rosita and much less focused on her surroundings or reality. The music had to be, as it were, a reflection of the thoughts and feelings playing out in Rosita's mind. That is often hopeful, determined, lively, sometimes a bit naive, and at other times very lonely, sad, and uncertain." - David Martijn

This is the age of post-factual lies, which is reflected in MESH's album title "The Truth Doesn't Matter" and a dark undertone that occasionally seeps into their new songs. What remains entirely true is the fact that the UK duo has a nearly uncanny knack for writing electronic hits that are as elegant as they are captivating. "The Truth Doesn't Matter" bursts out like a sparkling firework while subtly referencing three decades of electronic music spanning from GIORGIO MORODER, YAZOO, and DEPECHE MODE via GARBAGE and MASSIVE ATTACK to more contemporary artists. At the same time, MESH always maintain their easily recognisable and unique musical identity as well as the trademark sounds that they have cultivated since their beginnings in the early nineties. With "The Truth Doesn't Matter", MESH climb yet another rung on the ladder leading to electronic music heaven. Each song wriggles its way happily into the brain and sticks around leading to spontaneous whistling of melodies and the public singing of extremely catchy chorus lines. You have been warned: "The Truth Doesn't Matter" is highly infectious and leads to a happier life!"

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality.

Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 500 copies (200 on clear blue and 300 on black vinyl) housed on a gatefold sleeve with a reproduction of the original lyrics insert, an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Toneblind returns with its second release, welcoming 26-year-old Catania native Edo Ecker and his new EP, “Fall In Love.”

With one full EP already behind him, Edo steps confidently into his next chapter, presenting a sound that bridges eras with effortless ease. Rooted in the golden age of Italian house music yet
sharpened by a modern edge, Fall In Love blends Italo and Euro house influences with his distinctive melodic touch.

Warm, romantic synth lines meet crisp, contemporary production, while subtle Mediterranean nuances nod to his heritage — adding depth and character without overpowering the groove. The
result is a record that feels nostalgic yet current, intimate yet undeniably dancefloor-driven. With its second chapter, Toneblind continues to define its path — honouring timeless influences while spotlighting a new generation shaping what comes next.

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

Hardt Antoine returns to Crosstown Rebels with emotive new release ‘One More Night’, featuring Charlotte OC. Set for release on 24th April 2026, the French-Jamaican artist links with the UK singer-songwriter, backed by a remix from Echonomist.

A warm, late-night glow pulses through ‘One More Night’, as Hardt Antoine returns to Damian Lazarus’ Crosstown Rebels for his first original release on the label, adding to his captivating remix of Henri Bergmann & Wentink’s ‘Guardian Angel’ in 2024. Anchored by Charlotte OC’s striking delivery, the track draws on the pull of classic disco and modern club sensibilities, balancing introspection with pure dancefloor drive.

On remix duties, Greek DJ/producer Echonomist reshapes the original into a blissful voyage, layering skippy rhythms and shadowy textures for an emotive late-night ride. Rounding out the release, ‘Dreamstate’ offers a complementary original from Hardt Antoine, leaning further into his melodic instincts with a fluid, atmospheric groove.

Hardt Antoine’s output and sound draws on his French and Jamaican heritage, weaving house, techno, soul, and 80s influences into a sonic identity defi ned by rich melodies and groove-led songwriting with recent releases on the likes of Innervisions and KompaktMeanwhile, Charlotte OC brings her distinct vocal talents to Crosstown for the very first time. Following a return to her hometown of Blackburn and a renewed creative focus, her recent work leans into raw, self-assured songwriting, blending vulnerability with strength - qualities that sit at the heart of ‘One More Night’.

The new album by Mecánica Clásica, Una Teoría del Ritmo, unfolds across nine tracks as an intimate and organic rhythmic landscape. Rhythm is not something to be counted or measured, it's an odd power that shapes life and nature. Embracing rhythm is a wild experience rather than a technical concept.

The album emphasizes its strong subjectivity: rhythm exists deep within the self and at the core of perceived phenomena and listening itself transforms that kaleidoscopic perception.

Moving against cold conceptualism, Una Teoría del Ritmo embraces a truly warm and intense space, seeking a path where listeners can feel a special energy through hypnotic, melodic and percussive sound waves in a cosmic and naturalistic way.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

All Day I Dream bids farewell to another radiant summer with its Summer’s End Sampler, a 12-track collection of deep, melodic, and transportive sounds. Carefully woven together from a mix of rising favorites and emerging talents, the compilation encapsulates the warmth, nostalgia, and new beginnings that arrive with seasonal change.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

With their third studio album New Thing, Reggae Workers Of The World take a bold step forward while staying deeply rooted in the timeless sounds that define them. Scheduled for release in March 2026 on Badasonic Records, the album captures the full scope of this transcontinental supergroup’s musical identity: soulful, genre-defying, and driven by classic songwriting.

Formed by Vic Ruggiero (The Slackers), Jesse Wagner (The Aggrolites), and Nico Leonard (The Badasonics), Reggae Workers Of The World unite the musical spirits of New York, Los Angeles, and Charleroi into a seamless collaboration. Across 11 tracks, New Thing moves freely between reggae, ska, soul, mento, rhythm & blues, and early rock ’n’ roll, reflecting both the trio’s deep roots and their creative freedom.

The album is enriched by an exceptional list of guests, including Efren Santana (Hepcat), David Hillyard (The Slackers), and renowned harmonica master Steven Troch, who all appear on the title track “New Thing.” The result is a warm, organic, and vibrant record—equally suited for vinyl collectors, radio programmers, and live audiences.

Ahead of the album release, the first single will debut as a Japan-exclusive 7” vinyl on January 18, underlining the band’s strong international reach and collector appeal. Following the release of New Thing, Reggae Workers Of The World will return to the road with a European tour in April 2026, reaffirming their reputation as a powerful and authentic live act.

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

Around 1983 it looked as if Tokyo Blade were destined to become the next Iron Maiden. But somehow it wasn’t to be – history was not kind to them! In the end Tokyo Blade never became the next superstars of the glorious New Wave Of British Heavy Metal movement. “Night Of The Blade” was the follow-up to Tokyo Blade's extremely successful self-titled debut album. The band's second record was originally released in 1984 on the English Powerstation label and contained classic Tokyo Blade songs such as “Lightning Strikes”, “Unleash The Beast” or the title track. On the other hand, Tokyo Blade presented some more melodic numbers such as “Someone To Love” or “Rock Me To The Limit”. This slight alteration of the band's musical direction was partly due to the change of the vocalist (Alan Marsh was substituted by Vicki Wright). Guitarist Andy Boulton comments on the differences between Marsh and Wright: “Vic was a different person to Alan, but Alan had been a friend I had known for quite a long time and was a key figure in the band's early success, it was a sad day when we parted ways. Alan was just different from Vic and he had his own distinct sound. I don't want to talk about who was better or whatever, it's for the fans to decide. The material on 'Night Of The Blade' was all brand new, no leftovers from from Killer or Genghis Khan.” Tokyo Blade's debut (1983) and “Night Of The Blade” (1984) are two of the best albums of the entire New Wave Of British Heavy Metal period. “Night Of The Blade” was recorded by Vicki James Wright (vocals), Andy Boulton (guitar), John Wiggins (guitar), Andy Wrighton (bass) and Steve Pierce (drums). High Roller Records is proud to re-issue this long-deleted classic once again on glorious vinyl.

Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."

Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."

The Amity Affliction return with one of the most personal and devastating records of their career. Following a decade-plus run as one of Australia’s most influential heavy bands, marked by ARIA chart-topping albums, platinum certifications, and global touring off landmark releases like Let The Ocean Take Me and This Could Be Heartbreak, the new album turns inward with unflinching honesty. Largely written about frontman Joel Birch’s relationship with his late mother, the record explores grief, trauma, faith, and self-reckoning through a series of deeply connected songs. “I’ll Break These Chains” confronts the confusion surrounding her death, “Afterlife” questions belief beyond this life, while the closing track “Eternal War” captures the ongoing internal struggle and the hope for change that never came. Musically massive and emotionally raw, this album stands as The Amity Affliction at their most vulnerable, cathartic, and fully realized.

Tony Njoku returns with All Our Knives Are Always Sharp, a sonically expansive and emotionally charged second album that brings together a remarkable cast of black British voices. Featuring powerful collaborations with Tricky, GAIKA, Ghostpoet, Coby Sey, James Massiah Space Afrika and Labi Junior, the record serves as a landmark moment for Njoku, a culmination of both the singular musical style and nuanced, socially-engaged storytelling he’s been crafting throughout his career.

Rooted in themes of spiritual preparedness, cultural resistance and emotional clarity, the album unfolds through Njoku’s signature blend of electronic abstraction, falsetto-led songwriting and cinematic composition. It’s a work that cuts deep. Philosophical, political and personal, each guest brings a vital new layer to the conversation.





“ALL OUR KNIVES….” will be the first release on Tony’s new imprint ‘Studio Njoku’, which Tony says will serve as a space to facilitate his collaborations with his wider creative community. In addition the album will be pressed on heavyweight 180g vinyl limited-edition, with 300 copies worldwide. It will be the first run of physical production for Studio Njoku

Auf ihrem neuen Album ,Delusion" begibt sich Tempers - das musikalische Pseudonym der in New York lebenden Künstlerin Jasmine Golestaneh - auf eine nichtlineare Reise der Heilung und des Werdens. In zehn Tracks navigiert sie durch stürmische emotionale Gezeiten und tastet sich durch einen Fiebertraum aus Gewitterwolken und Sonnenstrahlen hin zu seelischer Klarheit, wobei sie einen Soundtrack für "diejenigen, die zu sehr lieben, zu tief fallen und zu lebhaft träumen" kreiert. "Delusion" bewegt sich fließend zwischen verschiedenen Genres, von Art-Pop bis Techno, Grunge bis Metal, mit epischen balladischen Momenten, die überall verstreut sind. Das Album wurde von Golestaneh und Jorge Elbrecht (Sky Ferreira, Crushed, Wild Nothing) co-produziert und enthält Kollaborationen mit Camille Henrot, Estelle Hoy und Sandra Mujinga. Das mit Spannung erwartete neue Album von Tempers folgt auf das Debütalbum "Services" aus dem Jahr 2015, das den Underground-Dance-Hit ,Strange Harvest" enthielt. Im Jahr 2019 veröffentlichten Tempers das Album "Private Life", das einen eher introspektiven Sound präsentierte, gefolgt von "New Meaning" im Jahr 2022, das von einem Buch mit Golestanehs originellen Collagen begleitet wurde, die von dem Album inspiriert waren. Die Neigung von Tempers zur Kunstwelt hat zu einzigartigen Kooperationen geführt, darunter Auftritte in Museen, Galerien und O-Spaces, eine EP (Fundamental Fantasy aus dem Jahr 2017), die aus einer Künstlerresidenz bei The Vinyl Factory hervorgegangen ist, und die Veröffentlichung von Junkspace feat. Rem Koolhaas im Jahr 2018.

Auf ihrem neuen Album ,Delusion" begibt sich Tempers - das musikalische Pseudonym der in New York lebenden Künstlerin Jasmine Golestaneh - auf eine nichtlineare Reise der Heilung und des Werdens. In zehn Tracks navigiert sie durch stürmische emotionale Gezeiten und tastet sich durch einen Fiebertraum aus Gewitterwolken und Sonnenstrahlen hin zu seelischer Klarheit, wobei sie einen Soundtrack für "diejenigen, die zu sehr lieben, zu tief fallen und zu lebhaft träumen" kreiert. "Delusion" bewegt sich fließend zwischen verschiedenen Genres, von Art-Pop bis Techno, Grunge bis Metal, mit epischen balladischen Momenten, die überall verstreut sind. Das Album wurde von Golestaneh und Jorge Elbrecht (Sky Ferreira, Crushed, Wild Nothing) co-produziert und enthält Kollaborationen mit Camille Henrot, Estelle Hoy und Sandra Mujinga. Das mit Spannung erwartete neue Album von Tempers folgt auf das Debütalbum "Services" aus dem Jahr 2015, das den Underground-Dance-Hit ,Strange Harvest" enthielt. Im Jahr 2019 veröffentlichten Tempers das Album "Private Life", das einen eher introspektiven Sound präsentierte, gefolgt von "New Meaning" im Jahr 2022, das von einem Buch mit Golestanehs originellen Collagen begleitet wurde, die von dem Album inspiriert waren. Die Neigung von Tempers zur Kunstwelt hat zu einzigartigen Kooperationen geführt, darunter Auftritte in Museen, Galerien und O-Spaces, eine EP (Fundamental Fantasy aus dem Jahr 2017), die aus einer Künstlerresidenz bei The Vinyl Factory hervorgegangen ist, und die Veröffentlichung von Junkspace feat. Rem Koolhaas im Jahr 2018.

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album 'Dream Temperature', he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.

A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered 'Petrol' (2016), 'Tongue' (2018) and the viscerally beautiful 'Moons Melt Milk Light' (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, 'Dream Temperature' sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.

A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. Interluding solo and part-solo piano improvisations 'Last Sun 1' and '2' are positioned adjacent to the buffering digital soundscapes. Their softer, still processed timbres pierce the melancholic exterior, offering a contrasting tenderness that could echo the grace of Ry?ichi Sakamoto, the spiritualist rigor of ECM's Keith Jarrett and a touch akin to Aphex Twin's piano miniatures. 'Nulle Part 1+2' signals the first appearance of an acoustic wind instrument, as tenor saxophone flourishes are juxtaposed against noisy drones, all shouting at the void, with notes resurfacing like lost digital data.

The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. 'When The Light Appears, Boy' shows further evidence of this deeper universe, revealing a grittier edge as the album's essential blueprint is sonically inked. A sprawling expanse of wind synths rhythmically encircle the listener before a dreamy, ghostly ambience blankets 'Toyama'. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time.

'Dream Temperature' is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged.

Acknowledge Kindness expands San Francisco based The Reds, Pinks And Purples' distinctive brand of emotional pop, music built for the quiet hours and the restless mind. Evolving naturally from the heavier, melancholic indie rock of previous releases, the mood here feels more exposed and reflective, blossoming into lush dreamscapes that recall the bittersweet sorrow of The Cure or the tenderly gloomy transcendence of California by American Music Club. Created from a new headspace, the album finds main man Glenn Donaldson observing both the present and the weight of what came before it. Songs lean into a deeper sense of nostalgia, allowing him to look back with intent and revisit moments that once carried a sting. Donaldson's vocals are captured in high fidelity, raw and immediate, with lyrical abstraction underpinned by chiming acoustic guitars and achingly beautiful piano. Across its 11 tracks, Acknowledge Kindness expands The Reds, Pinks And Purples' emotional and sonic panorama, with Donaldson's ongoing world-building remaining both warmly nostalgic and strikingly original. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork FFO The Smiths, Guided By Voices, The Chills, Leonard Cohen, The Go-Betweens, Robert Wyatt, Twee-, Jangle- & Sophisticated Guitar Pop. Coloured vinyl LP versions and digisleeve CD available

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.

In 2026, the sample alchemist returns to his first love with his 11th album, Endless Smile 2. A 16-track project conceived as a tribute to his landmark 2015 album Endless Smile, which featured his iconic tracks “Betty” and “Qu’attendez-vous de moi”.

Born from a desire to return to the essentials, Endless Smile 2 focuses on instrumental compositions enriched with samples and organic textures inspired by the 70s. The album develops a warm and sun-soaked atmosphere, crossed by the melancholic touch that defines Degiheugi’s musical universe.

Recorded between 2023 and 2025 in his studio Endless Smile Records and mixed by his longtime collaborator Mr. Gib, the album opens with the trip-hop anthem “The Last Opening”. Far from being a simple introduction, it acts as a true gateway into Degiheugi’s new sonic journey. Keyboards set the tone, the horn section led by N’Zeng invites listeners into the groove, while guitars and organic keyboards immerse us fully into his musical world. The scene is set: he’s back.

Among the standout tracks, “Ain’t Goin Down” delivers a reggae-influenced groove driven by a message of hope, while “Vem O Mar” (feat. Hugo Kant) explores funk and tropical soundscapes. “Ipanemax”, a nod to the classic “The Girl From Ipanema”, and “Ouh Baby” extend this Brazilian atmosphere, while “Savoir Danser” leans toward oriental textures and “Juanita Bonita” ventures into a bold fusion of cumbia and dub.

The album also reveals Degiheugi’s signature melancholic side. An addictive loop settles deep into the listener’s mind as “Sympathique et sympa” balances nostalgia with urban groove. The haunting strings of “Naked” and the soul ballad “She Worries” respectively reflect on mortality and the fragility of romantic relationships. Guest artist Miscellaneous addresses gender-based violence on “Love Is Blind”, telling the story of a woman trapped in a toxic relationship.

Endless Smile 2 closes with “Enivrez-vous”, an outro inspired by Charles Baudelaire’s poem, bringing the album to a contemplative conclusion. With this release, Degiheugi masterfully completes a musical journey that began ten years ago.

long content, you may need to expand row to see all... Das Warten hat ein Ende: 18 Jahre nach ihrem letzten gemeinsamen Projekt haben Gnarls Barkley mit ihrem neuen Album Atlanta ihr finales musikalisches Kapitel vorgelegt. Das mit Spannung erwartete Werk von CeeLo Green und Danger Mouse markiert den krönenden Abschluss einer der einflussreichsten Kollaborationen der modernen Musikgeschichte. Mit der Single-Auskopplung „Pictures“ bewies das Duo bereits pünktlich zum Release, dass ihre Chemie aus souligen Gospel-Vocals und vielschichtiger Produktion nichts von ihrer Magie verloren hat. Atlanta ist dabei weit mehr als eine nostalgische Reunion; es ist die Vollendung einer Geschichte, die 2006 mit dem Welthit „Crazy“ begann. Die beiden gebürtigen New Yorker kehren mit diesem Album zu ihren Wurzeln zurück und vereinen erneut Soul, Hip-Hop und Psychedelia zu einem einzigartigen Sound. Für Fans markiert diese Veröffentlichung einen „Full Circle Moment“, der den Geist der Selbsterfahrung und künstlerischen Freiheit feiert, für den Gnarls Barkley seit jeher stehen.

Transparent grünes Vinyl. Mikromoon sind fünf erfahrene Musikerinnen und Musiker aus Saarbrücken, die in zahlreichen Bands aktiv waren/sind (u.a. Blind, Pure Bug Beauty, Britney und Oaks) und in dieser Formation seit 2022 Songs ins Universum senden. Ihr Sound ist eine exklusive Mischung aus Indierock, Wave, Postpunk, Folk, TripHop, Grunge, Pop und einer Prise Psychedelik. Mit ihrem Debütalbum "The Nearest Distance" formulieren sie ein trotziges Gegengift zur allgemeinen Weltlage. In acht intensiven Songs tauchen wir ein in eine Welt aus hoffnungsvollen und melancholischen Klängen, die zwischen bedingungsloser Liebe, hemmungsloser Wut, gnadenloser Isolation, Identitätsverlust und dem Finden inneren Friedens oszillieren.

On "Enduring Sonance," saxophonist and flutist Steve Wilson reflects on a lifetime of lyrical, deeply felt songs drawn from jazz, pop, and film—brought to life by an all-star ensemble featuring Renee Rosnes, Joe Locke, Jay Anderson, and Kendrick Scott. *** Certain songs have a way of lingering in the imagination—resonating long after we’ve last heard them, sometimes for a lifetime. On his breathtaking new album "Enduring Sonance," veteran saxophonist and flutist Steve Wilson celebrates the music that has left the deepest imprint on his musical life. “Some of the tunes on this record have stayed with me for, in some cases, over 50 years from the time that I first heard them,” Wilson says. “I wanted to put some music out there that people can connect with, no matter what kind of music they like.” Originally conceived as a ballads project, Enduring Sonance evolved into something broader and more personal. Rather than focusing on tempo or style, Wilson gravitated toward a sense of lyricism—music whose emotional clarity and melodic resonance endure across genres, decades, and listening habits.

To realize this vision, Wilson assembled a deeply intuitive ensemble featuring pianist and arranger Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott, with special guest Kevin Newton (French horn, Imani Winds) appearing on two tracks. Each musician brings a rare sensitivity to melody, texture, and space, allowing the material to unfold with warmth, restraint, and quiet authority. The repertoire draws from a wide musical landscape, including works by close collaborators and modern jazz masters Billy Childs and George Cables, alongside enduring songs by Michel Legrand, Quincy Jones, Milton Nascimento, Gino Vannelli, Bill Lee, and Eliane Elias. These are not standards in the traditional sense, but deeply personal selections—songs that have accompanied Wilson through different chapters of his life. The album opens with Childs’ “Quiet Girl,” its subtle rhythmic motion enhanced by Newton’s luminous French horn, and travels through cinematic ballads, soulful grooves, and reflective lyricism. The title Enduring Sonance speaks both to the lasting resonance of these songs and to Wilson’s enduring musical relationships—most notably with Rosnes, whom he has known for nearly four decades and whose sensitive arrangements help unify the album’s diverse repertoire. “These songs are the soundtrack of my life,” Wilson says. “I’d love it if listeners came away from this album with the same kind of enduring sound and feeling.”