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For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.

Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.

'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.

'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.

Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.

DjRUM"s DJ-Kicks mix brings together his work as a DJ, producer and composer. Built around four new original compositions and exclusive contributions, "Flip" by Skee Mask and "Clonk Dual" by Clark, the release was developed from live vinyl mixes that were subsequently edited, collaged and expanded with overdubs. The mix moves between ambient, breakcore, classical music, punk, acid and experimental electronic sounds, combining a wide range of styles into a continuous sound collage.

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

‘I have always been drawn to those ambiguous territories between beauty and terror, and the Trinity test is their epitome: magnificent, sublime, terrifying, annihilating. A destructive power that, somehow, only love can compare with.’

The prescriptive art and performance of Berlin based, French producer, Julienne Dessagne, has concluded with a starkly beautiful reimagining of Chris Isaak’s Wicked Game.

As Fantastic Twins, her continuing creative manifestation for music and performance, has released an array of electronic art for the body and mind. A sonic exploration of dual characters shaped through experimental pop, cinematic electronics and the outer edges of techno.

First appearing on the cult Hippie Dance label, before establishing a long and warm collaboration with Keith McIvor aka JD Twitch and his inspiring Optimo Music label, as well as her own House Of Slessor label, this release comes full of mythology and symbolism.
Immersive sound design, narrative tension, and emotionally charged atmospheres, the origin of the project – Wicked Game (Trinity Version) – was composed for a live performance at the Beta Biennale Of Architecture Of Timișoara in September 2024 and given a limited digital release soon after.

The impact on the artist and the music was multi-layered:

‘While recording this cover, images of the Trinity nuclear test, as reimagined by David Lynch in Twin Peaks (Season 3 / Episode 8) kept resurfacing, almost on a subliminal level, suggesting another wicked game: humanity’s love affair with science and technology, driven by the same mix of desire fascination and inevitability that animates Chris Isaak’s original song.’

Approached by Emotional Response, this updated “vinyl” edition is re-recorded / remastered and comes with new interpretations by Julienne herself, as well as remixes by Aho Ssan and Optimo (Espacio).

Dessagne offers a spectrum of mixes and moods; the centrifugal ‘Trinity Version’ a sweeping cinematic masterpiece, between beauty and terror, the artist transmits the aesthetics of sublime; while ‘Thousand Suns Version’ fuses industrial and techno soundscapes for a beatdown reimagining; the melancholia ‘Atomic Love Version’, where the beautiful vocals are matched with a glitchy, clipping ambience; and the finale, the ‘Core Version’ shines a personal, drifting odyssey.

The accompanying remixes see Aho Ssan (Niamké Désiré), composer and sound artist, his remake merging a love of darkcore drone with moments of uplifting energy, the ‘Core Version Aho Ssan Remix’, a fusion of craft and Dessagne’s vocals.

To close, taking up the Optimo remix mantle, Jonnie Wilkes embraces the propulsion, his ‘Thousand Suns Version Optimo (Espacio) Remix’, offering brooding, electro-driven percussion that overflows with emotion and completes this stunning, evolving, organic and singular remake.

The fifth album from Saint Abdullah & Eomac began as a poem and became a record that refuses to stay in one place. The title arrived in a cab in Paris. Mohammad Mehrabani read it aloud from a list of options. Ian McDonnell said: that's interesting, what does that mean? The answer, it turned out, was the album. Their fifth album When The Sandbox Has No Edge is rooted in hip hop, but its cast tells you how far it travels. Abbas Zahedi, Richie Culver, and Armand Hammer contribute vocals and poetry. Lester St. Louis brings cello. Che Chen of 75 Dollar Bill brings guitar. The producer and sound designer Seraphim contributed textures and sound designs throughout. Samples run deep, from records pulled from charity shops to market stalls on road trips across the UK. Raw fragments were shaped into fully formed compositions, structuring the chaos without flattening it. The sandbox, rendered without an edge.

By the end of 1986, with Miles Davis’ career in resurgence, he was approached by the producers of the movie Siesta, based on the book by Patrice Chaplin and starring Ellen Barkin, Gabriel Byrne and Martin Sheen. Miles agreed to create the music for the movie and immediately asked Marcus Miller to help compose and produce.

As had taken place with Tutu, Miles looked to bassist Marcus Miller—working with keyboardist/programmer Jason Miles—to compose and construct the various tracks, over which he blew his trumpet parts. Matching the music to the mood and tempo of the film’s scenes lay on Miller’s shoulders. The soundtrack came together in early 1987 in Los Angeles, Miller and Jason Miles working in North Hollywood, and Miles driving in from Malibu to play his parts. Miller brought in a number of players to add solos and texture: guitarists John Scofield and Earl Klugh; flautist James Walker, and drummer Omar Hakim.

Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots.

Siësta is available as a numbered limited edition of 1000 copies on gold vinyl.

James McKeown aka Hawksmoor aus Brighton meldet sich mit "Yclept Thorn" auf Library Of The Occult zurück. Auf seinem neuen Werk hält er die Atmosphäre in einem Zustand von Dringlichkeit und unterschwelliger Spannungm wobei eine archaisch-mittelalterliche Note mitschwingt. Von organischer Perkussion bis zu ätherisch-elektronischen Klängen, die Tore zu in der Zeit erstarrten Dörfern und uralten ländlichen Mysterien öffnen, ist "Yclept Thorn" ein Meisterstück des Dark-Folk-Storytellings.

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this, she is a core member of the experimental ensemble Amor Muere (Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax),

Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity. Creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection.

Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise
throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.

In William Blake’s Jerusalem, he argues that imagination itself is “The real and eternal world of which this vegetable universe is but a faint shadow” – it seems Antoni Maiovvi, would agree. Especially given that Ye Gods, his latest and most monolithic project to date, arrived directly from a dream. In this dream, Jaz Coleman of Killing Joke took him to task for easing off on his longtime study of hermetic ritual magick, and instructed him to atone by making a record under the name Ye Gods. Convinced this path was the correct one, he was duty bound to comply.And sure enough, the Ye Gods project began to evolve and metamorphosise, until this vehicle for ‘Occult Devotional Electronics’, became a beast capable of delivering ‘Los’ the towering and transformative new album for Rocket Recordings. Rich with texture, emotive songcraft and cinematic atmosphere across three expansive tracks, it’s a work that breaks new ground for this intrepid polymath. Somewhat akin to the creative deep-dive that Scott Walker took int

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

Celebrating 5 years of The Vernon Springs "A Plane Over Woods". Remastered and repackaged for 2026 with new artwork. The Vernon Spring will be touring the album from October 2026 into Easter 2027 when he will release his new album "CRACKED"

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.

The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Colorize presents Echoes, the highly anticipated debut album from Massachusetts songwriter, producer and musician Jack Willard, a richly melodic body of work.

Jack Willard blends organic songwriting with modern electronic production, cinematic storytelling and immersive sound design, an emotionally driven style that has earned support from Above & Beyond, Tritonal, Yotto, Nora En Pure and Bob Moses since debut single Celsius, alongside airplay on SiriusXM Chill and BBC Radio 1 and millions of streams worldwide. The Massachusetts native made his Colorize debut in 2023 with Big Sky, an instrumental favourite still in regular SiriusXM Chill rotation, before expanding his sound on the Patterns EP with his first larger scale vocal collaborations, including fan favourites Everything All At Once and Wanna Know. Following performances across both U.S. coasts, Echoes arrives as Willard’s most ambitious project to date.

Afro-Latin electronic producer, global-sounds inspired DJ, and bassist for Little Simz, Marla Kether returns with her highly-anticipated second EP Luso, released on Strut Records.