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For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

,Do to the Beast" war bei seiner Veröffentlichung das erste neue Album der Afghan Whigs seit über anderthalb Jahrzehnten. Die 1988 in Cincinnati, Ohio, gegründete Band hebt sich seit jeher deutlich von ihren Mitstreitern ab - durch ihre wilde, mitreißende Mischung aus Hardrock, klassischem Soul und den eindringlichen Obsessionen ihres Frontmanns Greg Dulli. Das Album war sowohl eine Art Heimkehr - es markierte ihre damalige Rückkehr zu Sub Pop, für das die Whigs der erste Neuzugang außerhalb der nordwestlichen Heimat des Labels waren - als auch ein Blick in die Zukunft einer der meistgefeierten Bands der letzten dreißig Jahre. Doppel-LP, gepresst auf ,Pearl Flip"-/,Lagoon"-Vinyl!

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

Environments are sticky, they stick to whatever happens within them. They can’t help it. And neither can you.

Land of the Few and Far Between / Songs for St. Michel is a collection of musical ‘figures’ written and recorded in 2022 and 2023 using a method Lyckle and Kim call the ‘snelkookpan’, translated as the pressure cooker. The ’snelkookpan’ in essence is trying to write and live-record as many musical figures in a given timeframe in a specific place. For ‘Land of the Few and Far Between’ this was an afternoon and evening in an exhibition Kim had curated about collecting and memory in The Hague. For ‘Songs of St. Michel’ this was 6 days in the basement of an art institution in Maastricht where they were joined by Otto de Jong on guitar. The figures are usually worked out by ear, sometimes improvised, sometimes written down, but often they are simply remembered and soon after recording forgotten. For ‘Land of the Few and Far Between’ they recorded ten figures. For ‘Songs for St. Michel’ fifteen. Of each a selection of five ended up on this seven inch.

F. van Abeelen (one of whom’s drawings is pictured on the sleeve of this seven inch and of whom 750 drawings were part of the exhibition mentioned above) was forced as a boy to hide in a basement for years. Only a small window gave access to the outside world. That sliver was his reality. After these years in hiding he began drawing his sliver of reality obsessively. Daily series of similar drawings that he would meticulously catalogue in an organizer. We never met F. Our friend who discovered the drawings in a closet of psychiatric nursing home Dorestad never met F. We only recorded ten musical figures next to 750 drawings by F.

St. Michel is a house that stands on the outskirts of Maastricht. It is built on the floodplains of the river Maas and living there you see the river change daily. It is a river fed by rain. No rain means a low river. Rain means a river that sometimes comes frighteningly close to flooding. Which it sometimes does. Due to the ebb and flow of the Maas, stuff is deposited in the boggy areas that are its floodplains. A shoe, a CD, a drone, some wood.

Places impress themselves onto what you are doing. You become an unwitting prop in the place’s story.

The first ‘snelkookpan’ happened in 2017 in the water-basin of one of the earliest concrete structures in the Netherlands; a bunker that was part of Amsterdam’s defensive line, built around the 1890’s. Something that used to house water was now empty. For three days Kim and Lyckle recorded improvised music there, which is still alive on a hard drive somewhere. In 2020 they recorded ‘the third of May’ at an old pumping station in Den Helder; an eleven part piece of auditory historical-horror which was released by South of North in 2024. Since 2023 Lyckle and Kim have mainly recorded live shows. With a Clarinet, kawai K1, Ipad, organelle, samplers and a variety of instruments curated for their minimal size or odd sound they’ve made chains of brief and improvised mini compositions inspired by browsing environments (digital and otherwise).

Land of the Few and Far Between / Songs for St. Michel adds to this growing collection of recordings for environments that are somehow sticky.

Familiar. Usually reserved for things we think we know. A face, a place, a feeling, a record perhaps. Until, of course, they aren’t quite the same anymore. Or maybe you aren’t.
Jennifer’s debut album lives somewhere around there.
It’s a record about time, which is already a fairly ambitious subject considering nobody seems to have figured that one out yet. More specifically, it’s about what
time does to a person. The old versions, the new versions, and all the ones in between that you only notice when something suddenly brings them back. Someone you
haven’t seen in years. A room you used to know. A certain way the light falls. That sort of thing.

There’s a bit of a doppelgänger situation going on, too. Finding something completely new and somehow recognising it. Meeting yourself again without immediately realising who you’re talking to.
Which can be nice. Or strange. Usually both. The songs on Familiar sit comfortably with that contradiction. Looking backwards without wanting to go back. Missing things without necessarily wanting them
returned. Realising that people who once occupied most of your waking hours can become people whose address you don’t know. Meanwhile, some tiny, seemingly irrelevant detail from fifteen years ago remains perfectly intact.
Memory has its own filing system. Not a particularly sensible one.
Jennifer wrote a series of poems alongside the album. In them, familiarity appears in melting snow, rough coastlines, a kitchen already warm in the morning, somebody’s hands fitting into yours. Elsewhere she wonders about someone she
once knew everything about and now knows nothing about. They could live around the corner. They could live on another continent. They could, technically, be dead. Probably not. But that’s time for you.
Maybe Familiar is less about remembering who you were than realising you never entirely stopped being them. Things get added. Things disappear. Things come back looking slightly different.
And somehow, you recognise them.

GER Erstes Album mit Hopeless der Atlanta Nu-Deathcore-Band LEFT TO SUFFER! Left To Suffer zählen zu den intensivsten und eindringlichsten Acts der modernen Heavy-Musik, eine Band, die mit der Wucht einer Abrissbirne und der Präzision eines Skalpells zuschlägt. Ihr Sound entsteht an der Schnittstelle zwischen Moshpit-tauglicher Brutalität und eindringlicher Melodik; er richtet sich an Hörer, die ihre Katharsis laut, körperlich spürbar und kompromisslos erleben wollen. Von zermalmenden Breakdowns bis hin zu unheimlicher, atmosphärischer Spannung haben sich Left To Suffer eine ganz eigene Nische geschaffen. Hier existieren Wut und Verletzlichkeit unmittelbar nebeneinander, getragen von messerscharfem Songwriting, gewaltigem Tiefenfundament und Hooks, die wie Nachbeben einschlagen. Left To Suffer jagen keinen Trends hinterher. Sie erschaffen etwas, das schwerer, schärfer und unüberhörbarer ist, und dieses Kapitel hat gerade erst begonnen. Oranges Vinyl, Digisleeve CD Hopeless debut from rising Atlanta Nu-Deathcore band LEFT TO SUFFER! Left To Suffer are one of modern heavy music's most visceral acts, a band that hits with the force of a wrecking ball and the precision of a scalpel. Their sound lives at the collision point of pit-starting brutality and haunting melody, built for listeners who want their catharsis loud, physical, and uncompromising. From pulverizing breakdowns to eerie atmospheric tension, Left To Suffer have carved out a lane entirely their own. One where rage and vulnerability coexist in the same breath, anchored by sharp songwriting, massive low-end weight, and hooks that land like aftershocks. Left To Suffer aren't chasing trends. They're building something heavier, sharper, and harder to ignore, and this chapter is just getting started. Orange coloured vinyl, digisleeved CD.

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

John Coffey built a reputation as one of the most explosive live bands in Europe - even becoming an internet sensation with the legendary “beer catch”. From Graspop to Sziget, Wacken to Pinkpop, Vainstream to Jera On Air, 2000trees and Hurricane/Southside - the Dutch group has played several of the biggest festivals, sold out the Melkweg in Amsterdam and even launched their own punk rock festival - Coffey Fest - to celebrate community and uncompromising music. Never shying away from the world around them, John Coffey actively uses their platform to speak out on social justice and political urgency. The new studio album "Not Alone" is about the power of connection. About discovering that there are other people who feel what you feel. Whether you find that connection through a partner, a friend, a helpline, or a room full of people feeling the same music. Talking helps. Singing helps. Screaming along helps. Armed with new music, a fierce activist ethos, and upcoming European tour dates, the band proves that engagement and heavy rock ’n roll are a perfect match.

Mit My Mother's Name veroffentlichen Nive Nielsen & The Deer Children am 9. Oktober 2026 ihr erstes Album seit zehn Jahren. Die in Nuuk geborene gronlandisch-inuitische Musikerin zahlt zu den pragenden Stimmen einer zeitgenossischen Folk- und Songwriter-Generation, die kulturelle Identitat, personliche Geschichten und moderne Klangasthetik miteinander verbindet. Das neue Album bewegt sich zwischen akustisch gepragtem Songwriting, feinen elektronischen Elementen und einer vielschichtigen Instrumentierung, die auch traditionelle gronlandische Einflusse einbezieht. Thematisch stehen Fragen von Herkunft, Selbstverstandnis und Zugehorigkeit im Mittelpunkt. Nive Nielsen verbindet dabei ihre Erfahrungen zwischen Gronland, Europa sowie internationalen Kunst- und Filmprojekten zu einem ebenso zuganglichen wie facettenreichen Werk.

Rathmann spielen dunklen Gitarrenpop. Ungeschliffen und roh. Schmutzig, räumlich und mit einem Sinn für Romantik. Auf ihrem Debütalbum "Die Goldenen Zwanziger" haben sie zu einem klaren Selbstverständnis - einem eigenständigen Sound - gefunden und erzählen darin ehrlich und nahbar. Wenn in ihren Songs ein junges Paar ungewollt schwanger wird, Menschen aus der Bahn geraten oder sich dystopische Zukunftsaussichten breit machen - dann vertonen Rathmann abgründig und introspektiv, eingängig und wunderschön die Zwanziger. Ihre eigenen und das Jahrzehnt, in dem sie sie erleben. Vom Indierocker "Warum tut Liebe so" über den folkigen "Trauriger Geist" bis zum Italo-Western-Titeltrack des Albums - überall ist die klare Handschrift zu erkennen: Eine Band, die sich erlaubt, Band zu sein. Eine Band, die sich nicht am Zeitgeist, sondern ausschließlich an ihren eigenen Interessen orientiert. Und so findet man auf ihrem im Herbst 2026 erscheinenden Debütalbum mehr Anleihen von Leonard Cohen, Big Thief, Dr. Dog und Bands der Hamburger Schule als vom zeitgenössischen, deutschen Indiepop. Bei ihren Konzerten wie auch im Songwriting, Rathmann fangen in ihren Liedern den Moment ein: Die Unsicherheit unserer Zeit und die Tristesse einer soliden Quarter-Life-Crisis - immer aber auch die Freude an der Gemeinsamkeit und die Aufregung eines Lebens, das es noch zu entdecken gilt. Inklusive der Singles Wenn alles vorbei ist, Der Test in Deinen Fingern, Warum tut Liebe so & Trauriger Geist.

Greta Van Fleets fünftes Studioalbum „Palace For The People“ ist als Vinyl und CD erhältlich.
Die US-amerikanische Rockband Greta Van Fleet aus Michigan wurde 2012 von den drei Brüdern Joshua,
Jacob und Samuel Kiszka sowie dem Schlagzeuger Kyle Hauck gegründet und verzeichnet seitdem große
internationale Erfolge - darunter einen Grammy Award, drei Detroit Music Awards und einen iHeartRadio
Music Award.
Alle vier bisherigen Alben der Band erreichten die deutschen Charts. Ihre drei letzten Veröffentlichungen -
inklusive das 2023 erschienene „Starcatcher“ - sogar die Top3.

Nachdem der Pianist Ahmad Jamal zwischen 1968 und 1971 mit seinen langjährigen Trio-Partnern Jamil
Nasser (Bass) und Frank Gant (Schlagzeug) vier exzellente Alben für Impulse! Records eingespielt hatte,
wagte er 1973 bei dem Label 20th Century Records einen Abstecher in für ihn ungewohnte musikalische
Gefilde. Begleitet von einem Orchester mit Streichern und Stimmen ist Ahmad Jamal hier mit Versionen
damals aktueller Hits von Stevie Wonder und der Band War sowie mit Spiritual-Jazz- und Funk-Stücken
zu hören. Das ausgefallene Album ”Ahmad Jamal ’73” produzierte der Pianist, der hier auch erstmals am
E-Piano zu hören ist, zusammen mit Arrangeur und Komponist Richard Evans, der durch seine Arbeiten
mit u. a. Ramsey Lewis, Dorothy Ashby, Terry Callier und Marlena Shaw bekannt wurde.

Der deutsch-amerikanische Violinist David Garrett veröffentlicht mit Immortal sein neues Album. Ein
zutiefst persönliches Projekt und zugleich eine Hommage an einige der bedeutendsten Komponisten der
Musikgeschichte wie W. A. Mozart, Claude Debussy und John Williams. Alle Stücke wurden von David neu arrangiert und spiegeln sein tiefes musikalisches Verständnis, sowie
seinen Anspruch an Authentizität wider. „Ich bin stolz darauf, sagen zu können, dass dieses Projekt zu
100 % handgemacht ist“, sagt er. „Ich hoffe, dass die Hörerinnen und Hörer nicht nur den Klang genießen,
sondern auch die menschliche Präsenz in der Musik spüren.“

Tuff vocals by Amsterdam-based Tesfa Zion over a Ray Ranking rootical 80s-inspired Riddim! This is the title track for our upcoming roots reggae album, releasing in the near future.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

Pierre Mariétan (1935–2025) was a prolific Swiss composer, sound artist, and pioneer in acoustic ecology who spent most of his life working in France. Over his long career, he composed more than 300 instrumental, orchestral, vocal, and electronic pieces. Mariétan studied under avant-garde legends like Pierre Boulez, Karlheinz Stockhausen, and Bernd Alois Zimmermann. In 1966, he founded GERM (Groupe d’Étude et de Réalisation Musicales), a music collective that blurred the lines between strict composition and free improvisation. In 1969 the French BYG label released a GERM album and the same year GERM played at the legendary 5-day Festival in Amougies, Belgium, sharing stage with Pink Floyd, The Soft Machine, Frank Zappa, Don Cherry,…

In 1979 Mariétan founded the Laboratoire d'Acoustique Urbaine (Urban Acoustics Laboratory) to bridge environmental sounds, urban architecture, and musical composition. Mariétan was also a professor at the University of Paris where he taught the relationship between sound and space. Later in life, he remained active as a director for the Movement of Environmental Sound and continued developing permanent, immersive sound installations across the globe. His album Musique d’été was originally released on cassette back in 1983 by Éditions Salabert and Costin Miereanu’s Poly-Art International, and it has been slightly tweaked for this LP reissue. The record splits his vision of "Summer Music" into two different vibes. Side A is a deep dive into an electronic, synthesizer-driven landscape, while Side B features raw acoustic field recordings of forests and traditional Swiss alphorns.

Adjust the intensity of the sound at the same level, if not just above the background noise specific to the place of diffusion.

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

On his brand new studio effort Styles P proves his key to success has always been consistency. The born in Corona, raised in Yonkers, NY native has really worked harder than most to earn the name GOAT, and by naming his album “S.P. The GOAT: Ghost Of All Time” you know he’s not bragging about it, in fact he’s getting his flowers while he’s alive from Hip Hop connoisseurs who know fire bars when they hear them. With productions by Vinny Idol, Termanology, Dayzel the Machine, and Noah Idol among others and guest appearances by Sheek Louch, Jadakiss, Nino Man, Fame of M.O.P, Whispers and Cris Streetz, the legendary LOX and D-Block member proves once again he’s aging like fine wine.

Blume returns to James Tenney's Postal Pieces with a second volume: the three Swell Pieces and Koan, written for Alison Knowles, Pauline Oliveros, La Monte Young and Malcolm Goldstein, on vinyl for the first time from one of the key suites of 20th Century avant-garde music.

In 1970, James Tenney (1934-2006) reversed the entropy of his own life and went west. After spending the majority of the post-war years at the centre of cultural ferment in New York, he accepted a position at the newly inaugurated California Institute of the Arts (CalArts), alongside Allan Kaprow, Simone Forti, John Baldessari, Nam June Paik, Alison Knowles, Morton Subotnick, Harold Budd and Charlemagne Palestine. While the move began an enduring period of relative obscurity, Tenney quietly remained one of the most distinct and groundbreaking composers of his generation, producing a remarkably focused body of work inquiring after the elemental character and perception of sound.

Among the most celebrated of his efforts are the Postal Pieces, a suite of eleven compositions completed in 1971. Citing his strong dislike of writing letters, Tenney sent his friends short scores on the back of postcards. The eleven pieces are composed around three themes: his concept of swell form (utilizing repetition and progressing through a structurally symmetrical arch), intonation, and the desire to produce "meditative perceptual states."

Composed for a group of friends - the visual artist Alison Knowles, the composers Pauline Oliveros and La Monte Young, and the composer and violinist Malcolm Goldstein - the four works on this second volume are intimate, poetic and discreet. They were written roughly contemporaneously with the formation of minimalism by many of Tenney's closest friends, and share its elements of chance, durational tone, repetition and constraint, but they approach them on different terms, anticipating the more complex forms of post-minimalism. Rooted in gestalt theory, they are music in which the composer almost entirely disappears, offering greater attention to the artists to whom they were sent and to the subjective experience of the listener.

A student of Carl Ruggles, John Cage, Harry Partch and Edgard Varèse, an active member of Fluxus, a pioneer of computer music at Bell Labs and a collaborator of Carolee Schneemann, Tenney represents a winding thread connecting the entire history of American avant-garde and experimental music. The second collection by Blume attending to the Postal Pieces, recorded by The Barton Workshop under the direction of James Fulkerson, follows the long sold-out first volume (BLUME 022). It comes with exact replicas of the original postcard graphic scores and newly commissioned liner notes by Bradford Bailey.

"Back in 2022, Ban Ban Ton Ton raved about George T’s then digital-only release, “Roll On, Kings Cross”. We described it as a “dynamite dose of poetry and digidub.” Likening the prose – which describes a train journey from the coast to the city – to Michael Smith and Joe Duggan, while comparing the production to Dennis Bovell’s remixes of Jarvis Cocker’s “Swanky Modes”, and The Sabres Of Paradise’s “Wilmot”. Melodica-led with a hefty post-punk flavour, its dub, which focuses on manipulating and morphing the bass-line, we called “hollowed out house.”

These tracks have now been pressed to vinyl for the second release on new imprint Noetic Rhythm, where they’re joined by Leonidas’ “Great Northern” mix. Eschewing his usual futuristic ethno techno jacking, here he drops into roots reggae. Creating something more skanking, more stepping. An extended “discomix” showered in filtered, Mutron Bi-phased percussion, ghostly horns and peppered with the odd syndrum pop. Washes of sampled surf appropriately accompanying George informing us that “to the left there’s the sea.”

The 12 also features, “Dr Doctor”, a fresh collaboration with Yas Mine, The singer / guitarist’s French vocals countering George’s Matt Johnson-esque delivery, and a John Barry / “Midnight Cowboy”-like melodica melody serenading the song’s slow, squelchy, electronic skanking. The dub, instead, showcasing Yas’ fine fretwork." BAN BAN TON TON review

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"These tracks are massive! I love Roll On King's Cross the best" KAY SUZKI (Time Capsule)
"I played the dub (Dub On, King's Cross) at a club in Oslo alongside some Maurizio and it sounded great. Bit of an oddball." Also played on NTS Radio and in Mixmag mix. JONNIE WILKES // OPTIMO
"Really digging Mr Demure when he drops into dubwise" DR ROB // BAN BAN TON TON
"Yes. Nice" NICK THE RECORD
"Awesome" JONNY ROCK
"I really like this EP... Love the Leonidas dub!" CEDRIC WOO (Beauty & The Beat, LDN)
"Love the blend of Augustus P vibes with a post punk dub feel. Bingo!" DICKY TRISCO
"I love it and will be playing" TREVOR FUNG (Ibiza Legend)
"Yes this is dark but kinda friendly.... brilliant...It's like ghost town ...I love Leo's mix" FOR MANKIND (Pikes Ibiza)
"Love the release and LOVE LOVE LOVE Dr Doctor!!!! Psyched to play this one out all weekend." ZILLAS ON ACID // James Weissinger (Philadelphia, US)
"This is amazing. Dub on kings cross is a banger - really love this one" ARVEENE
"Loving the Leonidas dub" ATEMI (Blackbush Orchestra / Abstrack)
+
PREVIOUSLY
"Melodica heaven" JD TWITCH/OPTIMO (RIP)
"I love this" IVAN SMAGGHE
"It's hot!!" JONNY ROCK
+ plays/support from:
DON LETTS (BBC 6Music)
TOM RAVENSCROFT (BBC 6Music)
HARRI (Sub Club)






[f] Roll On, King's Cross [Leonidas' Great Northern Mix] 06:54
[g] Dr Doctor [Instrumental Mix] 03:25

His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man On Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground

Their music draws from old folk sources, but it sounds vibrantly alive. On The Holy Coming of the Storm, their debut from 2010, the duo crafts original songwriting and seasoned acoustic musicianship into a timeless blend of old-time, bluegrass, folk and Americana traditions. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited-edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together

Their music draws from old folk sources, but it sounds vibrantly alive. Produced by Tim O'Brien, I'll Swing My Hammer With Both My Hands is the epic culmination of the duo's original run together. Now, more than a decade later, these beloved recordings are finally being pressed on vinyl for the very first time in special limited- edition releases. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen's vocals reflect the warm glow of Eli's voice, it's clear that this duo was made to sing together

While there have been countless performances, recordings and releases of Glass's works, this is the first time that an entire album is devoted to new studio recordings of his original film scores. Over the past decades Philip Glass has become a household name in contemporary music thanks to his prolific activity and output across many music genres, including operas, concertos, symphonies and music for theatre. He has also systematically sought out collaborations with musicians and artists from all over the world. Due to his highly idiosyncratic and distinctive style, the American composer has been considered one of the frontrunners of minimalism in music, even though he himself regards his work rather as music with repetitive structures, in a continual search to integrate harmony, melody and rhythm into a single musical expression. In 2025 he received the World Soundtrack Lifetime Achievement Award for his contribution to the art of film music.

Much like a teacher, Meryl Streek imparts his knowledge and lived experiences to all who are willing to listen. His third album, ‘Stories They Don’t Teach You At School’, serves as an alternative form of education, delivered through a visceral blend of factual soundbites and raw emotion, loops and samples, guitars and bass. The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.
Meryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.
As is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. As the album progresses, the mission remains absolute: to provide a voice for the voiceless.
To amplify these narratives, Meryl Streek handpicked a diverse group of collaborators for the project. ‘Rotten Fruit’ features Steve Ignorant of anarcho-punk collective CRASS. ‘Depression’ opens with a touching recording of the late Liam Norton, close friend and former touring companion, while Pete Holidai of The Radiators From Space contributes guitars on the song. Comedian Phill Jupitus provides the spoken outro for ‘The Chancer'. ‘Housing For All’ incorporates audio from Derelict Ireland campaigners Frank O’Connor and Jude Sherry. Venn Records owner and Gallows guitarist Laurent ‘Lags’ Barnard joins forces with Adebisi Shank bassist Vinny McCreith on the aggressive ‘Bullet,’ while Sophie Porter of Other Half provides bass guitar for ‘Life is Not a Rehearsal’. The album concludes with a three-minute spoken word piece by Frankie McNamara, the viral creator behind ‘Meditations for the Anxious Mind’.
In her 1990 protest anthem “Black Boys on Mopeds,” the late Sinead O’Connor warned, “To say what you feel is to dig your own grave”. With this release, Meryl Streek firmly holds the shovel.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Originally released April 15th, 2014, Do to the Beast was on its release the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing obsessions. The album served as both a homecoming – it marked their then return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base – and a glimpse into the future of one of the most acclaimed bands of the past thirty years.

"Guitarize the World" lässt die außergewöhnliche Erfolgsgeschichte des genreübergreifenden Gitarrenduos Café del Mundo erstmals auf einem Album erklingen und versammelt einen Querschnitt der mitreißenden Arrangements aus Klassik, Filmmusik und Pop, mit denen Jan Pascal und Alexander Kilian ihr Publikum weltweit bei ihren spektakulären Live-Auftritten begeistern. Aufgenommen in legendären Studios wie Abbey Road und in Zusammenarbeit mit renommierten Ensembles wie dem Royal Philharmonic Orchestra oder dem Deutschen Filmorchester Babelsberg, präsentiert "Guitarize the World" den unverwechselbaren Sound des Duos in mehr als 20 Tracks. Von reduzierten Gitarren-Miniaturen bis hin zu opulenten Orchesterarrangements umfasst das Album eigene Kompositionen wie "Dance of Joy", "Space Gitanos" und "Smile", Adaptionen klassischer Titel wie "Clair de Lune" und "Air on a G-String", Arrangements von Filmmusiktiteln aus "Interstellar", "Cinema Paradiso" oder "Forrest Gump" sowie bombastische Cover von Pop-Hymnen wie "Viva la Vida", "With or Without You" und "Smooth Criminal". Darüber hinaus enthält das Album exklusiv ein Arrangement von Beethovens Klavierkonzert Nr. 5 für zwei Gitarren. Die 180-g-Color-Vinyl-Edition beinhaltet 23 Titel auf 2 Schallplatten in Grün und Pink im hochwertigen Gatefold. Exklusiv in diesem Format enthalten sind die Aufnahmen von "Blessing", "Easy" und "Smooth Criminal". Die limitierte 2-CD-Edition enthält die 20 Titel des Albums sowie als Bonus-CD "80s Unplugged" mit 13 Gitarrenarrangements legendärer Klassiker der 1980er-Jahre, darunter "Everybody Wants to Rule the World", "Time After Time" und "I Still Haven't Found What I'm Looking For".

Auf ihrem sechzehnten Studioalbum "Far And Wide" wirken The Pineapple Thief mehr denn je wie eine Rockband. Nach wie vor progressiv. Nach wie vor Meister einer Gänsehaut erzeugenden Atmosphäre. Nach wie vor im Einklang mit der seltsamen, unruhigen Welt um uns herum. Und nun - ein Jahrzehnt und sieben Alben nach dem Einstieg von Gavin Harrison am Schlagzeug - fangen sie die Chemie, die zurückgelegten Kilometer und die größeren Bühnen der letzten Jahre ein. Diese Energie in Echtzeit ist in diesen Songs deutlich zu spüren. Angefangen bei den stimmungsvollen Klängen des Openers "New World Order" schlägt diese Musik hart zu - voller Biss und imposanter Schatten, ohne dabei die subtilen Wendungen und die Leichtigkeit zu opfern, die ihnen so natürlich abhandenkommen. Mit anderen Worten: Rocksongs von echter Klasse und Nuance.Bei "Far And Wide" geht es um gemeinsame Grundlagen. Eine abstrakte Sammlung von Gefühlen über den Zustand der Welt, die menschliche Erfahrungen auf eine Weise erschließt, wie es vielleicht nur Musik vermag. Erhältlich als limitiertes 2CD+Blu-ray-Artbook, inklusive 1 Bonustrack sowie einer Bonus-CD mit Instrumentalversionen und einer Blu-ray mit Dolby Atmos, 5.1-Surround- und 24-Bit-Stereo-Dateien

Cameron Winter kündigt sein erstes Live-Album "Live at Carnegie Hall" an. Das Album dokumentiert Winters historischen Auftritt im Dezember 2025, bei dem er als einer der jüngsten Solokünstler überhaupt als Headliner im Hauptsaal der legendären Konzerthalle auftrat. Ganz allein, über sein Klavier gebeugt und mit dem Rücken zu einem ehrfürchtigen, ausverkauften Publikum, interpretierte der Frontmann der Band "Geese" Songs aus seinem gefeierten Debütalbum "Heavy Metal" neu. Ein Album, das von GQ in ihrem ausführlichen Bericht über diesen Abend in der Carnegie Hall als "eine der kühnsten und selbstbewusstesten Singer-Songwriter-Platten dieses Jahrhunderts bisher, ein Fiebertraum voller Gefühle von jemandem, der die Regeln gut genug verstand, um zu wissen, dass sie ihm kaum etwas bedeuteten" beschrieben wurde.

Auf dieser berühmten Bühne präsentierte er zudem drei bisher unveröffentlichte Kompositionen, von denen jede einen Einblick in seinen Fundus an Material bot. Die gesamte Darbietung war von einem unbestreitbaren Gefühl der Einmaligkeit geprägt, das die Bedeutung des Augenblicks einfing: Zeuge zu sein, wie ein Künstler, wie er nur einmal in einer Generation vorkommt, die Bühne eines der ehrwürdigsten Veranstaltungsorte der amerikanischen Musikszene beherrscht.

CODE, das kommerziell erfolgreichste Album der elektronischen Pioniere Cabaret Voltaire aus Sheffield, ist endlich wieder erhältlich – nach jahrelanger Vergriffenheit.
Das ursprünglich 1987 veröffentlichte achte Studioalbum der Band wurde von den Originalbändern durch Denis Blackham neu remastert, der seit über 20 Jahren sämtliche Alben von Cabaret Voltaire gemastert oder remastert hat. Die Neuauflage erscheint bei Mute und präsentiert das originale Artwork in restaurierter Form.
Gemeinsam produziert mit Dub-Ikone Adrian Sherwood, markiert CODE einen mutigen Schritt in Richtung Synth-Pop und mechanischem Funk. Es war das letzte Album von Cabaret Voltaire, das mit einem großen Produktionsbudget entstand und dabei dennoch kompromisslos glaubwürdig blieb. Mit den Singles „Don't Argue“ und „Here to Go“, die beide Charterfolge feierten, zählt es zu den Höhepunkten im Schaffen der Band.
Der Albumtitel verweist auf ein Thema, das damals von großer Aktualität war und heute relevanter denn je erscheint: die zunehmende Durchdringung des menschlichen Lebens durch Technologie, Computer und Programmierung. Für Cabaret Voltaire stand CODE dabei sinnbildlich für Kontrolle – nicht nur im kreativen Prozess des Musikmachens, sondern auch im Hinblick auf gesellschaftliche und wirtschaftliche Machtstrukturen vor dem Hintergrund einer Ära des Überflusses.
Aufgenommen wurde das Album im bandeigenen Western Works Studio in Sheffield. Adrian Sherwood war bereits in der Vorproduktion beteiligt, bevor die Aufnahmen für den Mix in die Red Bus Studios nach London verlegt wurden. CODE dokumentiert eine Band auf dem Höhepunkt ihrer kreativen und kommerziellen Schaffenskraft.
Diese Wiederveröffentlichung wurde 2019 gemeinsam mit Richard H. Kirk begonnen. Nach seinem viel zu frühen Tod wurde das Projekt anhand seiner Notizen und in enger Abstimmung mit Stephen Malinder sowie dem Nachlass von Richard H. Kirk vollendet – eine würdige Hommage an sein außergewöhnliches Vermächtnis.

Format: LIMITIERTE AUFLAGE AUF CODIFIED MARBLE VINYL. Inklusive 2-seitigem Einleger mit neuen Linernotes.

1986 veröffentlichten Bassist Ron Royce (Ron Broder), Gitarrist Tommy T. Baron (Tommy Vetterli) und Schlagzeuger Marquis Marky (Markus Edelmann) ihr erstes Demotape »Death Cult« mit Hilfe von Celtic Frosts Tom Gabriel Fischer am Gesang (Fischer war auch für die Texte verantwortlich).
Kurz darauf, Anfang 1987, unterschrieben Zürichs Avantgarde-Metal-Pioniere einen Vertrag mit Noise Records aus Berlin. Zu diesem Zeitpunkt hatte sich Bassist Ron Royce entschieden, selbst die Rolle des Leadsängers von Coroner zu übernehmen.
Schließlich buchte Karl-Ulrich Walterbach von Noise Records für Coroner Studiozeit im Berliner Music Lab Studio, damit sie ihr Debütalbum unter den wachsamen Augen von Harris Johns aufnehmen konnten. »R.I.P.« wurde im Juni 1987 veröffentlicht und erhielt ausgesprochen positives Feedback in der Presse.

1988 folgte auf Coroners Debütalbum »Punishment For Decadence« (diesmal produziert im Sky Trak Studio in Berlin, produziert von Guy Bidmead). Laut Gitarrist Tommy Vetterli war das eine natürliche Weiterentwicklung für die Band: „Wir haben uns mehr auf die Tiefe der Musik konzentriert, es war nicht mehr nur eine Demonstration unserer technischen Fähigkeiten. Die Band war ziemlich tight, definitiv tighter als auf unserem ersten Album. Insgesamt denke ich, dass die Platte etwas reifer ist. Es ging weniger darum zu zeigen: ‚Schaut her, wie gut wir spielen können‘, sondern der Fokus lag auf den Songs.“
Der herausragende Track auf dem Album ist „Masked Jackal“, ein Fanliebling bis zum heutigen Tage. Außerdem wurde ein Musikvideo zu dem Song gedreht, wie der Gitarrist erklärt: „Es ist das Stück, das auf dem Album heraussticht. MTV war damals für jede Band extrem wichtig. Deshalb ist ‚Masked Jackal‘ bis heute ein Favorit der Fans.“

»Punishment For Decadence« kam mit einem auffälligen Cover-Artwork daher (ein Gemälde mit dem Titel „Porte de L'enfer“), eine Idee von Schlagzeuger Marky: „Er kletterte mitten in der Nacht eine Leiter hinauf und fotografierte hier in Zürich das Artwork von Rodin. Das Plattenlabel fand jedoch, dass dieses Cover nicht ‚Heavy Metal‘ genug sei, also veröffentlichten sie für die zweite Pressung ein anderes Cover mit diesem Skelett, das Geige spielt. Jenes Motiv war eigentlich nur als T-Shirt-Design gedacht.“

Laut Tommy lief das Album in Sachen Verkaufszahlen ordentlich: „Anscheinend müssen die Verkaufszahlen befriedigend gewesen sein; sonst hätten wir wahrscheinlich nicht weitermachen können. Wir haben nicht viel Geld mit Coroner verdient, aber das Ganze hat viel Spaß gemacht. Wir konnten überleben und das tun, was wir lieben. Die Presse und andere Musiker mochten uns, aber wir erreichten niemals die breite Masse.“
Im Februar 2026 von Patrick W. Engel bei TEMPLE OF DISHARMONY remastert und restauriert. Die Schneidearbeiten wurden von SST Germany auf Neumann-Geräten durchgeführt, um in jeder Hinsicht optimale Qualität zu gewährleisten. Die ultimative audiophile Ausgabe dieses zeitlosen Klassikers!

Die intergalaktische Musik von EVE Online erstmals auf Vinyl!

Diese Veröffentlichung erstreckt sich über das von Spielern gestaltete Universum von New Eden und vereint auf zwei LPs eine Auswahl herausragender Titel, die sowohl das Ausmaß interstellarer Konflikte als auch die stille Einsamkeit des Weltraums widerspiegeln.

Mit Musik von Kristian Ross und Real X spannt der Soundtrack einen Bogen von üppigen Ambient-Atmosphären bis hin zu cineastischen Orchesterklängen. Von der treibenden Intensität von „Uprising“, „Havoc“ und „Legion“ bis hin zu den kosmischen, meditativen Klängen von „Stellar Shadows“ und „Below the Asteroids“ bewegt sich die Trackliste zwischen Spannung und Ruhe und spiegelt das sich ständig verändernde Kräfteverhältnis im Universum von EVE Online wider.

Die Verpackung greift Hintergründe des Weltraums, Umlaufbahnschemata und markante himmlische Formen auf und ist auf silbernem Karton gedruckt, um den Glanz des Himmels besser einzufangen. Das Artwork auf der inneren Gatefold-Hülle ist eine Hommage an die von den Spielern bestimmte Erzählung des Spiels und zeichnet die Geschichte von New Eden mit einer Zeitleiste der wichtigsten Ereignisse nach, die das Universum geprägt haben.

Mit hochwertigen Materialien und durchdachten Details ist dies eine Veröffentlichung, die sich so weitläufig anfühlt wie das Universum, das sie repräsentiert. Geschaffen, um ausgestellt, gesammelt und immer wieder neu entdeckt zu werden … Genau wie EVE Online.

Der belgische Pianist Jef Neve, sowohl klassisch als auch im Jazz ausgebildet, legt ein sehr persönliches Soloalbum vor. Die elf Titel führen bis in seine Kindheit zurück, wo er schon am Klavier saß und in seiner Fantasie den verschiedenen Tönen bestimmte Farben zuordnete. Nach 25 Jahren auf der Bühne, Tourneen um die ganze Welt und zahlreichen Begegnungen mit Menschen und Orten stellt "Key Energy" eine Art Zwischenbilanz dar.

1986 veröffentlichten Bassist Ron Royce (Ron Broder), Gitarrist Tommy T. Baron (Tommy Vetterli) und Schlagzeuger Marquis Marky (Markus Edelmann) ihr erstes Demotape »Death Cult« mit Hilfe von Celtic Frosts Tom Gabriel Fischer am Gesang (Fischer war auch für die Texte verantwortlich).
Kurz darauf, Anfang 1987, unterschrieben Zürichs Avantgarde-Metal-Pioniere einen Vertrag mit Noise Records aus Berlin. Zu diesem Zeitpunkt hatte sich Bassist Ron Royce entschieden, selbst die Rolle des Leadsängers von Coroner zu übernehmen.
Das erste Ergebnis war »R.I.P.«, das Debütalbum der Band, das im Juni 1987 erschien und sehr gute Pressereaktionen erhielt.
1988 folgte Coroners Studiodebüt »Punishment For Decadence«, erneut produziert in West-Berlin, diesmal von Guy Bidmead im Sky Trak Studio. Die Band tourte in bescheidenem Umfang durch Europa, bevor sie mit der Arbeit an ihrem dritten Album begann.
Für »No More Color« (1989) reisten Coroner zum dritten Mal in Folge nach Berlin. Diesmal war Pete Hinton der Produzent, wie Gitarrist Tommy Vetterli erklärt: „Ja, genau! Pete Hinton wurde vom Label vorgeschlagen. Da er einige meiner Lieblingsbands aus Jugendtagen produziert hatte, wie Saxon und Demon, waren wir begeistert. Die Zusammenarbeit mit ihm lief wirklich gut, er ist ein absoluter englischer Gentleman.“
Der Mix des Albums wurde in den Morrisound Studios von Scott Burns in Tampa, Florida, realisiert, einem damals sehr angesagten Ort.
Der komplexeste Song auf »No More Color« ist vielleicht „Mistress Of Deception“; laut Tommy Vetterli „besitzt er definitiv einige extrem schwierige Gitarren-Passagen. Ich erinnere mich, dass Marky vor den Albumaufnahmen sagte, er schreibe einen Text über die Wüste. Das hat mich wirklich inspiriert, und ich habe den Song in ein paar Tagen geschrieben.“
„Die By My Hand“, eine deutlich geradlinigere Nummer, wurde als Single für das Album ausgewählt (und zusammen mit „Tunnel Of Pain“ auf durchsichtigem Vinyl als Promo-12“ veröffentlicht).
In damaligen Interviews erwähnte Tommy, dass »No More Color« das erste Album von Coroner war, auf dem die Band groovige Parts einbaute, anstatt durchgehend auf kompromisslosen technischen Thrash Metal zu setzen. Heute glaubt er immer noch, dass das stimmt: „Ja, durch all die Tourneen hatten wir gelernt, dass man zwischen den schnellen und komplexen Abschnitten einige einfachere und groovigere Parts spielen muss. Das wirkt live viel besser und macht auch das Publikum glücklich. Das Album konzentrierte sich insgesamt viel mehr darauf, Stimmungen zu evozieren, und weniger auf technische Leistungen.“

Im Februar 2026 von Patrick W. Engel bei TEMPLE OF DISHARMONY remastert und restauriert. Die Schneidearbeiten wurden von SST Germany auf Neumann-Geräten durchgeführt, um in jeder Hinsicht optimale Qualität zu gewährleisten. Die ultimative audiophile Ausgabe dieses zeitlosen Klassikers!

Claudio PRC's latest album Self Surrender got reworked into a special live A/V show for San Francisco's Endzeit collective. During SF Art Week 2026, Claudio PRC performed a deconstructed version of his latest album originally released on Delsin Records in 2025. A captivating, deep ambient journey deconstructing the album tracks accompanied by a live visual performance by Subset. Four of these works are part of the Self Surrender Deconstructed vinyl release, including two new tracks 'Traces' and 'Sanctuary'. Comes with a postcard featuring a link to watch the full performance.

Jan Kincl, a Croatian producer, DJ and live performer with releases on BBE Records, Far Out Recordings, Sonar Kollektiv, and Get Physical, returns to his own Cycle Records with "Lights Out", the label's sixth release. Written and produced at Cycle Studio in Zagreb, it arrives in Main and Alternative mixes. The remixes come from Trinidadian Deep, a deep house producer and DJ mentored by Ron Trent, with releases on Neroli, Vision Recordings, Toto and Makin' Moves, as well as his own Native Bush - Many Moods of Music imprint. "An appropriate title. This is definitely a tune you want to hear when you closes your eyes on the dance floor, the vibe gets deep and you the lights go down." - said DJ Kemit. Intergalactic Gary called the record "Deep, atmospheric and emotional", while DJ Lady D summed up the contrast at the heart of the release: "Love the original, gives classic house vibes and TD offers a modern deep take." Early supporters include DJ Deep, Volcov, Ian Friday, DJ Kemit, Intergalactic Gary, Michael Reinboth, DJ Lady D, Bill Brewster (NTS Radio), Iron Curtis, Delfonic, ?me, Rohan Rakhit (Worldwide FM), Laani (Rinse FM / Worldwide FM / Jazz re:freshed) and Sebastian Hampf (ByteFM), among others.

Electronic tastemaker Reznik makes his Defected debut with a remix of Chasing Kurt's 2014 club favourite, "From The Inside." Following his critically acclaimed "Cloudy Eyes" featuring Jesse Boykins III, Reznik continues to build momentum across the global club circuit with 2026 appearances at The Loft Amsterdam, Scorpios Mykonos, Gate Club Paris, Hï Ibiza, Extrema Belgium, KOKO, and more. Championed by Keinemusik, Tripolism, DESIREE and more, the remix has become a sought-after ID among underground selectors.