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Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.

MALEDICTUS is a Portuguese metal band formed in Lisbon. Bringing together experienced musicians with a shared vision, the band creates dark, powerful and atmospheric heavy music. With a foundation of aggressive riffs, haunting melodies and emotional vocals, the band blends modern heavy metal with darker, more melodic influences.

The group was formed by musicians seeking to explore a heavier and more expressive sound, combining technical musicianship with compelling songwriting and a cinematic atmosphere. Their music strikes a balance between intensity and melody, moving between crushing guitar passages, dynamic rhythms, and dramatic vocal performances. ""Our music reflects who we are and how we process life and our own emotions. Music is life manifested through an artist's soul. We all process life with a sense of dark melancholy”, comments guitarist Ben Stockwell. As history has taught us, Portuguese metal bands are known for their melancholic sound, which reflects their cultural identity.

Since their formation, MALEDICTUS has been focused on creating music that reflects the darker and more emotional aspects of the metal genre. Drawing inspiration from classic and contemporary metal acts, the band aims to create a sound that feels familiar yet distinct, appealing to fans of powerful, atmospheric metal.

Boasting a line-up of seasoned performers and a clear artistic vision, MALEDICTUS is developing new material and establishing its presence in the Portuguese metal scene and beyond. Their debut album, „Lazarvs“, is set to be released on Friday 13th of November. The album title draws heavily on the biblical story of Lazarus in the Gospel of John, in which Jesus performs the great miracle of raising his deceased friend Lazarus from the dead after he had been in the tomb for four days.

With Rez on vocals, the band has an exceptional singer with a distinctive, powerful voice. „He is undoubtedly one of the best out there having power, soul, range and timbre. Everything fits perfectly with our sound. We couldn't have asked for a better voice or frontman"", says the guitarist. Rez’s lyrics are another perfect addition to the band's dark, epic and partly progressive sound. The lyrical themes focus on life's darkest moments. „Death brings an opportunity for renewal, as do our most difficult struggles, which require part of us to die in order to be overcome.

Hell is empty and the salsa is all there is.

Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.

Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.

The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.

Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

After a very long silence, Wasser Bassin proudly presents Christine Fowler‘s third album, Anthology Of Oddities!

Almost ten years after her last effort, Christine returns with a handful of diverse and unique tracks. On the A-side, the skillfully crafted field recording, ‘Arctic Exortation”, which, literally, breaks the listener’s ice, is followed by the morse encoded distress of “Sinking Vessel Mayday. “Now There Has Been A Delay” and “Elegy For Dead Guitars” both work as somewhat melodic, somewhat tense acoustic guitar innuendos.

The B-side starts off with the long and epic ‘An Unfinished Portrait For Peter And Jean-Luc’, an actual soundtrack for things that never came to life; whilst, the brief and minimal, “Crevasse” ends the album in a sort of synth-like meditation.

So, there you go. It is all brand new and limited to 100 copies!

Endlec, one of Analogue's core artists, returns with a powerful new release: four full length tracks and four stripped-down loops, fusing old-school elements with high-grade techno.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

Wendy Eisenberg hat die letzten zehn Jahre als feste Größe der Independent-Musikszene und als Künstlerin von inspirierender Vielseitigkeit verbracht. Als Singer-Songwriterin, Improvisatorin und virtuose Gitarristin sind die Koordinaten ihrer Kunst ständig im Wandel, von Art-Rock über Jazz bis hin zu mitreißender freier Improvisation und ausdrucksstarker Folk-Musik. Mit Höhepunkten wie dem 2020 erschienenen Album Auto" und dem 2024 Free-Jazz-Album Viewfinder" hat sie sich einen Namen als ambitionierte Künstlerin gemacht. Nachdem sie die letzten fünf Jahre damit verbracht hat, in verschiedenen Bands, Genres und kreativen Herausforderungen zu experimentieren, und nach einer Phase der Selbstkonfrontation, die sie mit einem persönlichen Exorzismus vergleicht, hat Eisenberg einen Meilenstein erreicht. Die poetischen und formal gewagten Folksongs von Wendy Eisenberg sind ihre bisher klarste Vision. Die Songs begannen 2020 Gestalt anzunehmen, als Eisenberg aus West-Massachusetts wegzog, wo sie nach ihrem Studium am New England Conservatory in Boston einige Jahre gelebt hatte, und nach Brooklyn zog. Aus Sehnsucht nach der ländlichen Atmosphäre ihres früheren Zuhauses fühlte sich Eisenberg zu den warmen Klängen von Country und Folk hingezogen. Die Songs sind echte Folk-Lieder", sagt Eisenberg über ihr Album. Bei der Produktion geht es weniger darum, zu sehen, was die Gitarre leisten kann, sondern vielmehr darum, die inhärente Fremdartigkeit der Sprachen zu akzeptieren, die sie seit anderthalb Jahrhunderten spricht." Auf Wendy Eisenberg schafft die Künstlerin ihr eigenes Paradigma mit einem eng verbundenen Kreis von langjährigen Freunden und Mitwirkenden, darunter Bassist Trevor Dunn, Schlagzeuger Ryan Sawyer und Co-Produzentin Mari Rubio (more eaze), die für Pedal Steel, Synthesizer und Streicharrangements zuständig war. Die Aufnahmen fanden oft in Eisenbergs Haus statt und verliehen jeder Note eine wunderschöne Ensemble-Textur. Endlich war ich von Menschen umgeben, die mich akzeptierten", sagt Eisenberg. Viele der Songs auf diesem Album sind in diesem neuen Gefühl entstanden. Ich wollte, dass es unglaublich beruhigend wirkt, da es einige massive Veränderungen im Selbstverständnis und Selbstwertgefühl beschreibt. Es geht um Erleichterung."

The Late Night Tales compilation is a bit of a ‘stealth’ project for me personally. I’m very proud of it, but at the time, I probably didn’t appreciate it as much as I do now because there was so much going on. You do these things in-between touring and you don’t really have time to reflect on them because you’re immediately onto the next thing. It’s nice to know that it’s getting re-released. George Evelyn - Nightmares on Wax May 2024 This ain't no normal nightmare, kid. This is Nightmares On Wax, aka DJ EASE, aka George Evelyn. Born under a bad sign, with lino in hand, Mr. Evelyn went forth into the world and breakdanced (brokedance?). It's what you did in the 80s when you were young, loved hip hop and couldn't rap for toffee. When house arrived they turned their clever hands to it. Bleeps and beats is what it was. That's what everyone said. But there was always a bit more than a bunch of bleeps to what Nightmares On Wax did. The north never really took the name very seriously (Sweet Exorcist even named their album Clonk as a pisstake). Then George flipped the script and went and did Smokers Delight, the beats not so much seminal as semolina: gloopy and slow and sweet and lovely. And now we have this: a 2024 reissue of his seminal Late Night Tales compilation. Tom Scott's 'Sneakin' In The Back' — one of the most sampled beats in hip hop — makes an appearance in its full glory, while Quincy Jones, the inspiration for NOW's 'Nights Interlude', backs up the classics with ‘Listen (What It Is)’. Evelyn's hip hop sensibility is to the fore throughout and nowhere is this more evident than on ‘Intergalactic Throwdown' by former Freestylers' DJ, Mad Doctor X. And can we forget the sublime version of the Classic IV's 'Spooky' by darling Dusty? No, we can't. Finally — oh, finally! — there is the now-traditional cover version, with George serving up a soupy version of 'Brothers On The Slide' that gives a nod of respect to the original British funk soul brothers, Cymande. This ain't no nightmare at all: it's Nightmares On Wax.

Prepare to be captivated by the mesmerizing melodies and immersive atmospheres woven throughout "Rebellium." Sub Terra's signature blend of hypnotic rhythms, celestial harmonies, and otherworldly textures invites listeners to embark on a sonic odyssey unlike any other.

Intergenerational trio Dry Speed is one of the best-kept secrets of the Belgian free jazz and improvisation scene. Formed in the early 2000’s, trumpet player Joachim Devillé and saxophonist Thomas Olbrechts were in their twenties at that time, while drummer – their teacher at the art school in Brussels - Dirk Wauters was already in his fifties. Logically, twenty years later the first one are in their forties and the third one in his seventies. They only released a couple of CDs before “Indium” but never stopped to play, for themselves and for audiences, in concerts.

'Too often we describe music using classifications; genres like “jazz,” “experimental,” “avant- garde” are an easy shorthand to relay the rough parameters of the music to another person who may not have heard it. But these words are useful because they’re so vague, and they are most often used when the impression the music makes is equally vague. But when a group makes sounds that move the listener, these terms don’t hold up.

Dry Speed has released a record that is, at turns, futuristic and organic. It feels alien and new, like plastic or titanium, but at the same time as if it is shrouded in the natural, growing like moss or amplifying the sound of a great tree’s roots. ‘Indium’ gives the listener multiple entry points into the trio’s music: from a broad soundscape to a densely knitted series of minute and exacting musical gestures.'
- Nate Wooley

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

One more year and our annual compilation 'Hate & Tenderness' is back. This time in its fifth edition, where we have agreed a group with some of our favorite artists from the last years to create a wonderful compilation full of love.

Being faithful to our philosophy based on contrasts, legendary artists such as DJ Shufflemaster, Truncate or DJ Dextro join youngsters such as Gene Richards Jr, Phil Berg, Mathys Lenne, Kashpitzky, Nicolas Vogler or Damian Vargas to name a few, all of them accompanied by the label heads Fixon & Dig-It, to leave a release that moves us indescribably and that we want to share with everyone!
credits

Noch bevor Brian Eno dies tat, schuf Mort Garson zurückhaltende Musik. Garson, der an der Juilliard School ausgebildet wurde und in der Nachkriegszeit als Session-Musiker tätig war, komponierte Lounge-Hits, schrieb die Musik zur Mondlandung von 1969 und schuf opulente Arrangements für Doris Day sowie die sehnsuchtsvollen ,Countrypolitan"-Streicherbegleitungen für Glen Campbells ,By the Time I Get to Phoenix". Mitte der 1970er Jahre fegte eine Naturgewalt über die kontinentalen Vereinigten Staaten hinweg, die alle Schichten unabhängig von Rasse und Klasse durchdrang und sich in unseren Köpfen, unseren Häusern und unserer Kultur festsetzte. Es war weder ,Der Exorzist", noch ,Goodbye Yellow Brick Road" oder gar Schlaghosen, sondern ein Buch mit dem Titel ,Das geheime Leben der Pflanzen". Das Werk des Okkultisten/ ehemaligen OSS-Agenten Peter Tompkins und des ehemaligen CIA-Agenten und begeisterten Wünschelrutengängers Christopher Bird schoss an die Spitze der Bestsellerlisten und breitete sich wie Kudzu über das Land aus, bis es zu einem Phänomen wurde. Scheinbar über Nacht blühte das Geschäft mit Zimmerpflanzen in voller Pracht auf, und photosynthetische Eukaryoten aller Gattungen hingen an den Wänden, thronten über Bücherregalen und sonnten sich auf sonnigen Fensterbänken. Die wissenschaftlichen Ansätze hinter ,Secret Life" waren fadenscheinig: Pflanzen können unsere Gebete hören, sie sind Lügendetektoren, sie sind telepathisch, in der Lage, Naturkatastrophen vorherzusagen und Signale aus entfernten Galaxien zu empfangen. Doch das hielt Millionen Menschen nicht davon ab, ihre neuen Pflanzen zu kaufen und zu pflegen. Die vielleicht verrückteste Behauptung des Buches war, dass Pflanzen auch Musik mögen. Und ganz gleich, ob Sie eine Schlangenpflanze, einen Spargelfarn, eine Friedenslilie oder was auch immer bei ,Mother Earth" auf der Melrose Avenue in Los Angeles erwarben (oder eine Simmons- Matratze bei Sears kauften) - Sie nahmen auch ,Plantasia" mit nach Hause, ein Album, das speziell für sie aufgenommen wurde. Mit dem Untertitel ,Warm Earth Music für Pflanzen _ und die Menschen , die sie lieben" war es voller idyllischer, charmanter, kiff-freundlicher und entschieden unwissenschaftlicher Melodien, die auf einem neumodischen Gerät namens Moog eingespielt wurden. Das Album erlangte Jahrzehnte nach seiner Veröffentlichung eine enorme Kult-Anhängerschaft. Die Neuauflage von Sacred Bones aus dem Jahr 2019 trug dazu bei, ,Plantasia" einem breiteren weltweiten Publikum bekannt zu machen, und bescherte Garsons ungewöhnlichem Meisterwerk ein bemerkenswertes zweites Leben. Was einst ein seltsames Relikt der Pflanzenbegeisterung der 1970er Jahre war, ist zu einem geliebten Evergreen geworden, der von einer neuen Generation von Hörern wiederentdeckt und neu geschätzt wird und weit über seinen ursprünglichen Moment hinaus gedeiht, wobei er sich von einer obskuren Kuriosität zu einem geliebten Kultklassiker und einem Meilenstein des Streaming-Zeitalters entwickelt hat. Nun, 50 Jahre nach seiner ursprünglichen Veröffentlichung, markiert ,Plantasia" von Mother Earth einen bedeutenden Jubiläumszeitpunkt. Ein halbes Jahrhundert später hallt es weiterhin nach - eine bleibende Erinnerung an Mort Garsons Fähigkeit, das Synthetische seltsam lebendig und das Skurrile auf merkwürdige Weise tiefgründig wirken zu lassen.

Power Electronics, for the most part, stays within its lanes of transgressive misanthropy, with a blackened explosiveness of tortured psyches and nightmarish reflections for the darkest facets of the human condition. Since Whitehouse introduced the phrase, concept, and framework to Power Electronics, its authorship has been primarily male. But within the past decade or so, a diverse web of voices - female, feminist, non-binary, queer - has thrust the PE aesthetic beyond that of the tortured male artist. As such, the notion that Power Electronics is synonymous with true crime worship, political ugliness, degraded sexual fantasies, and misogynistic perspectives has been somewhat dispelled (though many still pursue such ignoble agendas).

Enter Ester Kärkkäinen. For close to a decade now, she has developed her own voice, tread her own path, and exorcised her own demons in her unique take on Power Electronics, recording as Himukalt. A Power Electronics album based on the collapse of a relationship is probably not as uncommon as one might think. The sexual violence portrayed through Power Electronics may very well have had its origins in the heartbroken, scorned, or otherwise romantically mistreated. Kärkkäinen gives us two very different perspectives on these themes through two rather different sounding records. There is Last Wish from the plague year of 2020, and there is Torn Asunder: The Half Girl, recorded in 2019. Where the 2020 record is a long-form fever dream of the erotic gone horribly wrong and turned morally questionable, Torn Asunder is the more fractured, yet more concise extrapolation of Kärkkäinen's anger, horror, confusion, and depression from the end of a sexless relationship. She nakedly reveals a psyche that has been shattered, scarred, and broken as she alternates between deadpanned proclamations and barked sermons amidst the harrowing articulation of heavy industrial electronics, laced with shrill feedback tones, disjointed rhythms, and harsh noise outbursts. Torn Asunder stands as a significant milestone in Himukalt's catalogue, but remains one her most rarely heard documents given it was originally published as part of Helen Scarsdale's instantly out of print, 10 cassette On Corrosion boxset. With this vinyl reissue, Torn Asunder can get a proper re-evaluation as one of her strongest works.

Hailing from Las Vegas, Himukalt began in 2016 as a vehicle for Kärkkäinen's noise constructs and crude programming that found references to Puce Mary, Anenzephalia, and Atrax Morgue’s Mörder Machine. Since then, she has maintained a manic schedule with releases for Tesco Organisation, Cloister Recordings, Old Europa Cafe and her own EK Verlag. With the release of Torn Asunder, Helen Scarsdale terminates the mission for the On Corrosion reissue campaign.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

2026 Repress

Native Call explores the roots of ancient Latin America, weaving five hypnotic tracks inspired by the myths and mysticism of the Maya civilisation. Each piece is a fragment of Maoh's universe; a world where past and present collide, evoking sacred rituals, celestial beliefs, and the hidden lore of a lost era.

Deep rhythms and haunting atmospheres guide the listener through a soundscape where ancient traditions meet contemporary electronic expression.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Obsidian rock is igneous, frequently dark, yet opaque. Hard edged and brittle, it’s often been used both for weaponry and alchemical pursuits. Therefore when Lorena Quintanilla – the Mexican-based artist from the group ‘Lorelle Meets The Obsolete’ and also known as J. Zunz – was searching for psychic inspiration for her next musical venture, she need have looked no further. “Once I chose the title, everything I read, saw, listened to, and thought about began to interconnect” she relates. “Obsidian became like a magnetic field.”
“In Mesoamerican cultures, it was used in many different ways – obsidian mirrors, for example, were tools for divination and spiritual vision". Thereafter, Lorena set about creating an album entirely on her own terms. Driven by both the ghost and the heart of the machine, ‘Obsidiana’ open up a portal whereby forbidding drone, ethereal ambience and insistent repetition intertwine elegantly to form a seamless whole.
A study in balance, its emotional charge remains strong and intact whether on the eerie, almost Radiophonic ambience of ‘Imago’ or the dancefloor-adjacent, Chris & Cosey-esque ‘Osiris’. Lyrically meanwhile, ‘Obsidiana’ intersects deep personal explorations with the conflicts and contradictions of life in the unforgiving realm of 2026 – as Lorena says; “he process behind ‘Obsidiana’ was very abstract, yet I wanted the lyrics to stay grounded in the present and in reality".
Ultimately however, ‘Obsidiana’, in all its sharp yet amorphous glory, is catharsis manifest. “Each song carries a clear and deliberate intention” Lorena emphasises. “To conjure, to exorcise, to strip away fear, to rediscover myself, to heal inherited sadness, and to reclaim the night that was taken from us.”

David Bazan was, for many years, the songwriter and driving force behind the acclaimed indie band Pedro the Lion, building a dedicated following and selling a couple hundred-thousand albums based in large part on his extraordinary melodic sense and erudite, theologically-themed songs. After a decade helming the project,he found himself embroiled in a major personal philosophical and spiritual cataclysm, wrapped in a growing drinking problem. Bazan got to work exorcizing both his demons and angels, ditching the Pedro moniker in favor of his given name and producing two incredible pieces of work in the Fewer Moving Parts EP and the 2009 full-length Curse Your Branches (Barsuk). Branches is considered by many to be a legitimate masterpiece. Charting Bazan's increasingly skeptical struggle with the precepts of the evangelical Christian world in which he was raised, the album covers some pretty serious ground. NPR called it "an album of great music and great humanity." Strange Negotiations focuses Bazan's energies toward the external, centering on his disappointment in the current state of accelerating American and global social fragmentation. Musically, most of Strange Negotiations sounds like a great rock band playing songs theyre beyond intimate with. Its the first full-length he's recorded with a band, the same band with which he toured relentlessly in support of Curse Your Branches.

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than 15 years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album ‘Andros Insidium’. On ‘Andros Insidium’ Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful. Sonically ‘Andros Insidium’ is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, ‘Andros Insidium’ suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice. * New solo album of Leila-Abdul Rauf of VASTUM (also has played in Amber Asylum, Hammers of Misfortune, and others) * Dark and heavy mix of Dark Ambient, Industrial, Ritual / Neo Folk, Electronic

* FFO: Dead Can Dance, Diamanda Galas, Arcana, Amber Asylum, Jarboe/Swans, Chelsea Wolfe, Cold Meat Industry

Me Saco Un Ojo proudly presents the second full length album from Germany’s Teratoma.

Otherworldly atmospherics soon turn to visceral death metal as we begin our all-consuming descent into the bowels of the beast. Murky guitars churn around punchy bass lines and snappy drums. The old school death metal method, tried and tested, is delivered with crushing precision and monstrously snarled vocals to complete the mix. Building a strong rhythmic current to unleash a tidal wave of grooving, mid-tempo death metal offal; this is going to grip you with the rusted chains of pure viciousness. The crawling pace of the riffs ensures they are memorable, catchy even, for your ears to be wormed by chaotic bewilderment and perpetual anguish. The band warns you of the displeasures they inflict, so if you’re still here: that’s entirely your own doing. Still with us? Good, because this juggernaut of decay lumbers forward into more devastating territories, building wonderfully on the already strong debut album.

Slithering for over 45 minutes, this is a behemoth of death metal that will either destroy you or have you fully enveloped in its meaty mass for the duration. Plentiful clever grooves switch things up between the charnel atmospherics, so even the dullest mind will have its attention held. As each asphyxiating song creeps forth to swallow you, the void-like atmosphere continues swirling into itself and spitting out only the rotten remains of that which has crossed its path. From the whiplashing assaults to the slower moments of eerie decay, each moment has its own gruelling intensity to offer. There is no denying the sheer brute force in terms of the heaviness delivered here. Equally impressive is the totally harrowing ambience they conjure with these songs. Do not miss out on this ruthless slab of death, enter the festering realm of spewing atrocities…

Original Sufferhead beginnt mit einer minimalen Improvisation mit Felas neuer Band Egypt 80 und steigert sich dann zu einer kühnen, komplex strukturierten Afrobeat-Hymne, die die Situation der Massen in Nigeria anprangert. "Lasst uns zusammen ein schönes Lied singen", schlägt Fela vor, während der Refrain parallel zu der lebhaften Melodie seines Saxophons erklingt. Mit Hilfe des Refrains zählt er dann die Probleme auf, die das Volk plagen: keine Wasserversorgung, exorbitante Lebenshaltungskosten, keine Gesundheitsversorgung, zweistellige Inflationsraten. Die "großen, großen Leute" haben das Volk zum Sarg des Staatschefs gemacht: Nach der Plünderung und Verbrennung von Felas Kalakuta Republic 1977 schrieb Fela mehrere musikalische Antworten, in denen er die schuldige nigerianische Regierung direkt angriff, darunter diese traurige Hommage an seine Mutter, Coffin for Head of State. Nachdem seine Mutter an den Komplikationen der Verletzungen gestorben war, die sie erlitten hatte, nachdem sie während des Überfalls auf Kalakuta aus einem Fenster geworfen worden war, trugen Fela, seine Frauen und seine Anhänger den Sarg seiner Mutter zum Eingangstor der Armeekaserne: ein mutiger Akt des Trotzes.

"Coffin For Head of State" ist Felas düstere Anklage gegen diejenigen, die "durch Jesus Christus, unseren Herrn" das afrikanische Volk korrumpieren, bestehlen und berauben. Der wummernde, gleichmäßige Beat und die sich wiederholende Struktur des Liedes ahmen den Marsch zur Kaserne nach, während der Text Felas überwältigende Trauer über den Verlust seiner Mutter und den Zustand seines geliebten Nigerias direkt anspricht: eine Nation von ewig Leidenden. Seid nicht passiv, fordert er: Steht auf für eure Rechte.

Die B-Seite, Power Show, baut auf dem gleichen Thema auf und hebt die Unterdrückung der Massen durch die herrschende Klasse hervor. Der Text handelt von einem reichen Mann in einem schicken Auto, der an den Straßenrand ranfährt, um einen armen, allein reisenden Mann zu beschimpfen. Fela nennt dies die "Power Show" und prangert das Verhalten an. So verhält man sich nicht gegenüber seinen Mitmenschen.

Original Sufferhead war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf opakem, hellgrünem Vinyl neu gepresst und ist untergebracht in einer bedruckten Innen- und single sleeve Außenhülle.

Lange bevor er jemals ein Studio von innen sah, war Sam Snitchy auf der Straße unterwegs und schrie unter dem Namen Maniporno Gedichte - roh, furchtlos und im Einklang mit dem Chaos um ihn herum. Dann begann er, diesen Lärm in Platten zu verwandeln - zuerst als Melker, später als Sam Snitchy. Im April 2026 erscheint nun das dritte Snitchy-Album bei Voodoo Rhythm Records - ein weiterer Schritt auf diesem Weg, tiefer hinein in den Lärm, den Puls, die Verwirrung, mit der alles begann. Das neue Album ist ein klanglicher Exorzismus, aufgenommen mit Marco Fuorigioco, der Bass, Synthesizer und Gitarren verzerrt und das Tonband zerreißt, Philipp Schlotter (Me&Mobi, Music Against Airports) der den Raum mit geisterhaften Synthesizer- Halluzinationen erfüllt, und Domi Chansorn (Sophie Hunger, Knackeboul, Fai Baba, Bonaparte, Marie Krüttli, Béatrice Graf) der die Drums wie einstürzende Türme hämmert. Gemeinsam zerren sie dich durch psychedelische Punkwut, verschmelzen mit den Schatten dunkler Waves, mutieren zu Industrial Noise und Dub-Nebel, verwandeln sich in einen verzerrten Techno-Puls, bis du nicht mehr unterscheiden kannst, wo das eine aufhört und das andere anfängt - alles nährt das Feuer. Und über diesem Sturm spuckt Sam Snitchy seine Worte wie zerbrochene Spiegel - verzerrte und selbstreflexive Geschichten über Menschen, die in ihren eigenen Widersprüchen gefangen sind, über leere Routinen und bedeutungslose Lebensstile, die als Erfolg getarnt sind, über den absurden Tanz zwischen Ekstase und Verzweiflung. Die Texte erklären nicht - sie verstören. Sie halten dir ein zerbrochenes Glas vor und zwingen dich, dich selbst anzusehen, bis du nicht mehr weißt, ob du lachen oder schreien sollst. In VVR's own words: "Sam Snitchy transforms chaos into sound. Once a street poet known as Maniporno, he now blends punk energy with techno pulse, industrial grit, dub tension, and psychedelic garage haze. It's raw and hypnotic _ words like broken glass, beats like heartbeat and collapse spring to mind."

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

The last time Noir embarked on a similar creative exorcism was for 2012's Jimmy's Show LP which selected choice cuts from 18 E.P. 's released via straight to fan subscription over as many months. The resulting album is one of his most lauded and beloved by fans, with the vinyl now selling for silly money on Discogs.

Programmes for Cools is Jimmy's Show's spiritual successor, idiosyncratic, other worldly and brimming with timeless melodies. Noir's influences seep through the track list, wrapped with a haunting, dreamlike delivery.

First single 'Out Of Sight' is a Fleetwood Mac meets Selected Ambient Works era Richard D James, four to the floor banger. Already a fan favourite, it propels Side A forward with a somewhat misplaced optimism, much like Neil Young's 'Walk On' starting On the Beach.

Side B is more esoteric, exemplified by 'Fireworks’which includes lyrics and vocals from Marie Claude Dequoy,produced with the wooze of golden era Boards of Canada. Elsewhere, influences as disparate as Stevie Wonder, on the wonky clav funk of 'The Fountain', and Ian Brown 'I think I found it' illustrate Noir's disregard for musical straightjackets (the latter may have the most unapologetic baggy, hypnotic groove since the Mondays' 'Halleluiah').

As the album swells to its conclusion, via the epic Led Zeppelin meets the Warhol clique 'Morning Light’and the heart tugging finale of 'Motorbike’(the first song released from the most recent run of E.P.'s), there is a sense of completion and finality...
‘This is the last Jim Noir album. There are no more Jim Noir albums after this one. This time I'm serious. It's been the hardest I've ever worked on anything. I think I have created my own Be Here Now...Sorry.’
Joking and hyperbole aside, the album has more of an Abbey Road feel, and needs to be experienced in one sitting. If the infamous Davyhulme prankster is to be believed and this is his final outing, then you could wish for a more fitting album. - NM

Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler’s score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock.. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition on translucent yellow coloured vinyl and includes an insert.

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada