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Born in Berlin, DJ, producer, and label owner Ben Rau has an unmistakable talent for getting to the wants and needs of the dancefloor. Having experienced the vibrant music scene of Berlin during the mid-'90s, Ben found himself at the heart of one of the most exciting periods in musical history. As the Berlin Wall fell, the city opened its arms to the sounds of house, techno, and trance, propelling Ben into a world of endless inspiration.

After also spending some time living in London, this EP combines the essence of his German roots with the energy of UK’s electronic music scene. He brings plenty of studio skill and musical creativity here, with three varied offerings. The EP opens with ‘Won't Stop’, a powerful track infused with acid influences, headed by a ridiculously catchy vocal. Next up is ‘Drop The Bass’, a psychedelic, mid-tempo chugger adorned with rolling drums. Finally, ‘I Luv It’ closes with playful synth patterns tumbling down over invitingly warm deep house drums.

This is a chunky bass-filled EP, ready to do plenty of damage to any dancefloor.

Following on from the successes of their first two LPs, "Kalba" and "Small Small", Isaac Birituro & The Rail Abandon return with the "Kontonbili EP". A collection of seven tracks that trace the traditional West African roots of their sound whilst adding their unique touch, largely courtesy of Isaac's xylophone, Sonny Johns' folky embellishments and the vocal prowess of powerful Ghanaian songstress Wiyaala.

The lead single "Hado Deeli" roughly translates to "My Rival" and is a vibrant discussion between two rivals, one of whom is always making a fuss about anything and everything, even when things are all good! "Gargar", with its collaboration of xylophone, whistles, Wiyaala's effervescent vocals and relentless groove represents, quite literally, the band's "joining together" for this EP. In contrast, "I Know" sees Sonny Johns takes over lead vocal duties to lament the breakdown of a relationship accompanied by muted horns and Wiyaala's soothing backing vocals. "Nimmbalia" continues in a mellow and reassuring tone before emerging as one of the most uplifting and simultaneously fierce cuts on the EP! The traditional version of "Bawa" - the original take of which can be found on last year's "Small Small" LP - strips things back a little, before culminating in a battle of xylophone, whistles and choir. "Yeri Villa" has a wonderfully laid back, sun drenched feel with some truly beautiful vocal refrains, and finally - only available on the digital version - comes the deeply percussive and trance inducing "Darpeny", rounding off a rather stunning EP from this cross continental outfit.



All tracks feature Ghanaian singer, song-writer, model and actor, Wiyaala. With a strong fanbase in Africa and beyond, "the lioness" made her mark on Wah Wah 45s and BBC 6 Music last year when she featured on the A-listed "Senye", described as "perfection" by Annie Mac and "pure joy!" by Tash LC.





e 05: Bawa (Traditional) feat. Wiyaala

John Howard was one of the best and most creative DJs of the west coast house scene back in the 90’s. His mixes and productions were full of house groove, soul, breaks and jazzy rhythms. This new series on Repeat contains of three parts including Howard’s best productions. These tracks are all huge influence for many producers that later discovered these kind of psychedelic house grooves on European based DJ sets… John Howard was on his own journey much ahead of time and his music still sound absolutely incredible 25 years later… Mesmerizing release.

Welcome to the music of a true outlier in UK creative culture, an artist that has helped change the landscape of electronic music, KRUST.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

With the timely reissue of Megalon's highly acclaimed album 'Pandora's Box,' we are now thrilled to present the first of two archival compilations by the London-based electronic production duo.

This compilation meticulously curates handpicked tracks from Megalon's 1993 collection, featuring music from their EPs released on the legendary Plink Plonk label during that year. By delving into these archival tracks, the compilation effortlessly showcases Megalon's signature blend of modern, forward-thinking, and impeccably sleek techno hybrids. Prepare yourself for a diverse range of musical moods that provide a comprehensive 360° sonic experience of Megalon's esteemed catalog, ranging from deep techno meditations to high-octane dancefloor anthems.

Every track included in this compilation has been meticulously sourced from Megalon's original DAT tape archive and expertly remastered by the highly skilled Curvepusher. Furthermore, the artwork and design have been thoughtfully crafted under the watchful eye of Rogan Jeans, the original Plink Plonk Records and Megalon designer, ensuring a visually captivating experience that complements the music perfectly.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

For over twenty years on the turntables, I.G.N.A has imposed his sound in the best clubs in Europe. Born in Sicily and raised in Emilia, I.G.N.A’s music is appreciated by many important artists with whom he shares the main stages. As a producer he has released successful EPs on labels such as Deeperfect, Moan and Greatstuff.

This new single is inspired by old school sounds and synths combined with house in a future perspective.


The remix was entrusted to two masters of house music: Ricky L and MarcoRadi. With the intention of spreading new emotions everywhere, looking where no one else lingers, surprising oneself as the music moves in new directions.

As it celebrates its 50th anniversary, Bill Withers' Still Bill remains true to its title – and stands as the greatest male-fronted soul album not made by a singer named Marvin, Al, Sam, James, or Ray. Though the saying "keeping it real" did not exist in popular parlance when Withers released his sophomore effort on Sussex Records, no words better capture the music's approach, mindset, and value. Every facet of Still Bill radiates honesty, truth, and emotion.

These characteristics – along with Withers' strong singing, hybrid arrangements, and deceptively simple songwriting – have allowed the album to endure to the point where it sounds as fresh today as in 1972.

After rising into the Top 5 of the Billboard Album charts and attaining gold status within a year of release, Still Bill has long been evaluated not by sales – but according to its merit, spirit, and agelessness. Included by The Guardian on its "1,000 Albums to Hear Before You Die" list (2007) as well as in Tom Moon's 1,000 Recordings to Hear Before You Die book (2008), its contemporary standing as one of history's most venerated soul efforts eclipses the positive reception it enjoyed in the early ‘70s.

Still Bill walks the same hallowed ground as What's Going On, Call Me, Night Beat, and Genius + Soul = Jazz. Like those landmarks, Still Bill plays with a mix of consistency, effortlessness, and complexity that rewards repeat listening and transcends categorization.

In combining four of the era's predominant styles – Philly soul, sweaty funk, Southern-reared blues, acoustic-based folk – and melding them with standout production borrowed from both minimalist affairs and sophisticated singer-songwriter albums, Still Bill occupies a distinct universe.

Its rhythmic fare is equally laidback and invigorating; relaxing and rollicking; eloquent and muscular; soft and tough. Withers' calm, self-assured voice hovers above it all, doubling as a warm blanket that adds comfort and grace to lyrics steeped in maturity, perspective, and compassion.

Withers' balanced outlook on human desires, needs, and situations stem from his own existence as a former blue-collar employee who believed his time as a musician would soon end. That grounding forever separates Withers from other contemporary soul greats – and stamps Still Bill with a conversational nature and egoless approachability.

"I mean look, I'm really a factory worker," said Withers in 1972. "That's a real job." There's that word again: real. The songs on Still Bill are tethered to modesty and actuality, wedded to a belief in simplicity, and connected to universal truths that link us all – independent of our economic or social standing. No track better exemplifies those principles than "Lean on Me," a feel-good paean to brotherhood and community that hit No. 1 on the pop and R&B charts en route to becoming a mainstream staple.

Withers approaches the plainspoken insight on "Lonely Town, Lonely Street" and heartbreaking vulnerability of "I Don't Want You on My Mind" with similar sincerity and straightforwardness. His proclivity for authenticity extends to the record's other big hit: the sexual, funk-laden "Use Me," which reached No. 2 and reflects the singer's everyman persona. It's an identity couched in keeping it real, the very inclination that ultimately led Withers to retire in the mid-'80s rather than bend to industry pressures or risk credibility.

That commitment to truthfulness and realism helps make Still Bill feel as unaffected as the air we breathe. Looking back on "Lean on Me" years later, Withers said it seemed like "something that was there before I got here" – the kind of song that could be 100 or 10 years old, or one we encounter anew 10 years into the future. The same can be said for every note on Still Bill.

Two mavericks, out on the weekend, trying to make it pay...

"Maverick was the word that came to mind when I listened to this music. A slightly wayward independence of spirit and outlook. The word originally referred to an unbranded male calf that had become separated from the herd (because Texan rancher Sam Maverick was so negligent in his branding - ‘if it ain’t branded, it’s a Maverick’). But Sam’s grandson Maury Maverick gave it a different twist in his short but stormy Congressional career as the only liberal member of the Southern Democratic caucus. Maury was so out of step with his own folks that he not only voted in 1937 to make lynching a federal crime, he even addressed the House to condemn the practice as barbaric. His attempt to ban racist mob murder sadly failed, but it’s that refusal to march in step which distinguishes the two ‘mavericks’ who made this record.

Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing – that’s who. ‘Don’t drown’ was offered as practical advice during the self-described ‘Yellow Submarine’ phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.

The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!" - Bruce Russell (The Dead C)


Pumice is the long-running, endlessly inventive project of New Zealand native Stefan Neville (1974), whose shambolic music is equally reminiscent of Kiwi pop groups such as The Clean and Tall Dwarfs as well as the country's experimental noise-rock bands like the Dead C. Largely recorded solo by himself on junky equipment, his songs typically feature blown-out guitars, wheezing chord organs, and vocals disguised by tape hiss and static.

Greg Malcolm (1965) is a guitarist from New Zealand who has played everywhere on the globe and with all most everyone, including Rosy Parlane, Toshimaru Nakamura, Tetuzi Akiyama and Bruce Russell, as well as solo releases on his own label, Corpus Hermeticum, Kraak and Celebrate Psi Phenomenon.

This release « Pyrus » was cooked by Lukea and Illan Nicciani ! They have been working together on this track to merge their own musical touch. The result: a combination of a deep groovy bass line and a psychedelic, spiritual atmosphere.

Grab your flight ticket & let yourself be carried away by this journey discovering "Pyrus" , "Providenza" & "Spiraea"

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire

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

The album follows her two previous collections released by French-Canadian shadow ambient imprint Cyclic Law. Betti's output has been strongly shaped by the juxtapositional nature of the island she calls home. A beautiful Mediterranean island that is also home to a petroleum refinery's and its significantly haunting presence. There is conflict in that ideal, and Betti's music has always displayed a sense of beauty, yet with ominous undertones.
With Before the Last Light is Blown, Betti focused on the transience of life as a means of inspira- tion. It is human nature to move forward, consume, and always reach the next goal and to never give much thought to the briefness of our time here. The impermanence of life may seem like a dark topic, but to the contrary, pausing to think of such brevity could allow us to see the beauty we are missing in our endless need to fulfill and consume.
Betti takes us to a dark place only to show us the beauty within, a vital constant in her output as shedir.

Nice Coordinated Outfit is a journey through history to a time before the internet and social media and before inner city gentrification, when Fitzroy was the beating heart of Australia's avant-garde music and culture. Musically, it showcases the band's incredible range from deep minimal dub to bizarre electronica with elements of shoegaze and experimental noise.

Back then, High Pass Filter were the kings of the Fitzroy underground. Dark, weird improvisers who aimed for something new each performance. Whilst electric guitars and rock n roll dominated Australian airwaves and stages, High Pass Filter were pioneering a sonic revolution in the shadows. The band's indefinable sound saw them sharing lineups with artists from hardcore and punk luminaries like Fugazi and The Boredoms and to dub heavyweights such as Lee Scratch Perry and The Mad Professor.

Mesmerising debut release of Soft Traffic, a new family member of the ever classic Sushitech Records.

Meltem is a studio collaboration EP with dub vocalist Prince Morella. Super limited hand-stamped vinyl release!

For fans of psych rock, space rock, psych-prog, noise rock etc
Their journey started a long time ago, some say on Saturn, some say in the subconscious of the human psyche, coming out in different manners through the ages, channelled by mystics, witch doctors, shamans, free thinkers, free spirits. But we do know that what has become Codex Serafini travelled here from their home world on Enceladus in 2019 and crash landed into the music scene of Sussex.
Invoking many styles of psychedelic rock from the recent human musical history to open the minds of their human audience to the other world, and higher plane.

After releasing two EP’s, ‘Serpents of Enceladus’ in 2020 and ‘Invisible Landscape’ in 2021 Codex Serafini embarked on their most immersive journey so far creating what would become ‘The Imprecation Of Anima’ an exploration of the self, the duality of the human existence. The album is heavy, much heavier than their previous output and the albums longest song, ‘Animus in Decay’ is longer than either of the bands previous EP’s.

It snakes and weaves an epic motif through the wilderness of the sometimes barren lands of the unconsciousness, focusing the mind with it’s almost heavy metal mantra and using this to open up the third eye to the realisation of our mortal existence. The whole album is a pilgrimage into one's inner self and its relationship with its own shadow in its truest form, two parts coming together as a whole.

After the inevitable success of L'Hiver des crêtes (aka season 1 of their major new project celebrating 40 years of approximate punk), Ludwig Von 88 are back for new adventures in a second season entitled Le Printemps du Pogo. This second vinyl album (of the four planned this year) is this time illustrated by LauL (iconic graphic designer of the 80s - Bérurier Noir, Ludwig Von 88, Mylène Farmer, Patrick Topaloff).

Fourteen tracks packed with love, joy, shitty jobs, noisy neighbours, flowery pogos, fried chicken, unsanitary dungeons and a negative carbon footprint.

There are some good traditional Keupon numbers, but also ska, reggae, yodelling (Yodel to Hell), a universal anthem of destructive punk (Youplapunk), swing, the follow-up to Fistfuck Playa Club (New Club) and Kaliman (Kaliman saves the world), and the long-awaited conclusion, 38 years later, to their interstellar hit J'ai tué mon père (J'ai sauvé mon père). Or the hit Let it burn, which we'll probably be able to sing along to during the long hot days to come.

Thirteen of these songs have already been released on the internet (at a rate of one a week, because the Ludwigs like periodicity, and that's why they keep coming back and coming back) but the fourteenth track, Casques Rouges, is completely new to the galaxy.

So here's something to liven up the weeks of holiday that are just around the corner. On the beach, in the mountains or in the forest, approximate punk remains salvific and Ludwig Von 88 are its most faithful servants.

Youplapunk to you all!

After her first releases on TC80's Sequalog Records and Bobby’s Pleasure Club, B.ai lands with her 3rd solo EP on System Error's sub label, Fresh Tunez. The Chengdu, China based artist has been an integral part of the Chinese Underground years for the past years, playing regularly in the local scene and touring China's small but well connected electronic music underground scene.

With this release consisting of tracks produced over the course of the last 4 years we take a peek into her artistic development and range as a producer with dance floor weapons to more dreamy but driving tracks. A powerful EP showcasing her very own signature sounds.

'Seven Years Of Love' is our second label compilation with nine original tracks by resident artists and friends from around the world. The versatile vibe spreads across two parts, each dedicated to a certain dancefloor mood: System 108 and RadugaDiscoClub. Outstanding artwork has been created by Uno Moralez.

Part 2 is an ode to the colorful and diverse world of RadugaDiscoClub. Freaks, artists, dancers, bears, ladies and all the sexy people! On Side A it is 'Heavenly Grace' by Lipelis that seduces us first, followed by 'Angelic', a big summer track by the stalwarts from Cream Soda. With side B it goes down down down down! Simple Symmetry brothers appear for the first time on the label with 'Elephant On Speed', a fantastic story about an elephant who is feeling great. Closing the compilation is '2061' by Matias Aguayo, Comeme founder and legendary music-maker. The laid back rhythm euphoria reminds us of his earlier productions, somewhere around the era of 'Are You Really Lost' LP on KOMPAKT, but '2061' is the future.

Black Magic Woman, birthed out of the production outfit of Ron Trent featuring Harry Dennis most known for his previous work with Larry Heard. Harry Dennis one of the leading poets to come out of house and contemporary music in the 80's and 90's.

Being on the forefront of songs by storefront groups powered by both Larry Heard and Marshall Jeffereson The IT and Jungle Wonz critically acclaimed dance classics "Donnie" and "Time Marches on" helped revolutionize dance inteligenca world wide . Together with Trent's production they weave a spell with this ode to the power of the feminine form " Black Magic Woman".

Previously released and powering dance floors globally, Sacred Medicine brings you a set of revisions by production and DJ master Joe Jouquin Claussell who's edit and revision has been highly sought after for the past 4 years along with our young and upcoming talent producer and DJ Coflo. By the introduction of Casmena from Ocha records Coflo first approached us with his remix 4 years ago and now under our direction we are putting it to work. These magical forms are now ready for you to explore and generate power into your world.

Next up on OGE we have a hot 3 tracker by Ray Mono which includes an enchanting remix by Texas's CHKLTE 12" Vinyl Only

TN Edits 001
Is based on an old jazz and child song from Denmark with danish child vocals - and now cult classic from Lotte Kærså - titled: "Prøv og Gør li'som Jeg" rediscovered by a dj collective from UK, heavily plaid by eclectic dj's and on the acclaimed collection.

The take on an edit is a straight up techno remix from the Danish techno wizard and genius Bjørn Svin doing his edit of the edit for the first and one time only.

Capturing the soul from the original this is a classic and a hands in the air floorfiller!

Soj and Arnaud Rebotini have joined forces to create a unique and captivating track, which was first released in 2013.

Now, a remastered version of the song is available, along with a special Rebotini vocal edit. Don’t miss your chance to experience this limited 7-inch release and be swept away by the mesmerizing sound.

Eli Escobar returns for his 9th full length LP. While his last few projects found him exploring downtempo beats, EBM and ambient in§uences, this latest offering of Eli's studio craftsmanship marks a return to the sound of his early releases like Up All Night and Happiness. Warm samples expertly woven into classic drum machine rhythms and searing synth lines, The Beach Album takes listeners on a journey through golden era hip hop beats, feel-good NYstyled house grooves into sweaty techno bangers. Similar to Eli's DJ sets, the 16 track long player has something for everyone. Created during the uncertainty of the pandemic when as Eli put it, "It didn't feel like the right time to release dance music," The Beach album celebrates the return of NY nightlife and optimism for the future.

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!