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Das 2006 erstmals erschienene Album „Kiss of Death“ ist Motörheads 18. Studioalbum und der Nachfolger
von „Inferno“ aus dem Jahr 2004. Unverkennbar Motörhead: Die Band knüpft nahtlos an ihren früheren Stil
an und präsentiert mit herausragenden Titeln wie „Sucker“, „God Was Never On Your Side“ und anderen die
härtere Seite des Genres. Gastauftritte von Mike Inez (Alice in Chains) und C.C. DeVille (Poison) runden
das Album ab. Die Jubiläumsausgabe zum 20-jährigen Bestehen wurde neu in halber Geschwindigkeit
von den Originalbändern gemastert und enthält Liner Notes von Dave Ling (Classic Rock). Zusätzlich
bietet sie eine exklusive Live-LP mit dem Auftritt der Band beim Lowlands Festival 2007 in Biddinghuizen,
Niederlande – erstmals auf Vinyl erhältlich. Die CD enthält drei weitere Bonustracks.

Mit gemeinsamen Aufnahmen mit den beiden amerikanischen Jazzlegenden Lee Konitz und Charles Lloyd
hatte sich der außergewöhnliche französische Pianist Michel Petrucciani in den frühen 1980er Jahren in die
internationalen Schlagzeilen gespielt. Auf “Power of Three”, seinem zweiten Album für Blue Note Records,
präsentierte sich der 23-jährige Pianovirtuose mal im Duo, mal im Trio mit zwei weiteren amerikanischen
Jazzgrößen: dem Gitarristen Jim Hall und dem Saxofonisten Wayne Shorter. Das 1986 beim Montreux
Jazz Festival live aufgenommene Album dokumentierte einen geradezu magischen Abend, an dem drei
Ausnahmemusiker aufeinandertrafen.

Auf seinem neuen Solo-Klavieralbum „Stephen Hough’s Piano Postcards“ erkundet Sir Stephen Hough die
Welt aus der Perspektive eines reisenden Pianisten, der musikalische Botschaften nach Hause schickt. Er
wählt beliebte Lieder und Melodien aus aller Welt aus und interpretiert sie auf raffnierte Weise neu. Diese
neuen Arrangements sind eine Hommage an die Länder, die er im Laufe seines Lebens auf Reisen und bei
Auftritten lieben gelernt hat – musikalische Souvenirs, die er seinem Publikum mitbringt.
Die asiatische Musik ist vertreten durch „Spring Breeze Prelude“ des taiwanesischen Komponisten Deng
Yu-Hsien sowie durch eine zarte Klavierversion von „Aka Tombo“, einem in Japan sehr beliebten Kinderlied,
das sogar im landesweiten „5-Uhr-Glockenspiel“ zu hören ist. Folklore und populäre Traditionen kommen in
„Cielito lindo” und „Nature boy” zum Ausdruck, während sich die letzte Gruppe von Stücken mit Werken
von MacDowell, Schumann und Sinding der Natur zuwendet. Neben diesen musikalischen Reisetagebüchern
streut Stephen Hough funkelnde neue Transkriptionen von Liedern aus beliebten Filmen ein.
„Piano Postcards“ spiegelt vor allem die Tradition der Pianisten-Komponisten wider: Musiker, die ihr
eigenes Repertoire mit Freiheit und Individualität aufführten, arrangierten und kuratierten. Hough fasst
den Geist des Albums so zusammen: „Der musikalische Appetizer kann tiefgründige Poesie oder Witz und
Laune enthalten, ob subtil oder laut. Alles auf einer handlichen Speisekarte.“

"Here Comes That Crow" is the Korean psych-pop band Leenalchi"s first worldwide release (on Luaka Bop). Like much of their music, many of these songs are chopped and screwed pansori tales (a traditional form of storytelling that dates back to Korea"s Joseon Dynasty). But really, it"s just good dance music. "Leenalchi has changed the way I think about music, dancing and Korea. I have never heard anything quite like this". Brian Eno

Whilst scrolling through the dusty corners of the internet, the legendary producer, DJ and musical bon viveur Chris Bangs stumbled across some demo recordings of an obscure organist ‘Mose Dillon’ - intrigued but also thoroughly charmed by their obvious lack of audio fidelity, and after finding they were previously unreleased, hatched a plan to bring them to the attention of jazz, blues and soulful sound aficionados.. Recruiting Simon Ward, as a fellow multi-talented musical mind known as and for his work as Dr Rubberfunk (Jalapeno Records) / Mr Güder they combined their renowned skills to add a new sheen to the original music.

The end result is the pairing of these two newly re-invigorated jazzy Hammond B-3 tunes - a version of Rejoice In Righteousness - Bukky Leo’s spiritual tinged, jazz dance anthem of the late 80’s, and with the flip - Mighty Righteous - it’s clear whilst his story remains unknown, Mose Dillon had a thoroughly righteous mind set when he recorded that Reuben Wilson inspired groove.

Wherever Mose went - or is - we are confident he approves!”

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

Ursprünglich 1993 veröffentlicht, hält Live Doro Pesch in einer entscheidenden Phase ihrer Karriere fest.
Die Aufnahmen entstanden während ihrer „Angels Never Die“ Tour Anfang der 90er Jahre und dokumentieren die außergewöhnliche Bühnenpräsenz, mit der sie sich bereits früh als eine der bekanntesten Stimmen
im internationalen Heavy Metal etablierte.
DORO erlangte bereits in den Achtzigern als Frontfrau von Warlock internationale Bekanntheit.
Mit Alben wie ”Burning the Witches” (1984), ”Hellbound” (1985) und ”Triumph and Agony (1987)”
erreichte die Band ein weltweites Publikum. Songs wie „All We Are“ und „Für Immer“ wurden zu festen Größen und absoluten Evergreens im Genre, während Warlock zu den ersten deutschen Metal-Bands
gehörte, die international tourten und den US-Markt erschlossen.
In einer Zeit, in der Frauen im Heavy Metal noch selten waren, wurde DORO zu einer prägenden Figur
für Female-Fronted Metal. Ihr Erfolg ebnete den Weg für nachfolgende Künstlerinnen und trug dazu bei,
weibliche Stimmen dauerhaft im Genre zu etablieren. DORO war 1986 die erste Frau bei den legendären
”Monsters of Rock”-Festivals.
Nach der Auflösung von Warlock setzte DORO ihre Karriere erfolgreich als Solokünstlerin fort und baute
eine beeindruckende internationale Fanbasis auf. Live spiegelt diese Übergangsphase wider, verbindet
Warlock-Klassiker mit frühem Solo-Material und dokumentiert die enge Verbindung zwischen Künstlerin
und Publikum.
Im Laufe ihrer Weltkarriere wurde DORO vielfach ausgezeichnet, Im Jahr 2022 wurde DORO mit dem
Lifetime Achievement Award ausgezeichnet, nachdem sie zuvor bereits einen Echo, den Metal Goddess
Legend Award in Las Vegas, den Legend Award in England und Deutschland, den Angel Of Rock Award
in England und Auszeichnungen als ”sexiest woman alive” erhalten hatte, um nur einige zu nennen. und
unterstrich damit ihre anhaltende
Bedeutung für die internationale Metal-Szene.
Die neue Edition von Live erscheint am 3. Juli 2026 als strikt limitierte Picture Vinyl und enthält exklusive
Liner Notes aus der Feder von Doro Pesch höchstpersönlich. Einer Teilauflage von 500 Exemplaren wird
zudem ein handsignierter Artprint der Künstlerin beiliegen.

SEKTION's debut full-length DRUCK marks the first official collaboration between AtomTM & Siegmar Fricke, a connection rooted in 1992. Released by Geometrik Records, the label of industrial legend Esplendor Geométrico, in collaboration with Munster Records. Across thirteen interconnected tracks, DRUCK builds a stereo-enlarged environment shaped by metallic textures, rhythmic granulations and slow-moving structural shifts. Drawn from the compositional frameworks VOKOSTASIS, DIGITRAKTION, LEERZEICHEN, and UNWUCHT, the album unfolds as a continuum of mechano-sonic morphing. Fragments of frequency-altered voices emerge like damaged transmissions, woven into grain sliced rhythms, microsound detail, and layers of rusty tape noise and electro-acoustic particles. Tension and friction gradually push the material toward fragmentation without collapse. A formidable and immersive act of sonic engineering. German musician AtomTM (Uwe Schmidt) is one of the most imaginative and prolific talents in the global electronic music scene in recent decades. Since 1988, he has released music on cult labels such as Raster-Noton, Sähko, Mille Plateaux, Rough Trade, Rephlex, Fax, and his own label, Rather Interesting, under countless aliases. As producer, remixer and collaborator he has worked with and for musicians such as Ryuichi Sakamoto, Yellow Magic Orchestra, Depeche Mode, Towa Tei, Merzbow, Bill Laswell, Esplendor Geométrico, just to name a few. Uwe has developed an innovative, unconventional and highly personal musical vision, interpreting a wide variety of genres and styles in his own unique way, such as experimental music, techno, acid, EBM, electrolatino, ambient or industrial music, amongst others. Siegmar Fricke is a German artist starting with experiments involving short-waves and acoustic noises in the field between musique concrete and post-industrial around 1981. Ha became a very active player in the worldwide cassette culture movement. He ran his own label Bestattungsinstitut and published loads of releases ranging from experimental to ebm, electro, to ambient spread all over the world's tape labels from 1985 to 1993. Since 2001, Fricke has operated primarily under the alias Pharmakustik. His collaborations included notable ones with legends of electronic and industrial music such as Conrad Schnitzler and Mauricio Bianchi.

The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration, limited edition 250 copies: not-to-be-missed, recorded at different locations in London during 2025/26 "On their fabulous fourth album, The Mantecas (formerly Manteca) have moved the needle all the way in the direction of Latin jazz (or jazz latino). In their early years, the London-based eight-piece played a mix of salsa, Cuban timba, boogaloo, Latin funk and descarga (jazzy, improvised Latin jam session), with plenty of vocals, strictly geared for the dance floor. Along the way, the jazz-descarga aspect emerged as a stronger force, though all sorts of other ingredients, from afrobeat to Afro-Cuban, cumbia to samba, ebbed and flowed throughout. Although there's nothing new with the concept of doing an album of instrumental Latin tracks in a jazz mode that's still dance-friendly (Machito, Sabú Martínez, Tito Puente and Tito Rodríguez all waxed jazz latino albums like that long ago), what's new here is The Mantecas' very fresh and confident interpretation of the idiom. And while they share something in common with the accessible, danceable Latinized soul jazz of someone like Mongo Santamaría or Willie Bobo, as well as the Afro-Cubop roots of Chano Pozo, they also bring to mind the more jazz-oriented improvisational legacy of Pozo's amigo Dizzy Gillespie, which is reflected in The Mantecas' explorations of a handful of 20th Century modern jazz giants as they rework timeless classics by John Coltrane, Miles Davis, Oliver Nelson and Wayne Shorter. For this release, all seven tracks are essentially Latin renditions of jazz standards or are Latin jazz originals. There's a mix of jazz and Latin rhythmic structures, instrumentation, arranging, and sensibilities at play, and it's a very natural sounding mélange. Like their previous albums, some of the tunes feature a club-ready blend of hot and cool, in a Latinized British acid jazz / soul jazz way." - Pablo "DJ Bongohead" Yglesias, 2026

Ingrid Schmoliner moves between the genres of new music, improvised music, free jazz, and folk music. Teaming up with the member of Zeitkratzer, RANK Ensemble, PARA, and Zinc & Copper Elena Kakaliagou, they form a Duo that creates dark interpretations of ancient songs and tales. mixed by Bilgehan Ozis_Berlin mastered by Erdem Helvacioglu_New York recorded in Ocean Sound Studios_Giske/Norway by Henning Svoren and Anders Boska special thanks to Alain Alpenfeld and Konstantin Drobil for making this album happen this album is dedicated to Jutta Lange-Butenuth, to Thomas Noll and the Nordic Sea kindly supported by Trost/Human Kind Records/Bund/Land Kärnten/SKE Ingrid Schmoliner - piano,voice Elena Kakaliagou - french horn, voice Els Vandeweyer - vibraphone on TO KE Bilgehan Ozis - electronics on PERFUME

Limited edition Candy Apple Red 7inch vinyl. DJ Because (Sushi Breaks, Dungeons & Krakens & Toxic Hamster Scratchz) teams up with UK producer Imperial to bring you another themed release. Lock in photon torpedoes - packed with fresh retro space samples to fight all your galactic scratch battles and epic beats to explore the universe with. Includes 8 skip proof phrases plus lots of extra scratch friendly samples, beats & breaks!

Joa Joys (Joaquín Ledesma) is a visual artist and musician from Santa Fe, Argentina, now based in Buenos Aires. Since 2015, he has released solo and collaborative works on labels across Argentina, Japan, Belgium, and France — and now with Discrepant — while also composing for documentaries and installations. His music approaches sound as a habitable space, closely intertwined with a visual sensibility, creating cinematic soundscapes that oscillate between everyday observation, dream states, and surreal fantasy.

His new album Alivie explores the experience of physical pain, its different phases, and the ways we cope with it. Built from a palette that merges analog synthesizers (some hand-built by the artist) with flute, mandolin, guitar, and other textures, the record shifts between atmospheric passages, folk-like elements, and moments of energy and abstraction. Alivie is not confessional but poetic — an attempt to translate the weight of pain into images, sounds, and atmospheres that also carry humor, joy, and relief.

HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.

Sixty-four years after John Coltrane recorded the groundbreaking Africa/ Brass for Impulse!, Tenderlonious honours the original recording while pushing it forward with a Coltrane-like fervour of his own

Africa/Brass Live was recorded at the Melbourne International Jazz Festival in October 2025, as part of Pique- nique's Take Two series. Each Take Two event begins with an uninterrupted, high-fidelity playback of a seminal album, heard as it was originally intended, followed by a live reinterpretation with full artistic freedom. It's an experiment into what happens when serious musicians immerse themselves in a work long enough to discover their own path through it.

For this performance, Tenderlonious assembled a quartet of trusted collaborators. Tim Carnegie , his longtime Ruby Rushton drummer, flew in from London. Horatio Luna on bass and On- Ly on piano completed the group, two Melbourne musicians Tenderlonious describes as "seriously underrated." The melodies, he said, would be the foundation. After that, the search would begin. And the search was fierce!

That's what you're hearing on this record. One beautiful note, Tenderlonious will tell you, means more than a thousand. Coltrane knew it. And on a Monday night in Melbourne, they proved it.

Limited edition available on classic black vinyl and digisleeve CD.

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.
In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.
Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

THE TIMELESS DEBUT OF BRUTAL ATMOSPHERIC DEATH METAL FROM THE UK LEGENDS - PRESENTED ON BLACK VINYL, FEATURING REMASTERED AUDIO. Paradise Lost formed in Halifax, West Yorkshire in 1988 & are known for being the founders of the Gothic Death/Doom Metal genre; a style fully brought into existence with their genre-defining second album, the highly influential 'Gothic'

Slaves to Black Sabbath, and proudly continuing the heavy work of the genre's high priests Cathedral, Reverend Bizarre, Electric Wizard, Candlemass and Saint Vitus, the Hampshire-based trio's fanaticism has made them one of the undergrounds leading lights. Forged in 2006 around the core duo of Necroskull (vocals/ guitar) and Emily Witch (bass), across four albums their sound has retained the traditions of doom metal - and here metal is just as important a word as doom - while carving a place all of their own within it. Invoking the dread and despair of Sabbath's signature song, their music is also that of dyed-in-the-wool metal maniacs, proud and unashamed.

Born in Philadelphia in 1943, Barron's journey through the jazz world reads like a tour of its greatest innovators: early work with James Moody, Roy Haynes, and a formative tenure in Dizzy Gillespie's quintet set the stage for a career defined by sophistication, depth, and unmistakable melodic clarity.

Through the 1960s and '70s, Barron became a sought-after collaborator, performing with Freddie Hubbard, Jimmy Owens, Yusef Lateef, Milt Jackson, Jimmy Heath, and Stan Getz. His role in the celebrated ensemble Sphere, alongside Buster Williams, Ben Riley, and Charlie Rouse, further cemented his reputation as a musician equally rooted in bebop tradition and forward-looking modernism.

Discovered while working as a publishing assistant at Mute Records, Pallot signed to Polydor Records and released her first album in 2001. The release of her critically acclaimed second album 'Fires' in 2006 drew comparisons with Joni Mitchell, Fiona Apple and Tori Amos 'Fire Escape Symphonies' is the first collection which pulls together 20 tracks from across her career. Includes the hit singles 'Everybody's Gone To War', 'Sophia' and the cover of Joy Division's 'Love Will Tear Us Apart' as featured on BBC/ RTE's series 'Normal People

Cheap Trick is the debut studio album by the American rock band Cheap Trick It was released in 1977 and produced by Jack Douglas, who is a frequent collaborator of the band and known for his work with Aerosmith. The record remains a cornerstone of American rock and roll, capturing a raw, almost menacing edge that distinguished the band from their more polished contemporaries. The album features the more popular songs "He's a Whore", "Elo Kiddies" and "Oh, Candy" and entered the Billboard 200 in the United States, marking Cheap Trick's first appearance on the national album chart. It gave the band early visibility and positioned them within the broader rock landscape of the late 1970s. Over time, the album has come to be viewed as the starting point of the band's recorded catalogue.

Filled with 45 minutes of previously unreleased music, Hey Arnold! The Music, Volume 1 has been remastered from the original audio files by Emmy Award-winning sound engineer Dave Marino in conjunction with show composer Jim Lang. Housed in a gatefold jacket with original exclusive artwork by show creator Craig Bartlett, as well as a locket shaped center label for the A Side and a fisheye view of Gerald and Arnold for the B Side, this is a release you don't want to miss out on!

The album takes its name from the seaside neighbourhood of Havana, Cuba, where Maza was born. Written and composed by the Maza, Alamar unfolds through a singular dialogue between voice and cello, blending musical traditions from the Americas with a refined, modern sensibility. The album tells a coherent story - an artistic journey shaped by roots, departure, healing and joy. Sung in Spanish, French, Portuguese and English, Alamar reflects the international path of a world-class independent artist capable of transforming intimate history into a shared emotional experience.

For their third release, Sarturan Records immerses you in the electrifying and captivating world of Wave Catchers (aka Baldov & Lazer Man).

The duo delivers a truly immersive sonic experience with their debut vinyl. Electric Pressure captures the essence of electronic music, where saturated bass meets retro sounds with tracks like Aerosmith and 80’ Spirit. Then comes a plunge into introspection, all tinged with haunting melodies and hypnotic rhythms, with Secret Emotion and The Russian Nightmare. A bold EP, at the crossroads of eras and emotions.

For nearly four decades, The Bouncing Souls have remained a cornerstone of punk rock, influencing generations while continuing to grow a loyal, cross-generational fanbase. Their
new album Born To Be captures the band's enduring spirit, exploring themes of connection, resilience, and community in the face of modern challenges. Created collaboratively by all
four members and produced by Will Yip, the record reflects a band still creatively energized and deeply invested in their craft. More than nostalgia, The Bouncing Souls continue to create
music that brings people together and reinforces their lasting cultural impact.

With their tenth studio album "X", Swedish melodic metal pioneers Narnia enter a new and powerful chapter, marking their 30th anniversary and nearly three decades of unwavering presence on the international metal scene. While "Ghost Town" (2023) reaffirmed the band's melodic metal foundation, "X" expands the sonic landscape. The album moves confidently between soaring arena-ready choruses and more adventurous, progressive passages, without ever losing the band's unmistakable identity. Songs like "Oceanwide", "Every Breath", and "Heaven's Calling" showcase Narnia's gift for strong hooks and uplifting melodies. At the other end of the spectrum, the high-energy "Remedy (SOS)" pushes the tempo to new heights, while tracks such as "God Under Fire" and "Jerusalem" explore more intricate arrangements and progressive textures. Multiple lead vocalists share the spotlight throughout the album. CJ Grimmark and Jonatan "Jono" Samuelsson both step forward on selected tracks, adding new tonal colors, while Christian Liljegren's unmistakable voice continues to anchor the sound. "The Man from Nazareth Pt. II" reconnects with the band's early era and serves as a continuation of a fan-favorite from the 2006 album "Enter the Gate", while "The War that Tore the Land (Reprise)" offers a reflective callback to 2019's "From Darkness to Light". "X" stands as both a celebration of Narnia's legacy and a bold statement of where the band stands today, musically sharper, more diverse, and more confident than ever. The album is produced and mixed by CJ Grimmark and mastered by Thomas "Plec" Johansson at Studio Bohus. - Narnia - pioneers of Scandinavian melodic metal since 1996. - Celebrating their 10th studio album "X" - marking nearly 30 years of legacy. - Part of the original Swedish melodic metal wave alongside HammerFall, In Flames and Evergrey. - Christian Liljegren - one of the most recognizable voices in melodic metal, fronting the band since day one. - CJ Grimmark - founding member, main songwriter and producer, widely regarded as one of Sweden's finest melodic metal guitarists. - Worldwide sales of several hundred thousand physical units plus strong global streaming presence. - Strong and loyal international fan base in Europe, South America and Japan. - Extensive touring history with Dio, Judas Priest, Europe, Sabaton, Saxon, Stratovarius, Sonata Arctica, Yngwie Malmsteen and Stryper. - Recent music videos approaching 1 million YouTube views combined.

Varèse Sarabande freut sich, Michael Giacchinos Emmy-prämierte Musik aus Lost Staffel 1 erstmals auf
Vinyl zu veröffentlichen und dies in auf einer 2-LP-Edition in einem Gatefold, eingefasst in einer Silber
Folierung.
Die ABC-Serie ”Lost”, die eine neue Ära des modernen Fernsehens einläutete, wurde zu einem sofortigen
Blockbuster und kulturellen Phänomen mit über 14 Millionen Zuschauern, die jede Woche einschalteten.
Die Musik des Komponisten Michael Giacchino für Lost war ebenso wichtig wie die der Schauspieler und
fachte das Feuer des immensen kreativen Talents rund um die Serie noch weiter an.
Michael Giacchino ist ein amerikanischer Komponist von Musik für Film, Fernsehen und Videospiele. Er
hat viele Auszeichnungen erhalten, darunter einen Oscar für seine Arbeit an dem Pixar Film Oben (Up)
(2009), einen Emmy für seine Arbeit an Lost (2004) und drei Grammys für seine Arbeit an Ratatouille
(2007) und Up (2009). Seit 2018 ist er auch als Regisseur tätig und ist vor allem für Marvel Studios’
Werewolf by Night bekannt

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

With Agenda EP, Tom Carruthers closes a landmark trilogy on Skylax Records, following Neutralise EP and Deepline. Three records. Fifteen tracks. One coherent vision of machine-driven house music stripped to its raw, functional core. This final chapter dives deeper into direct, club-focused energy, where groove, repetition and tension do the talking. Agenda is less reflective, more physical — built for movement, sweat, and long transitions in dark rooms. Opening track “Chrome” sets the tone: sharp drum programming, metallic pressure, and looping synth phrases that lock the body into motion. “Agenda (Raw Mix)” follows with a tougher, stripped-down approach — no excess, just pure rhythmic insistence rooted in early Chicago jack and warehouse discipline. “Beat Down” pushes further into machine funk territory, where relentless patterns and rugged textures meet in hypnotic repetition. On the flip, “Fade Away” brings a deeper, moodier tension — a late-night track where subtle emotion seeps through minimal structures. Closing cut “What You Want” is classic Carruthers: jacking drums, understated melody, and a groove that feels timeless rather than retro. As with the previous releases, the visual identity is handled by H5, whose modernist, reduced artwork mirrors the sonic philosophy: clarity, impact, and purpose. Agenda EP completes the Skylax trilogy as a statement of intent — not revivalism, not nostalgia, but dance music reduced to its essential elements.

Sit back and pour this one over ice.

Expanding beyond the West Coast with release number three, Goodtunes invites master of the craft Rob Pearson for a dark & moody EP.
Opener “Odd Job Mischief” bends itself over dubbed out low end pressure as echoic LFOs rip through the groove. A2 “Dodgy Brass” doubles down, forcing hazy horns through truncated rhythmic cracks split from beneath its own weight.

On side B, “The Right Speed” is all gas, no breaks. A moody, stripped back weapon with detailed texture & the dark, tripped out aesthetics of Jayson Walker’s murmurs over the top. “Beautifully Mangled” wraps up the EP with a dark minimal groove & lush atmosphere that slowly builds into a warm driving force.

Third time’s certainly the charm on GT003, with Pearson pushing his productions into new territory with meaningful intention.

New Ep by Ozelot Co-Founder Prioleau, with a remix by Seouls rising star Mogwaa.
Direct, driving, clear and no compromises.
All killers, no fillers.
Built for late mornings and big stages alike.
A homage to easier times, the zürich scene in the mid 2010s – with a futuristic twist!

Early support by Dubfire, Marco Carola, Doc Scott, Slam, i. jordan, Raresh, Joseph Capriati, Oliver Hafenbauer, Massimiliano Pagliara, Thomas Hoffmann and many more.

All tracks written & produced by Prioleau, in Zürich,
Remix written & produced by Mogwaa in Seoul.
Mixing, engineering and mastering by Matthias Millhoff at Embeat Studios Berlin
Artwork by Silvan Possa