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Die Dead Kennedys, eine der einflussreichsten Punkbands aller Zeiten, lieferten 1981 mit „Nazi Punks Fuck Off“ eine ihrer legendärsten Singles ab. Roh, unglaublich schnell und kompromisslos ist diese Platte eine zeitlose Momentaufnahme des rebellischen Geistes und der kompromisslosen Vision der DK.

2LP, 9mm spine gatefold sleeve with silver hot foil & metallic inks. Printed inner sleeves. Engraving on Side D, the vinyl here is of silvery colour. Pelagic reissued THE OCEAN's 2010 albums "Heliocentric" and "Anthropocentric" on vinyl! "Heliocentric" was the first album with current vocalist Loïc Rossetti, a game changer in the band's history. The album is characterized by his shimmering cleans alongside abrasive, powerful screams. "Heliocentric" sees the band venture into calmer territories as compared to its predecessors: the album is defined not solely by walls of guitars, but also by careful orchestrations of piano, upright bass, strings and textural electronics. Conceptually "Heliocentric" is a comprehensive critique of the legacy of christianity: the iconic opening track "Firmament", still a fan's favourite, starts off with original text from the bible; while "Ptolemy Was Wrong" and "Catharsis of A Heretic" tackle Gallilei's and Copernicus' discoveries that Earth is not at the center of the universe, for which Giordano Bruno was burnt at the stake. The album concludes with Charles Darwin's theory of evolution, and considerations by Richard Dawkins', the spearhead of modern day's aetheism, in the epic 14 minutes closing track duality "The Origin Of Species" and "The Origin Of God". For fans of BREACH TOOL THRICE NINE INCH NAILS CULT OF LUNA ISIS KARNIVOOL ROSETTA RUSSIAN CIRCLES MONO MASTODON OPETH BETWEEN THE BURIED AND ME PINK FLOYD

What We Do When in Silence is the trio of Nicola Ratti, Alessandra Novaga and Enrico Malatesta.

Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there’s a natural light sliding in from the 3 windows on your right side. There’s no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Synthesizer, piano, whistling, electric guitar and percussions.

Nicola Ratti is a versatile musician and sound designer who has long been active across diverse experimental fields. His sound production creates systems shaped by repetition and expansion, with a particular focus on building environments that resonate with the spaces and architectures we inhabit, and on balancing the emotional and perceptual orientations to which we are accustomed.

Alessandra Novaga is a guitarist who has been exploring, for years, the possible territories her instrument can lead her to. She has crossed through the most classical worlds, reaching into intangible abstractions without setting boundaries between the two. Sound, meanings, encounters, and narratives are the elements that guide her path.

Enrico Malatesta is a percussionist and independent researcher working within experimental contexts that intersect music, performance, and territorial investigation. His practice explores the relationship between sound, space, and movement, and the vitality of materials, with a particular focus on surfaces, listening modes, and the articulation of multiple layers of information through an ecological and sustainable approach to percussion instruments.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

The Brokedowns are the coolest punk band in Chicagoland and they're back with 13 new songs of fury and satire. The quartet has steadily grown in popularity and so has their appetite for mockery. We asked them about the record, and they explained the fi­rst track is a musical tribute to QAnon moms taking over the school board. Quite the tone-setter. While not a concept album, there is a thematic protagonist: Alpha Dog Serum X. No, Serum X is not a panacea to a world gone mad, it's a fi­ctional miracle drug endorsed by all the coolest billionaires and influencers. Safe to say, if dorks like Elon and Logan Paul heard this music, they would not get the joke. The Brokedowns fuse heavy rhythms with singalong melodies, and they use those tools like hammer and tongs to blast away at our societal ills. It may sound grim, but no one has more fun with our stupid culture than The Brokedowns, so you may as well get in on the roast.

Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon's identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.

Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu's own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It's a sound intrinsically connected to the superlative string of club 12"s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.

Debut album from Batu on his own Timedance imprint following releases for Livity Sound, Hessle Audio or XL Recordings.
UK & Worldwide press campaign led by Dawn Creative. International press cover TBA and strong media (RA, Mixmag, DJ Mag, XLR8R) and radio coverage around the release (Jamz Supernova, KEXP, Dublab, Rinse France)
Extensive touring schedule for 2022 includes US, Mexico, UK, Europe, and features headline slots in multiple high profile festivals (Sonar, Dekmantel, Outlook, Dimensions, Waterworks and more)

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

Originally released as an edition of 50 lathe-cut LPs housed in silk-screened jackets in 2020 (fast on the heels of What's Tonight To Eternity), Cat O' Nine Tails has long intrigued die-hard Cindy Lee fans with its combination of the classic songwriting that would dominate Diamond Jubilee a few years later and an actual suite of classical songs under the title itself.

Opening with the gothic soap opera theme of "Our Lady Of Sorrows" into the manic exploration of "Cat O' Nine Tails," onto the dusty western walk through Patrick Flegel's lovely guitar work on "Faith Restored," the album seems to soundtrack the coolest movie the late '60s ever produced. All of this builds to the lush and sweeping ballad of bruised hearts that introduces that beautiful voice via "Love Remains."

Side Two sees 2024 live show closer "Cat O' Nine Tails III" complete the suite to epic effect, before introducing the absolute showstopper that is "I Don't Want To Fall In Love Again." It is tender and fragile in that way that only Flegel can make both familiar and unique. Closing with the ethereal soul shuffle stomp of "Bondage Of The Mind," the album showcases nine songs from an essential time in the Cindy Lee evolution.

W.25TH / Superior Viaduct bring this collection to the larger audience as it deserves.

Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!