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Michi Sarmiento takes center stage on this explosive double-sider from PANORAMA Records, the third release in their 'DISCOS PANORAMA' series, created in collaboration with the legendary Discos Fuentes from Colombia. On the A side, 'Mirame San Miguel' by Michi Sarmiento Y Sus Bravos (1972) brings that irresistible Colombian groove, full of energy and horn-driven soul. Flip it over for 'Cumbia Raja' by Michi Sarmiento Y Su Combo Bravo (1970), a classic cumbia weapon that’s been igniting dancefloors for decades. The Combo Bravo, led by Blas 'Michi' Sarmiento, was a pioneering force in the rise of salsa and tropical sounds in Colombia during the late '60s and early '70s. This reissue delivers absolute Colombian dancefloor HEAT—killer Latin music, built for DJs, collectors, and anyone who loves it loud.

The legendary trance tune "Eternity" was originally released in 2000.

Webmedia "We Rave You" estimates that "Eternity" is "A beautiful mix of pounding dance-floor driven percussion progressing into a beautiful array of dreamy, melodic sounds, this is one of those tunes that sits as one of the benchmarks in trance and lives long in the memory of fans of the genre. An absolutely timeless chord progression runs throughout this tune and the climax is nothing short of epic."

To celebrate the 25th anniversary of Eternity,, Music on Vinyl in cooperation with Armada Music and Armin van Buuren present all 4 versions of Eternity on vinyl for the first time. The 12-inch is available as a 25th anniversary edition of 1500 copies on silver coloured vinyl.

SPF 50 aka Stephan Kimbel has been working the club circuit in NYC and abroad for years now. His approach to techno often incorporates breakbeats and a psychedelic attention to sound design details. He has released killer 12”s on Dzungla, Bliss Point, and his own label, Professional Music. Fixed Rhythms is now excited to present his latest 12” EP offering–”The Rush”.

The titular track, an acid breakbeat techno party starter for the heads, absolutely breaks down the door of the A-side. A2 “Deep Woods” descends into tasty, wiggly, spacious techno. B1 “Kinetic Ritual” is just that…you have arrived in the Zone, a dark corridor leading straight to One and Everyone. Then B2 “UV Got Me Faded” whips you wonky with a modular drumless wobble slap. This is well-crafted dance music that can plunge any crowd into the deep end.

"Bookends" bildet soetwas wie das Herzstück des am 20. Juni erscheinenden Albums. Die weitläufige Ballade zollt ihrem verstorbenen Freund Riley Gale Tribut, ehemals Sänger der Band Power Trip. Sie ist auch inspiriert von John Careys Buch "Eyewitness To History", einer Sammlung von über 300 historischen Augenzeugenberichten zu prägenden Ereignissen der menschlichen Geschichte. Zu Bookends erscheint ein Video von Caity Arthur. "Im Video geht es um Tod und Absolution, wie der Tod eines der wenigen sicheren Dinge im Leben ist, der große Gleichmacher, nolens volens", so Arthur. "Es untergräbt aber auch das traditionelle Narrativ vom Tod als verzweifelte Leere und porträtiert ihn mit seinem halluzinogenem Sixties-Ensemble stattdessen als euphorische Übergangserfahrung samt TV-Pop-Performance und Taschenspielertricks, während Megs Lyrics den Tod in all seinen Formen beschwören." Für "Scratch It" hat Meg Remy mit Gitarrist Dillon Watson eine Band zusammengestellt - ursprünglich für einen einmaligen Festivalaufrtitt, aufgrund der guten Chemie schließlich gleich für ein ganzes Album. Mit Watson an der Gitarre, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) am Bass, Domo Donoho am Schlagzeug und Jo Schornikow und Tina Norwood an den Keys entstand "Scratch It" innerhalb von zehn Tagen in Nashville. Zwischendurch schaute auch Mundharmonika-Legende Charlie McCoy vorbei, der bereits mit Elvis, Bob Dylan und Roy Orbinson gearbeitet hatte und seine Künste für einige Songs einbrachte. Die Authentizität der analog produzierten Songs ist unmittelbar, ein Zeugnis der Chemie zwischen allen Beteiligten, Remy klingt relaxt wie kaum je zuvor. Das Album verwebt Country, Gospel, Garage Rock, Soul, Disco und Folk, während sich Remy in den Lyrics mit Patti Smith auseinandersetzt, mit junger Liebe, Mutterschaft, Macht-Dynamiken, der Kraft von James Brown, verstorbenen Weggefährten, dem Goldrausch am Yukon - oder dem eigenen nach einer Tequila-getränkten Nacht. Dabei lässt sie wie immer auch ihren beißenden Humor spielen.

[a] A1 Big Mike's; Drums, Bass, Clarinet, Organ, Mixed By, Written-By – Dijon (7); Guitar, Piano, Vocals [Additional], Organ, Mixed By, Written-By – Michael Gordon (30); Mixed By – Jack Karaszewski; Slide Guitar – Noah Le Gros
[b] A2 Scratching; Mixed By, Written-By – Dijon (7); Producer [Additional] – Michael Gordon (30); Producer [Additional], Mixed By – Jack Karaszewski
[c] A3 Many Times;Drums, Baritone Guitar, Written-By – Michael Gordon (30); Guitar [Additional], Written-By – Dijon (7); Programmed By [Additional Programming], Mixed By, Written-By – Andrew Sarlo
[d] A4 Annie; Acoustic Guitar, Written-By – Dijon (7); Bass – Michael Gordon (30); Mixed By, Written-By – Jack Karaszewski; Saxophone [Casio Sax Replica] – John Keek; Vocals [Additional] – God's Children (11)
[e] A5 Noah's Highlight Reel; Clarinet, Guitar, Mixed By, Written-By – Dijon (7); Vocals [Additional], Bass, Synth, Written-By – Michael Gordon (30); Vocals [Additional], Written; By – Noah Le Gros
[f] A6 The Dress; Bass – Gabe Noel, Sam Wilkes (2); Drums, Synth, Written-By – Dijon (7); Guitar – Noah Le Gros; Keyboards – John Keek; Mixed By – Andrew Sarlo; Vocals [Additional] – Michael Gordon (30); Written-By – John Keuch

[h] B2 Did You See It; Instruments [All], Written-By – Dijon (7); Mixed By – Jack Karaszewski
[i] B3 Talk Down; Bongos – Henry Kwapis; Drum Programming, Mixed By, Written-By – Jack Karaszewski; Drums, Synth [Strega], Mixed By, Written-By – Dijon (7); Guitar, Baritone Guitar – Michael Gordon (30); Keyboards – John Keek; Written-By – John Keuch
[j] B4 Rodeo Clown; Clarinet – John Keek; Mixed By – Jack Karaszewski; Written-By, Guitar – Dijon (7); Written-By, Guitar [Additional], Bass – Michael Gordon (30); Written-By, Slide Guitar – Noah Le Gros
[k] B5 End of Record; Baritone Guitar, Bass, Synth – Michael Gordon (30); Mixed By – Jack Karaszewski; Mixed By [Stem Mix] – Andrew Sarlo; Written-By, Guitar, Mixed By – Dijon (7)

Editions Mego reissue the 2001 release Asuma by Finnish artist Ilpo Väisänen. Originally released on CD this is the first ever vinyl issue, remastered by Rashad Becker. 2001 is a landmark year for the artist following a wave of success from the notable outfit Väisänen formed alongside Mika Vanio, Pan Sonic (as they were now known then). Following a string of highly acclaimed and influential releases such as “Vakio”, “Kulma”, “A’ and “Aaltopiiri” Pan Sonic had toured the globe extensively leaving a trail of blown expectations and rumours of all manner of objects in venues cracking or falling apart due to the immense sound the duo concocted with their unique instruments.

Taking a break from the ecstatic cacophony of Pan Sonic, Väisänen retreated to work on a solo release which conjured the spirits of the former outfit whilst simultaneously carving out a more personal take on these new electronic forms.

Asuma is a precise study of drones, rhythms, clicks, ambience and gentle confusion. Whilst inhabiting a zone of abstraction the results also move in a natural field as Väisänen’s native Finland permeates these recordings as much as the idea of experimentation itself.

Autioitu 1 opens the album as delicate pinball rhythms bounce across the spectrum as a hairy drone hovers underneath. The mood is both intriguing and unsettling. Tukahduttaja is a delightfully disorientating sound sculpture that is hard to pinpoint what it actually is. Klikki is comparable to a microscopic version of Pink Floyd’s “Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”. Asumaton is a foreboding miniature acting like a segway to Vallitseva which embraces the icy clicks that punctuates much of the Pan Sonic output. Arvioimaton Ongelma is an audio riddle whilst Jaettu jitters around a dancefloor crawl. Autioitu closes proceedings as a gentle ambient thumper. Asuma is awash with contradiction and mystery. This is time wrapped in twisted turns and rewards a neat payoff for those interested in the absolute fringes of electronic ‘dance’ music.

Light Yagami, a gifted young student, one day picks up the "Death Note", a notebook previously kept by a shinigami (God of death), Ryuk, who apparently was bored in his world. Just write the name of a person in this notebook, and this one dies (according to certain conditions that the shinigami will explain to Light during their meeting). Thus, with the "Death Note" in hand, Light decides to rid the planet of all criminals to make it a just world, a perfect world. However, who is he to judge people? He therefore becomes the worst wanted criminal on the whole planet.. Two composers and arrangers composed for this work: Hideki TANIUCHI (HAJIME NO IPPO, NANA) and Yoshihisa HIRANO (FINAL FANTASY, HUNTER X HUNTER).

Absolute stone-cold classic from 1985 produced by the legend Kurtis Mantronik - only ever came out on 45 as a promo and hard to find.

Am 6. Juni veröffentlichen Lifeguard aus Chicago ihr Debütalbum "Ripped and Torn" auf Matador Records. Das junge Trio, bestehend aus Asher Case (Bass, Baritongitarre, Gesang), Isaac Lowenstein (Schlagzeug, Synthesizer) und Kai Slater (Gitarre, Gesang), macht seit seiner Highschool-Zeit zusammen Musik, also fast ein Viertel ihres Lebens. Laut und direkt, kryptisch, aber mit Herz, lassen sie sich in ihren Songs von Punk, Dub, Power-Pop und experimentellen Klängen inspirieren und bringen alles in einem explosiven Sound of Now zusammen Das Album, das letztes Jahr in Chicago mit dem Produzenten Randy Randall (No Age) aufgenommen wurde, fängt eine klaustrophobische Verschrobenheit ein, die das Gefühl und die Energie von Hauspartys und dicht gedrängten Räumen heraufbeschwört, wo die Ohren leicht überwältigt werden und zerlumpte Improvisationen sich mit der gleichen Kraft verbinden wie melodische Hooks. Schon beim 2023er SWSW gehörte die Band zu den absoluten Geheimtipps und überzeugte mit ihren mitreißenden Live-Shows, von denen man sich letztes Jahr auch hierzulande ein Bild machen konnte. Im Zuge der Album-Veröffentlichung kehrt die Band für zwei Shows nach Deutschland zurück und spielt am Release-Tag in Berlin! Lifeguard gehören zur Speerspitze neuer Bands, deren kreativer Schmelztiegel sich in und um Chicago herum befindet und jüngst auch die Band Horsegirl hervorbrachte. Die Szene besteht aus Musikern, Fanzine-Machern und Konzertveranstaltern und ist inspiriert von der DIY-Indie-Bewegung der 90er.

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug) und Kaspar Boye Larsen (Bass) – melden sich mit ihrem neunten Studioalbum „God Of Angels Trust“ zurück, das am 06. Juni erscheinen wird. Und passend zum neuen Album wird die Band auf ausgedehnte Welttournee gehen.

Mit „God Of Angels Trust“ wirft die Band alle songwriterischen Regeln über Bord. Volbeat, die als nichtamerikanische Band einen Rekord von zehn Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, haben sich bewusst von Konventionen gelöst und neue kreative Wege beschritten. Die Begeisterung der Band, Konventionen zu durchbrechen, ist in „God Of Angels Trust“ spürbar, einem druckvollen, knackigen Album, das unbestreitbar Volbeat ist – mit der gewohnten powervollen Mischung aus eingängigen Melodien und frischer, metallischer Energie.

Dass Volbeat ein komplettes Album in gerade einmal fünf Wochen geschrieben und aufgenommen haben, ist beeindruckend. Doch was „God Of Angels Trust“ wirklich außergewöhnlich macht, ist die Tiefe, Vielseitigkeit und Fülle, die man sonst nur von Alben kennt, die zehnmal so lange in der Mache waren. Ein solcher kreativer Kraftakt erfordert absolute Konzentration, einen unerschütterlichen Flow und das Vertrauen, dem eigenen Instinkt zu folgen.

Ab Juni kehren Volbeat auf die Bühne zurück und gehen mit ihrer ”Greatest Of All Tours Worldwide” auf große Reise durch Kanada, die USA, Europa und Großbritannien.

Die dänischen Rock-Giganten VOLBEAT – Michael Poulsen (Gesang, Gitarre), Jon Larsen (Schlagzeug) und Kaspar Boye Larsen (Bass) – melden sich mit ihrem neunten Studioalbum „God Of Angels Trust“ zurück, das am 06. Juni erscheinen wird. Und passend zum neuen Album wird die Band auf ausgedehnte Welttournee gehen.

Mit „God Of Angels Trust“ wirft die Band alle songwriterischen Regeln über Bord. Volbeat, die als nichtamerikanische Band einen Rekord von zehn Nummer-1-Hits in den Billboard Mainstream Rock Charts halten, haben sich bewusst von Konventionen gelöst und neue kreative Wege beschritten. Die Begeisterung der Band, Konventionen zu durchbrechen, ist in „God Of Angels Trust“ spürbar, einem druckvollen, knackigen Album, das unbestreitbar Volbeat ist – mit der gewohnten powervollen Mischung aus eingängigen Melodien und frischer, metallischer Energie.

Dass Volbeat ein komplettes Album in gerade einmal fünf Wochen geschrieben und aufgenommen haben, ist beeindruckend. Doch was „God Of Angels Trust“ wirklich außergewöhnlich macht, ist die Tiefe, Vielseitigkeit und Fülle, die man sonst nur von Alben kennt, die zehnmal so lange in der Mache waren. Ein solcher kreativer Kraftakt erfordert absolute Konzentration, einen unerschütterlichen Flow und das Vertrauen, dem eigenen Instinkt zu folgen.

Ab Juni kehren Volbeat auf die Bühne zurück und gehen mit ihrer ”Greatest Of All Tours Worldwide” auf große Reise durch Kanada, die USA, Europa und Großbritannien.

This novelty album, released in 1966 during the height of the Batman & Robin craze, was initially credited to the "The Sensational Guitars of Dan and Dale" and featured an album full of tracks based on the popular TV show like "The Batman Theme Song", "The Penguin Chase", and "The Batcave". The album is entirely instrumental, except for someone singing "Batmaaaan!" in the theme song. But the interesting thing about this album, and what makes it an absolute cult gem, are the musicians who are behind it all: basically a joint collaboration between Sun Ra's Arkestra and Danny Kalb's Blues Project (one of the first psychedelic rock bands as well as one of the world's first jam bands). "Dan and Dale" were actually blues guitarist Danny Kalb and Steve Katz (later of Blood, Sweat & Tears) on dueling guitars, while Sun Ra and Al Kooper take over organ duties (a Hammond B-3) and members of Ra's Arkestra play sax.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

Picture Disc, limited to 500 copies. THE ANTICHRIST IMPERIUM debut album 10th anniversary limited edition reissue! Brace yourselves for an unrelenting sonic assault as Antichrist Imperium featuring members of AKERCOCKE, THE BERZERKER, WEREWOLVES & VOICES unleashes their explosive debut album, a thunderous entry into the world of extreme metal. From the first blistering note to the last, this album crushes with an intensity and fervor that's almost apocalyptic. Known for their ferocious blend of thrash, black, and death metal, the band wastes no time in establishing their dominance, offering a sonic journey that is both raw and refined. With lightning-fast riffs, pounding drums, and ferocious vocals that sound like they've been dragged straight from the abyss, Antichrist Imperium delivers a relentless barrage of aggression and passion. The album's production is crisp yet full of grime, creating the perfect balance between clarity and chaos, allowing every intricacy of the band's ferocity to shine through. Lyrically, the album explores themes of apocalyptic destruction, existential rage, and the obliteration of morality told through the lens of a dystopian, anti-religious perspective. These themes resonate with a sense of inevitable doom, driving each track forward like a relentless storm that refuses to let up. The standout tracks are full of both technical mastery and ferocious energy. With riffs that will have you headbanging and beats that will rattle your very core, Antichrist Imperium sets a new benchmark for thrash metal in the modern age. It's a fusion of old-school thrash influences and cutting-edge extreme metal, creating an album that feels both nostalgic and forward-thinking. Antichrist Imperium's debut is a thrilling, no-holds-barred rollercoaster of destruction that cements their place in the pantheon of modern metal. A must-listen for fans of thrash, black, and death metal, it is an uncompromising and absolutely fiery introduction to a band that's ready to reign terror across the metal scene.

Erdmöbel sind ein Phänomen und im Jahr 2025 feiern sie 30jähriges Bestehen. Sie geben allen die Gelegenheit, ihr Werk, die großen und bewegendsten Songs, noch einmal völlig neu zu entdecken. Dafür konnten sie das renommierte Kaiser Quartett gewinnen. Dafür haben keineswegs ein paar Streicher nur mal eben über ein paar alte Songs gestrichen, sondern Bassist und Produzent Ekki Maas entwickelte mit dem Hamburger Kaiser Quartett brillante Neu-Arrangements. Drei komplett neue Erdmöbelsongs gibt es auch! Das Jubiläumsalbum repräsentiert das Phänomen Erdmöbel, dabei insbesondere die Einzigartigkeit der hell in die Gegenwart strahlenden Texte von Markus Berges. Mit all den Neu-Arrangements und einem tollen Sound irgendwo zwischen ELO und schräger Sixties-Filmmusik à la Bernard Hermann (Psycho), mit all dem, was es auch inhaltlich Neues zu entdecken gibt, kommt Erdmöbels Jubiläumswerk aber zugleich auch rüber wie eine taufrische und absolut berührende Platte.

Volume 2 of the absolutely infamous (and highly sought after) Cult Sounds compilation, comprised of music done by fringe religious cults around the world. Oh, boy! Volume 2 of Cult Sounds is here, so it's time for another bad trip through the music produced by weird, extreme cults all over the world. From hypnotic Manson Family recordings to the catchy 80s pop manufactured by The Family, to jazz, psych jams, country music or plain out there musical experimentation, this second volume gets as weird, dark and mesmerizing as its predecessor, amazing.

Outstanding, heart-warming, experienced Techno & Ambient manifesto - Tip. (w/ download code)

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

Loco Dice kündigt sein viertes Album „Purple Jam“ an: Mit 12 Tracks und einer Fülle hochkarätiger Kollaborationen unterstreicht er die ständige Weiterentwicklung seines Sounds und die erfolgreiche Verschiebung von Genregrenzen.

Loco Dice ist eine absolute Legende und einer der einflussreichsten Charaktere in der elektronischen Musikszene. Seit Beginn seiner Karriere hat er seinen einzigartigen Genre Twist aus House & Techno mit starken Hip-Hop Einflüssen etabliert. Von den Anfängen als Hip-Hop-DJ in Düsseldorf bis hin zu Residencies in den legendären Ibiza-Superclubs wie Circoloco im DC-10 und Amnesia Terrace sowie im Space Miami in den USA war Loco Dice immer für seine Fähigkeit bekannt, tiefe, introspektive Sounds mit energiegeladenen Tracks zu mischen.

Das enorm hohe Level und kreative Spektrum dieses Albums wurde bereits mit den ersten Single-Auskopplungen zementiert: Auf „Heavy Heart“ mit Skrillex & Fireboy DML, „Road Runner“ mit Carl Cox, „Ice Cold Dealer“ mit Haftbefehl und „Juice“ mit The Martinez Brothers & Trinidad James sammeln sich bereits Millionen an Streams.

Das Album erscheint als farbige 1 LP (180 Gramm).

Vile is the fifth studio album by American death metal band Cannibal Corpse.

Second solo album by Arthur Satan, released on Born Bad, after 'So Far So Good', his pop solo debut, which was a pleasant surprise for fans of his notthat-garage group JC Satan 'A Journey That Never Was' is so big you'll need special furniture to accommodate this unreasonable, maximalist parade, crammed full with 1960s pop influences.

The record plays with heritage like a kid would unabashedly plan for a birthday party. No stupid treasure hunt, we're bowling with the heads of our foes, guitars are literally bleeding through the mix. T-Rex burgers, fountains of chocolate choruses dripping on Brian Wilson - shaped giant cookies: let's indulge. Each song is a musical family, each verse is an album, each riff is a title. In his Christmas gift list, Arthur probably circled absolutely every toy: his taste for completism never disappoints. He played almost every instrument, mixed the album and designed a whole graphic universe to go along with it. A visual artist by trade, also made a point of drawing a monumental fresco spreading out the fantasy landscape that haunts this album.

''Stop'' is the emblem of Italo-Disco par excellence even if in 1983 it was inserted by Carlo Favilli and Stefano Zito on the B-side of the 12''of the nascent label House of Music. However, the song, although recorded in a hurry and with evident sound defects, is the perfect example of the musical genre that was developing in Italy in those very early 80s. ''Stop 4 Remixes'' is long-awaited answer that followers have been waiting for over 4 decades and now it lives with its own light with 4 new versions that testify how the piece was a driving force for the entire Italo-Disco movement."Pushed Up'' is the remix by Woody Bianchi, who according to Claudio Casalini (who does not allow any discussion on this matter) is the best Italian disc-jockey for the technical quality of the mixes and the artistic choice of the pieces to play. It would take a book to retrace the stages of his prestigious career. So here just a bravo' to Gino (Woody Bianchi). Ditto with potatoes for Danilo Braca who works assiduously in the clubs of the Big Apple, spinning only tracks by Italian composers and arrangers. Once again this Italian DJ-producer (Danyb is his old nickname), author of two very pregnant extensive versions: ''The Remix'' and ''Re-Visited'', shows his ability as a 'remixer', known everywhere, but especially in Ibiza especially where the DJs ((DJ Harvey included) often use his ''edits' existing only on pen drive. Among those who have madly loved ''Stop'' near Florence there are certainly Luca Pardini (Dirtyelements), Guido Sonato and Edoardo Guccione (Drunkdrivers) who when they are together form the renowned they Tuscan trio of DJ-producers Dirtyelements & Drunkdrivers with very interesting and successful experiences on Pusic Records, Masterworks Music, Samosa Records and Lego Funk. The approach to sounds in their ''Acid Re-Solution Remix'' is absolutely decisive. Here too, skill and passion seasoned with a pinch of art and... why not?... madness !!!

Katagory V sind eine Progressive-Power-Metal-Band aus Salt Lake City in Utah. Anfang 1999 gegründet, sind bis dato fünf Studioalben erschienen: Auf "Present Day"(2001) folgten "A New Breed Of Rebellion" (2004), "The Rising Anger" (2006), "Hymns Of Dissension" (2007) und schließlich "Resurrect The Insurgence" (2015). Nun hat die Gruppe einen Vertrag mit High Roller Records unterschrieben, dessen erstes Resultat das brandneue Werk "Awaken A New Age Of Chaos" ist. Die Platte wurde von Dustin Mitchell (Bass), Curtis Morrell (Gitarre) und Matt Suiter (Schlagzeug) eingespielt, allesamt Teil der Originalbesetzung, plus Sänger Albert Rybka sowie Neuzugang Dan Coxey an der zweiten Gitarre. Das Album ist im Streamline Studio in Salt Lake City aufgenommen und von der Band selbst produziert worden. Für das Mastering zeichnete Alan Douches (Fates Warning, Cannibal Corpse) verantwortlich. Mit Riffmonstern wie "Empire Of Ignorance" und "Blood Siphon" oder melodischen Stücken wie "Absolute Divide" oder "Through Fate's Eyes" entpuppt sich "Awaken A New Age Of Chaos" als Meisterwerk des modernen Progressive Power Metal. In der Vergangenheit wurden Katagory V gerne mit Fates Warning, Queensryche, Hades, Sanctuary und Lethal verglichen. Laut Bassist und Gründungsmitglied Dustin Mitchell durchaus zutreffend: "Die genannten Bands haben uns ganz ohne Zweifel beeinflusst. Aber auch eine Menge Speed-, Thrash- und Doom-Bands der späten Achtziger und frühen Neunziger. Dazu Thrash-Metal-Gruppen der alten Schule - Realm, Death Angel, Helstar, Flotsam & Jetsam sowie Atrophy - und ferner auch härtere Melodic-Hardrock-Formationen, speziell aus Deutschland, da denke ich an Bonfire oder Jaded Heart." Das sollte all denjenigen, die mit Katagory V noch nicht vertraut sind, einen guten Eindruck davon geben, wie die Band klingt. Alles in allem ist das neue Werk "Awaken A New Age Of Chaos" von einer überraschend dunklen Grundstimmung geprägt: "Oh ja, dem stimme ich ausdrücklich zu", bestätigt Dustin Mitchell. "Diese Platte ist viel düsterer und auch zorniger als alles, was wir in der Vergangenheit gemacht haben, vielleicht mit Ausnahme unseres zweiten Albums. Im Verlauf unserer Karriere haben wir einige Tiefschläge einstecken müssen, weswegen die Band die letzten zehn Jahre auf Eis gelegen hat. Es ist also nur natürlich, dass sich die Wut darüber auch in unser neuen Musik Ausdruck verschafft hat."

Katagory V sind eine Progressive-Power-Metal-Band aus Salt Lake City in Utah. Anfang 1999 gegründet, sind bis dato fünf Studioalben erschienen: Auf "Present Day"(2001) folgten "A New Breed Of Rebellion" (2004), "The Rising Anger" (2006), "Hymns Of Dissension" (2007) und schließlich "Resurrect The Insurgence" (2015). Nun hat die Gruppe einen Vertrag mit High Roller Records unterschrieben, dessen erstes Resultat das brandneue Werk "Awaken A New Age Of Chaos" ist. Die Platte wurde von Dustin Mitchell (Bass), Curtis Morrell (Gitarre) und Matt Suiter (Schlagzeug) eingespielt, allesamt Teil der Originalbesetzung, plus Sänger Albert Rybka sowie Neuzugang Dan Coxey an der zweiten Gitarre. Das Album ist im Streamline Studio in Salt Lake City aufgenommen und von der Band selbst produziert worden. Für das Mastering zeichnete Alan Douches (Fates Warning, Cannibal Corpse) verantwortlich. Mit Riffmonstern wie "Empire Of Ignorance" und "Blood Siphon" oder melodischen Stücken wie "Absolute Divide" oder "Through Fate's Eyes" entpuppt sich "Awaken A New Age Of Chaos" als Meisterwerk des modernen Progressive Power Metal. In der Vergangenheit wurden Katagory V gerne mit Fates Warning, Queensryche, Hades, Sanctuary und Lethal verglichen. Laut Bassist und Gründungsmitglied Dustin Mitchell durchaus zutreffend: "Die genannten Bands haben uns ganz ohne Zweifel beeinflusst. Aber auch eine Menge Speed-, Thrash- und Doom-Bands der späten Achtziger und frühen Neunziger. Dazu Thrash-Metal-Gruppen der alten Schule - Realm, Death Angel, Helstar, Flotsam & Jetsam sowie Atrophy - und ferner auch härtere Melodic-Hardrock-Formationen, speziell aus Deutschland, da denke ich an Bonfire oder Jaded Heart." Das sollte all denjenigen, die mit Katagory V noch nicht vertraut sind, einen guten Eindruck davon geben, wie die Band klingt. Alles in allem ist das neue Werk "Awaken A New Age Of Chaos" von einer überraschend dunklen Grundstimmung geprägt: "Oh ja, dem stimme ich ausdrücklich zu", bestätigt Dustin Mitchell. "Diese Platte ist viel düsterer und auch zorniger als alles, was wir in der Vergangenheit gemacht haben, vielleicht mit Ausnahme unseres zweiten Albums. Im Verlauf unserer Karriere haben wir einige Tiefschläge einstecken müssen, weswegen die Band die letzten zehn Jahre auf Eis gelegen hat. Es ist also nur natürlich, dass sich die Wut darüber auch in unser neuen Musik Ausdruck verschafft hat."

2023, past and future merge into one. Stripped of temporal markers, today's artists unabashedly draw from the past while boldly gazing into the future. Amid revivals and

innovations, trends and undercurrents, the game is intricate, the nuances abundant. Orphia's music is no exception. Behind the synthesizers, the Genevan weaves a musical tapestry on a tightrope. Cold wave, synth-pop, post-punk, eurodance, Indochine, Depeche Mode, Boards of Canada, Eurythmics... it all blends in a grand synthetic ritual where the festivities happily don't stop at the first light of dawn. Charging forward, swiftly, strongly, into an uncertain future, no questions asked but with a quick glance in the rearview mirror, just to be sure.

"L'Aventure des Gens Modernes" resides in this retro-futuristic melancholy, between nostalgia and a thirst for tomorrow. Without ever falling into foolish nostalgia or soulless revival, the EP reflects an absolute urgency. Urgency to produce, first and foremost, as studio work has become a true raison d'être for Orphia. Urgency to also shout out a certain rage against a world devoid of hope, and this on stage where the artist performs alone, synths in hand and sharp beats for the dancefloor. In an era where the past enables facing the future, the 5 tracks of "L'Aventure des Gens Modernes" breathe a breath of fresh air into a scene in ruins. Cyberpunk or punk in general, Orphia wants to go fast and take everything in its path.

60’s pop, 70’s junkshop glam and the best of catchy punk from Ramones to Jay Reatard come together in one irresistible power pop package. “Hangin’ Out” and “Sticker Song” both deal with some of the most basic aspects of the rockers' everyday life: standing around on corners, listening to Sheena on the radio, playing pinball and crate digging while avoiding local enemies. Hooks for days and absolutely relentless playing make sure this lands firmly in the thrilling-rather-than-tired camp for anyone who has ever loved catchy fast music.
In this light “Terry” is an obvious choice for a more DIY-oriented makeover that fully retains the originals sense of up-yours fun while upping the tempo and infusing it with vocal harmonies that are more New York Dolls than high gloss and giving the guitar solo a punked-up Thin Lizzy treatment.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

The second instalment of the remixes from J:Kenzo's 'Taygeta Code' sees two absolute heavyweight producers from the world of Drum & Bass collide on this 2 track EP.

Kid Drama brings through dub techno funk and soul in his remix of 'Guilty' encompassing the beautiful drifting groove matched with dirty filtered mids.

On the flip the legend DJ Trace drops a harder sinister edge to the tribal stepper 'Token Image' keeping the dubbed out licks and hypnotic percussion whilst adding nasty gritty synth lines harking back to his signature sound.

Now releasing their third album together, ‘Deep Freedom’ on Connessioni, Lorenzo Fortino and Brody have grown even closer and more complementary as artists.
Renowned and recognized globally as producers thanks to their two previous albums, they take another step forward with this new work, delivering something truly unique and unlike anything else. Their sound remains consistent, mature, and decisive, driven by a commitment to absolute artistic freedom.
The EP opens with “Our Truth” (A1), a techno/electro track where electronic drums, bass, and atmospheric synths blend seamlessly. Lorenzo’s processed vocals add depth to the composition, uilding to a point where body and mind move in unison on the dancefloor.
The journey continues on the same side with “Homemade Mould” (A2), a raw and direct house track that most closely embodies the recognizable hallmark of the two Italian producers.
Side B begins with “Deep Freedom” (B1), featuring singer Veronica Marini in her recording debut. The song delivers an explicit message of rebellion, layered with a profound call to action for the world. Set against a deep, immersive soundscape that bridges house and techno, it seeks to awaken the spirit—encouraging listeners to embrace life and fight for freedom.
The album concludes with “Leave Those Memories” (B2), a house track that feels like an instant global hit from the very first listen. The drums, bass, and synths come together flawlessly, creating the perfect backdrop for Veronica Marini to shine. Her remarkable jazz-infused soul takes center stage, moving effortlessly through lyrics that showcase her distinctive interpretative style — one that can only come.

An absolute classic and long sought after, this remaster and repress contains the underground black label remix of Hurt You So, plus awesome new remixes from Phuture Assassins and Dope Ammo & Ed Solo! Boom!

Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

Depressive black metallers GHOST BATH have emerged from beyond the veil with their new album, Rose Thorn Necklace, through long-time partner Nuclear Blast. Free from the Moonlover-Starmourner-Self Loather conceptual trilogy, sole proprietor Nameless (aka Dennis Mikula) explores the most intense and introspective GHOST BATH’s oeuvre, advancing with blackened blasts and melancholic movements while moving his only child forward into the unknown. Hoisted into the firmament by the shimmering ‘Vodka Butterfly’ and the dissonant bliss of ‘Well, I Tried Drowning’ on one end and lowered into Mikula’s personal abyss with ‘Dandelion Tea’ and the riveting title track on the other, Rose Thorn Necklace is absolute danger and
haunting beauty.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

House of Gold & Bones – Part 1 is the fourth studio album by American rock band Stone Sour. It is the first Stone Sour album without bass player Shawn Economaki, who left the band in 2012, his studio replacement was Rachel Bolan from Skid Row. Musically, Corey Taylor also described the album's sound as "Pink Floyd's The Wall meets Alice in Chains' Dirt". House of Gold & Bones – Part 1 was released on October 22, 2012 and debuted at number 7 on the Billboard 200 music album charts. The album has sold just under 130.000 copies in the United States alone and got raving reviews all over the globe. The album hasn't been available on vinyl for over 10 years and is now available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes a 4 page booklet.