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In Lande’s words: “It’s a daydreaming song about wanting a life of excitement and adventure rather than a dull and ordinary life - one where people underestimate you and belittle you. And where you’re forced to buy into capitalism and become a pathetic, losing player in a game that you hate. I’d rather escape and live in a queer space fantasy and be brave.”

Available on limited turquoise vinyl and digipack CD

It is with both pride and excitement that we announce the reissue of ‘House Without A View’, the out-of-print second album by singer-songwriter Lande Hekt – the first of a three-part reissue series on Circuitry, with ‘Going To Hell’ and ‘Gigantic Disappointment’ (first time physically) to follow in the coming months.

With a new album ‘Lucky Now’ released on Tapete in January, supported by an extensive spring UK tour (dates below), Lande’s contemporary twist on the classic C86 indie sound - with a queer feminist punk identity lyrically explicit throughout – is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within.

The opening track of the album is ‘Half With You’ which “is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long,” says Lande. ‘Cut My Hair’ is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. “It’s also about how easy it is to not talk to people when you’re struggling, which is something I did for a long time,” admits Lande.

The title track of ‘House Without a View’ deals with childhood trauma and how events of our formative years “affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don’t) with life and relationships,” says Lande. Although there’s darkness and sadness within the record, there’s also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. ‘Lola’ was written about Lande’s cat shortly after she came to live with her and her girlfriend. “She’s the first pet I’ve ever had and I wasn’t quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behaviour.”


APRIL 2026 DATES: 4th Cardiff/5th Trowbridge/6th Penryn/7th Portsmouth/9th Ramsgate/10th Cambridge/11th Norwich/12th Nottingham/13th York/19th London/20th Brighton/21st Bristol/22nd Exeter/23rd Manchester/24th Sheffield/25th Oxford

Like a thief in the night, and almost 4 for years after his critically acclaimed full-length album Kabul Fire Vol 2, beat virtuoso Farhot has returned to the (crime) scene with his latest all-instrumental record "stealing from cats". While on his last LP, he took listeners on a journey to the dusty streets of his birthplace Kabul, he is now taking them along as he goes out stealing sounds from dusty Jazz archives. Reminiscent of that time when Blue Note invited Madlib into their catacombs to create the seminal "Shades of Blue" LP, this slow-paced record sees Farhot eclectically fusing Jazz samples with downtempo, instrumental hip-hop art. From the hazy, chopped vocal samples of the intro tune "selfish" to the dreamy closer "they need me", this 12-song masterpiece is as much an homage to the virtuosity of Jazz cats as it is to the fine art of sampling that Farhot cheekily calls stealing.

After two EP releases and a few millions streams later, Hamburg based songwriter, producer and visual artist KUOKO is about to drop her debut self-titled album. Released via Kabul Fire Records this album is brimming with energy and purpose, the singles such as Perfect Girl and Strong Girls Don"t Cry see KUOKO channeling her frustrations with society"s demands of women, and the impact that it can have on them. As a Vietnamese-German woman KUOKO is claiming her own place in an industry that often doesn"t represent women in the complex and fluid ways in which they actually exist and create music - self-taught, conceptual, ambitious.

On her second EP "Reality Check", Kuoko continues to make her way and search for her own answers. On the follow-up to her debut "Lost Woods", her electro-pop sound remains mystical and spherical, but, as the title implies, this project sees the Hamburg-based music producer deal with a number of quite tangible, personal and social topics. On songs like "Floating" or "Hiding in the Dark" she reminds us to follow our guts despite the ever- increasing pressures of society and technology . Despite the heavy undertone, the atmosphere remains positive all throughout the EP as Kuoko"s crystal-clear voice floats through the elaborate, ethereal soundscapes that she created. After putting out her debut EP in 2018, playing several live shows - three of them at the Reeperbahnfestival - and winning a local award for emerging artists (Krach + Getöse), the young multi- talented artist now invites us to check out her latest work. Accept this invitation and give it a listen. It"s definitely worth it.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

After releasing his first beat & instrumental album "Alltimers" in 2020, Berlin based multi-talent V.Raeter is back and kicking off the champagne for his upcoming sophomore LP "Sunday on a Monday" - this time released via Kabul Fire Records, also known as the nourishing home of high class instrumental releases in proud HipHop fashion. Sunday on a Monday is a sample based instrumental gem that pays tribute to the laid-back atmosphere of late summer days.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

According to the court ruling in the lawsuit brought against the band, allegedly by a former technician, this album should have been released under a different name for the group. Perhaps as a provocative nod, the individual who appears on the cover wearing a nut as an oppressive turban is struck on the back cover by the hammers of Justice and the Law. However, the group ignores this and continues to sign as it has been doing since 1983. The musical arrangements are more powerful, with the guitars taking precedence over the rest much more than before. The drums are also more present. The soundscape takes centre stage, even over the lyrics. The opening track, 'Monopoly', is representative of this, with its fast-paced rhythm provided by galloping guitars. Originally released in 1994, it is surprising how, almost ten years after their debut, La Polla Records were still capable of making albums of such intensity.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

After receiving a lot of love for his debut album "Love Machine" in late 2024 the enigmatic artist returns with the production screws firmly tightened once more. Snappy modular sounds bounce on a bed of bass made of silk stamina. Good for screw faces in the club, 2am joy rides and on headphones while pumping iron in the gym.

The mysterious London producer previously contributed a song on CASISDEAD’s chart topping, Brit Award winning debut album and has worked with London RnB vocalist Gloria on her release Metal, which came out on Gaika’s label The Spectacular Empire.

Night at the Opera’, the EP by Emei, on Red Marble vinyl. The 1LP, single pocket jacket includes a 10x8 print and 12x24 poster.

A little drama never hurt anybody. Emei knows how to bring it too. With a bold voice that’s as vibrant as her personality, the New Jersey-born Chinese-American songstress delivers clever and catchy anthems meant to be blasted out loud. Emei made major waves with 2022’s “Late to the Party,” surging on TikTok and igniting her End of an Era EP.

However, she reached critical mass with the release of her single, Scatterbrain. Touted as one of Spotify’s “Best Pop Songs of 2023,” the title track eclipsed 71 million Spotify streams followed by “Irresponsible” with 31 million Spotify streams. OnesToWatch christened her, “one of the most promising alt-pop artists to watch.” Plus, she has incited the applause of Billboard, People, Wonderland., and Lyrical Lemonade in addition to BBC Radio 1 in the UK and Triple J in Australia.

Spotify handpicked her as one of Pop Rising’s “Artists To Watch” for 2024. After gathering over a quarter-of-a-billion streams, selling out shows, and attracting multi-GRAMMY® Award-winning mega-producer Ricky Reed to her corner, she embraces her theatricality on her Night At The Opera EP

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

German-Turkish singer and composer Alev Lenz follows her self-released album 4 in a Cycle of Thirds (Jan 2026) with a complete, album length ambient rework by Simian Mobile Disco co-founder Jas Shaw. “The two records are very much intertwined," writes London-based German-Turkish singer and composer Alev Lenz. "I made 4 in a Cycle of Thirds with Jas in mind, inspired by a mix he created for my last album.” Lenz and Shaw have previously worked together on 2024 collaboration EP Bring Your Friends, as well as album mixes for Lenz' previous two solo records. Lenz' original album was created from a series of single-note drones, one for each note of the chromatic scale. "When I had this idea, I wanted Jas’ touch involved somehow. I asked him for drones on each note. He sent me 12 and I wrote most of the album listening to these drones. They eventually left the picture and were replaced by new drones I made, new sounds or vocals. But the memory of them lingers in the songs, like an imprint on the retina, an afterimage.

So naturally when the record was finished I sent the totality of it to Jas and said: here you go, make your versions!" 4 in a Cycle of Thirds in its original form touches on traditional folk musics, chamber music, contemporary composition, film score, and even interweaves subtle metal inflections, but now presented on double vinyl alongside Jas Shaw's versions as twin records, it has a newly foregrounded quietude, spectral and delicately nuanced. Through reduction, meticulous replacement, and sensitively applied edits, Shaw gently rebalances the light and shadow of the original pieces, coaxing new subtleties and harmonic resonance. "It occupies a space that is in-between the lines," describes Lenz. Shaw employs a "feedback system" he created for his piano, applied here to devastating effect. "Take the key bed off it and set up a resonators, mics and a mixer. Lots of gaffa tape, lots of precarious propping stuff open. You grub around on the floor and slowly the room fills with harmonics, it’s wonderful." And, on the relationship between the original record and these new versions, he explains "we could really let the songs drift into a different shape without worrying that we were missing elements that were great."

Alev Lenz is a singer, songwriter, composer, and producer born to a Turkish actor, activist, and artist mother and an Oscar-winning German engineer father. Alev’s creative foundation is as diverse as her musical output. Her solo discography includes three albums - Storytelling Piano Playing Fräulein (2009), Two-Headed Girl (2017), and 3 (2019). She has contributed vocals to scores by Oscar-winning composer Volker Bertelmann, including the US drama Conclave. She has collaborated with artists such as Anoushka Shankar, Jas Shaw (Simian Mobile Disco), Roomful of Teeth, and plenty more. Songwriter, composer, and producer Jas Shaw is best known for his work with Simian Mobile Disco, whom he co-founded in 2003. He mixed Alev Lenz' 2016 and 2019 albums Two-Headed Girl and 3, and also performs with Selling alongside Gold Panda, and Shaw & Grossfeldt with visual artist Bas Grossfeldt. Shaw and Lenz released the collaboration EP Bring Your Friends in 2024.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed.

This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed.

This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.

Natasha Watts Announces Limited Edition 7” Vinyl Release Featuring “Good Love” & “Feels Like Sunshine” in a special LRK sleeve

Soul powerhouse Natasha Watts returns with a must-have release for collectors and music lovers alike a limited edition 45 vinyl featuring two of her most beloved original recordings.

On one side, the timeless “Good Love”, taken from Natasha’s self-titled debut album released in 2012 a track that helped define her signature sound and introduce her unmistakable voice to the soul scene. On the flip side, the uplifting and vibrant “Feels Like Sunshine”, lifted from her acclaimed album Music Is My Life, showcasing her evolution as both a songwriter and performer.

Released via LRK Records, the label behind every one of Natasha Watts’ highly sought-after 7-inch releases, this latest pressing is set to continue a tradition of fast selling, collector’s favourites. Known for their quality and exclusivity, Natasha’s vinyl releases have consistently generated huge demand and this one will be no exception.

This special edition celebrates not only Natasha’s journey as an artist but also her commitment to authentic, original soul music. With both tracks written by Natasha herself, the record is a true reflection of her artistry rich in emotion, groove, and timeless appeal.

Fans and vinyl collectors are encouraged to act quickly. With limited quantities available, this release is expected to sell out fast.

Pre-orders are now live secure your copy today via LRK Records.

Don’t miss your chance to own a piece of Natasha Watts’ musical legacy.

Renowned for her powerful voice, captivating live performances, and deeply personal songwriting, Natasha Watts has become a standout name in the UK soul scene. With a loyal global fanbase and a catalogue of acclaimed releases, she continues to inspire through music that speaks from the heart.

When Collins was forced to cancel due to a sudden health issue, the promoter asked Gilbert to step in as the headliner--even though he had no band or prepared solo set. With only hours before showtime, a backing band was assembled using members of Ten Years After, and Gilbert quickly rehearsed a handful of Jimi Hendrix songs, stretching the solos into epic jams. The result was a spontaneous, electrifying set that turned an unexpected crisis into a memorable performance.

Berlin-based duo Mug present their debut album 'The Well'. With a range of influences from no-wave, shoe-gaze, rock, and ambient, “Mug’s” emotional rawness refracts through a lens of spectral soundscapes and austere textures.
Intimate and sincere, 'The Well' is about licking your wounds after a breakup, finding light within the cracks and letting it grow.
Ludwig Wandinger and Yves B Golden began their musical collaborations based on mutual respect and interest in each artist's vastly different backgrounds. Golden grew up singing in her grandmother’s pentecostal church, but is known widely for published essays and poetry. Wandinger, is an internationally acclaimed drummer, music producer and visual artist, interacting in various fringe music scenes.
What began as long distance collaborations released under various outlets such as Caterina Barbieri´s light years, Wandinger and Golden, now living in the same city, morphed into a protracted exploration of songwriting and improvisation, a process defined by immediacy and unfiltered expression: “first thought, best thought.”
Though “The Well” marks the first release from this impulse driven duo, this album promises an ongoing evolution, or discovery, wherein genre specificity is inconsequential.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

After years out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Pressed on 180g vinyl.



In the early 1970s, Roy Ayers formed his own band: Roy Ayers Ubiquity. Its lineup included artists well known to funk and soul fans such as Bernard Purdie, James Mason, and Edwin Birdsong.



This 1973 album presents Roy Ayers in the midst of a creative evolution toward a sound increasingly influenced by soul and funk, moving beyond the early phase of his musical career, which was more rooted in orthodox jazz.

On “Red Black & Green”, he teams up with highly accomplished collaborators such as keyboardist Harry Whitaker, arranger and producer William S. Fischer, and Strata-East musicians Charles Tolliver and Sonny Fortune. Here, however, the latter two do not venture into the spiritual jazz sounds so characteristic of their own recordings; instead, together they embrace a sophisticated funk groove where Ayers showcases his extraordinary vibraphone talent.

The album includes outstanding versions of ‘Ain’t No Sunshine’ and ‘Day Dreaming,’ as well as original compositions such as ‘Cocoa Butter,’ ‘Rhythms of Your Mind,’ and the superb title track, ‘Red Black & Green.’

Aerae returns to Annulled with a 4-tracks compilation of their evocative album 'Percussive Reverie', centered on tribal dnb / halftime rhythms. The entire collection maintains a development and exquisiteness in every note and section, enveloping you in a hypnotic and essential groove, through a collection of immersive musical compositions, each inviting the listener on a unique sonic and ritualistic journey.

Likewise "Percussive Reverie" invites listeners to connect with each composition on a profound level, creating a unique auditory landscape that lingers long after the music ends.

Aerae is a French artist characterized by her hypnotic and evocative tribal sound. Her latest vinyl release on the renowned 'Samurai Music' label, and her performances at Mostra Festival, confirm the artist's promising future and present.


Mastered by Giuseppe Tillieci at Enisslab.

''Incorregible" is an album where sound becomes a symbolic form of expression and a tool for introspection.

With a sonic language that crosses borders and draws from diverse cultural influences, the album seeks to reframe electronic music as a bridge between the ancestral and the contemporary.

After years of exploring and experimenting with different musical genres such as punk, noise, witch house, reggaeton, Mexican tribal etc., I have arrived at a moment in my life where I seek a deeper, more intimate form of expression, one connected to my personal world.

Although I do not believe in God, I believe in the power of invisible worlds, in the strength of being, and in music as a bridge toward expanded states of consciousness.

This work is born from that conviction: the possibility of turning dance and sound into tools for connecting with the spiritual.

A sonic journey that seeks to connect with the universal rhythms of life through powerful percussions, chants that are poems, Andean instruments, and the hypnotic force of electronic music. Each piece is designed to induce a collective trance, where the body finds its natural place: movement.

Among its most significant moments are the poems in Nahuatl written and recited by Maribel Galicia, a native of Teotihuacán and a member of the Nahua people. Her words resonate like ancestral memories that dialogue with electronic instrumentals, reminding us that tradition and innovation are not opposites, but can dance together.

Tribal Sound System – Incorregible is a sonic ritual that seeks to: Create altered states of consciousness through repetitive musical patterns. Celebrate sonic diversity by fusing sounds from indigenous folklore, Andean instruments, elements of regional Mexican music, and contemporary electronic music. Honor cultural roots by re-signifying electronic music as a bridge between the ancestral and the contemporary.

This project is my way of affirming that music, dance, and shared energy can transform into a healing and transcendent experience. - Rosa Pistola

ista & Glad2Mecha are back!!

After the underground success of Collecting Dust the duo return with there second album “Thrifting Gems”. Sticking to there signature sound of hypnotic, melodic jazz samples, dusty drum beats and thought provoking lyrics seasoned with that 90s nostalgic hip hop sound.

Its the perfect album for those hazy summer nights,tracks like “Gotta Get Mine” featuring the legendary Masta Ace “It's Been a Long Time” and “Trying To Get By take you back to a time when you fell in love with Hip Hop.

Gang Starr Foundation member Big Shug joins them on a 90's boom bap throwback beat called “Straight Vibing” and there's even a homage track to the culture they represent called “2 the Grave”

Anyway! Sit back, place the record on your turntable, and drift off, to the beautiful

“Thrifting Gems”

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

Studio One Classics features a non-stop selection of stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a celebration of the music of Studio One Records and features a who’s who of Jamaican Reggae: Bob Marley, The Heptones, Horace Andy, Sugar Minott, Don Drummond, Prince Jazzbo & more. This collection contains numerous legendary tracks, including Bob Marley and the Wailers’ “Simmer Down”," "Love Me Forever" by Carlton & His Shoes, Slim Smith's "Rougher Yet," Horace Andy's "Fever,", Alton Ellis’s “I’m Just A Guy’, The Skatalites’ blazing ‘Confucious’ and loads more. Timeless stuff - every track here is indeed a classic, no-one can argue about that! Studio One produced literally hundreds of hits and this selection includes some of the label’s most enduring songs.

It is simply impossible to imagine modern Jamaican music without Clement "Coxsone" Dodd, founder of the iconic Studio One where virtually every singer and musician of note in Reggae cut their teeth. Studio One's output spans over four decades, all represented here. Coxsone Dodd pioneered nearly every new form of Jamaican music as it developed over time and this album includes Ska, Dancehall, Roots, Rocksteady, DJ, Lovers and more. This is probably the best entry of the many Soul Jazz Studio One releases if you're after a primer in the Studio One sound. Like it says on the wrapper 'Classics' pretty much sums it up

Clear Coloured Vinyl incl. Booklet in silk screened pvc sleeve

Sound fragments unfold across Zurich, making loss, memory, and cultural change physically and acoustically perceptible. In The Rhythm of Design, Zurich-based fine arts duo Michael Meier & Christoph Franz explore urban displacement and its impact on the local music scene.

Focusing on six venues that have disappeared or are under threat, the artists collected materials on site—wood, metal, and other architectural elements—and, with the support of professional instrument builders, transformed them into six musical instruments. Six artists and groups connected to these spaces—namely Kalabrese, Tobibi Ferrari-Bienz, Rafal Skoczek, Lucien Badoux & Jeremy Sauter, Nicola Kazimir, and Dualism—each composed a piece for them, forming the basis for site-specific performances in September 2025. Rather than performing as an ensemble, the works—ranging from experimental funk and punk to kraut, noise, and drone—unfolded simultaneously in spatial fragments at the original locations. Only through movement and listening across the city did the composition emerge as a whole. ​​The work was realized in collaboration with the City of Zurich, Art in Public Space (KiöR).

Eight months after the original performances took place, the pieces are released via Switzerland-based publishing platform Präsens Editionen. The record—available as a limited-edition coloured vinyl with a special artwork, as a digital album, and for streaming—carries the fragmented sounds of Zurich into a new form of collective memory, extending the work beyond its original locations as a lasting document of urban transformation.


* Edition of 300 clear color vinyl
* Special artwork feat. silk-screen printed plastic sleeve and an extensive booklet, designed by award-winning graphic design studio A Language, Melina Wilson and Martin Stoecklin
* Published by Präsens Editionen

Celebrating 30 years of the legendary label, we pick legendary bombs and unreleased gems from Black Vinyl Records rich catalogue. From its inception back in 1996 Black Vinyl Records has always been a label for the serious DJs. Tony Humphries, Paul Trouble Anderson, Ricky Morrison, Justin Berkman, David Morales, Bobby & Steve and most serious Underground DJ’s supported the original vinyl release of Kerri Chandler’s early masterpiece ‘My Old Friend Alan’, dedicated to label founder Alan Russell, and it gained many more supporters following its recent digital re-Master. The David Harness remix of Tedd Patterson’s ‘Roots’ appears on vinyl for the first time here and was featured in no less than 25 Traxsource DJ charts after it’s digital release in 2022, including luminaries such as DJ Pope, Quentin Harris, Kevin Yost, Charles Dockins, and many more. The vocal mix of ‘Fever Tension’ by Fresh & Low has always been a sought after gem, only ever appearing on a ‘Re:Cuts’ release in early noughties, and ‘Rising Into Joy’ by Arnold Jarvis was championed by Danny Rampling, Paul Trouble Anderson, Andy Ward, Deli G and all the 'heads' and is the definition of a Soulful House Classic.

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

The first release of the False Mov Rec. label, an international joint venture between two underground imprints located in Germany and Greece respectively is as unusual as it is unique in many ways. Released in 2017 this split 7" sees DYL from Romania and Paragon from the UK pairing up for the A-Side track "Unstable", a deeply hypnotic and driving minimal take on Halfstep Drum'n'Bass / Bass Music for late night dancefloors whereas Greek producer PS Stamps Back delivers a bass-driven take on psychedelia-infused slow motion Techno for illegal forest raves with "Beyond Lies The Wub" which also comes in handy for tripped out after hours and similar occasions.

Never officially distributed before and available in extremely limited quantities only.

House favourites Kai Alce, JKriv, Sean McCabe and Medlar debut on Universo Positivo with their masterful reworks from Universo Positivo’s catalog. After two years of agenda-setting sounds, the label is set to drop this classy remix EP, and in that time, founder Joseph Salvador has established the label with a mix of his own music and fresh grooves from carefully A&R’d pioneers and new school names. He has been doing much the same since the 90s with various projects from his cult TINK Records and the Tomorrow Is Now Kid! nights in Amsterdam, in collaborative production outfits like Black Tulip & Wendell Morrison, and releasing records by DJ Steaw, Malin Genie, Fabio Monesi and more. This latest release brings together some of the most respected names in the scene for four standout reworks.

First up, Atlanta-based NDATL label head Kai Alce, who has long been one of deep house's most influential architects. He flips 'Sonido Latino' into a smooth groove with jazzy, Roy Ayers-style melodies that bring a soft-focus glow and late-night intimacy. Then comes Bristol-based don Sean McCabe, a master of vintage synths with a 20-year back catalogue on seminal labels like Local Talk, Strictly Rhythm and Z Records. His take on 'Ipanema Jazz' maintains the original's samba shuffle but reframes it in a deep house groove with extra expressive jazz keys, dainty chords and playful trumpet motifs.

Brooklyn-based groove architect and Razor-N-Tape co-founder JKriv brings his many years of experience as a guitarist, producer and songwriter to his take on 'Caparica Sunset'. It's a deep, driving sound that's playful and romantic with flirtatious horns and soft acid, dusty breakbeats and luscious grooves for loved-up good time sessions. Last but never least, is Medlar, the South London underground maverick with a wide-ranging sound and album credits on the likes of the hallowed Delusions Of Grandeur. He remixes 'U R The Revolution' into a warm, euphoric rush of throwback house that's warm, melodic and sure to get the floor going right off.

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they"re back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It"s also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don"t always have to look at what"s inside it, but it"s a reminder that it happened. You know it"s there. You have to face it." The band is set to hit the road in the US this summer, kicking off on July 10 and includes a two-night run at The Greek in Los Angeles. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022"s Asphalt Meadow.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

On March 20, 1964, legendary American comedian and harpist Harpo Marx joined the Riverside Symphony on stage at a benefit for the Southern California organization. By then, the comic had been in semi-retirement, and after a series of heart attacks in 1961, he was told to stop working altogether. But to a lifelong performer, nothing compared to the feeling of being on stage. Benefit shows, he slyly argued, were not technically work, since he wasn’t getting paid. For the next few years, Marx’s wife and doctors grudgingly went along with the pitch. Harpo Speaks! The Riverside Symphony Concert, out June 5 from Ramseur Records, captures a considerably remarkable, one-of-a-kind performance: The silent Marx Brother, the one whose trademark persona led many audiences to believe he was actually mute, spoke. As Harpo Marx’s first, and last—recorded just six months before his death—live album, Harpo Speaks! places listeners in the room, immersed in the swell of the Riverside Orchestra as Marx performs alongside the symphony and leads them in a narration of Peter and the Wolf. In another unusual move for Marx, he allowed the recording of the show for posterity, though the tapes seemingly disappeared after his death. Harpo Speaks! is the result of heroic archival work. Recently discovered by longtime Marx Brother archivist John Tefteller, he and Marx biographer and expert Robert Bader set out to restore the long lost recording. “The fact that we have a recording is a miracle,” says Bader. “It was not the most professionally recorded thing.

It was very haphazard. The work that was done to rehabilitate it is stunning. It’s as if you’ve found something covered with layers of mold and dirt, got it all cleaned off, and now are able to see something brand new underneath it.” Across the recording’s near-43 minute runtime, Marx, alongside the Riverside Symphony, takes the cheering audience through the delightfully lighthearted “Toy Symphony” and carries them into the softly romantic “Moon Medley,” (a medley of “Fly Me to the Moon” and “How High the Moon,” arranged by his son Bill, alongside his own composition, “Moon Tune”) and a rare instrumental performance of his composition “Guardian Angels.” And then the concert’s true highlight: the near 22-minute long riveting narration of Peter and the Wolf. For the first time, Harpo reveals his voice: deep, yet soft-spoken, refined, yet still retaining the slightest hint of his New York City origin. And, in speaking, he entertained, getting laughs not just for his physical gags, but for the storytelling itself: the dramatic inflections in moments of suspense, the arch mischievousness, and tongue-in-cheek references to Goldwater, Rockefeller, and Nixon.

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.

Exactly four years and one day after ''All That Has Never Been True'' Ultha releases their fifth full-length studio album entitled ''A LIGHT SO DIM''.
It features 10 original new songs at a combined length of 74 minutes, with guest appearances by Pieter Uyttenhoven & Annelies van Dinter (TAKH), Pardis Latifi (DAEVAR), Danni Kann and the ''Chor Der Damen Ohne Namen'', a 40-women choir from Cologne.
Recorded, engineered and mastered at GOBLIN SOUND STUDIOS (Cologne) by ANDY ROSCZYK, who also contributed guitars and keys to various tracks. Artwork was done by TOBIAS HAHN, featuring photography by MAX HECKMANN.
After the conclusion of the trilogy consisting of Converging Sins, The Inextricable Wandering & All That Has Never Been True, the question was: where do you go when you've lost everything? You either accept defeat and die - or you start fighting. This is an album about hope in the darkest of times. It's a call to arms for the inner self, to find a rope of light in a world of mist. ''A Light So Dim'' is another concept album, with a narrative spinning from beginning to end. The unnamed narrator wakes up and tries to make sense of a world gone absolutely mad, where truth is nothing more than an empty shell of its once great self.
''IT'S THE STRUGGLE FOR AMBITION IN AN OCEAN OF DEFEAT. LIKE A FOREST FOR A GARDEN IN A WORLD YOU'LL NEVER SEE''.
This is for all of you!
Viva reason, viva love.