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Detroit's mythic architect Walt J surfaces on Lost Control 2097 with three cuts steeped in deep emotional drama and late-night intensity. 'Resonance' lands with razor-sharp drums and weightless, ethereal chords, elevated by Prince of Hydro's poetic vocal transmissions that feel like signals from another realm. 'Love Petals' resurfaces from Walt's vault, a reworked version of an already transcendent classic, refined, deeper, and glowing with subterranean energy. 'Origin' channels the spirit of Larry Heard-style melodies while anchoring itself firmly in the grit and gravity of the Motor City. Prince of Hydro closes it out by activating full ultra-sonar mode, delivering a remix that drags you into crushing ocean depths where the pressure builds and something immense is about to break through.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Dark Entries helps Suzanne Ciani come out of the closet as Steve! Legendary composer, sound designer, and Buchla maestra Suzanne Ciani has a staggering list of accolades and accomplishments, from scoring Hollywood films to releasing influential new age records to literally designing the Coca-Cola bottle-opening sound. In the late 70s/early 80s, Ciani, while living in New York, acquired an Eventide H 949 harmonizer, which offered high fidelity pitch-shifting. In her words, “When I adjusted the pitch of my voice to 0.80, my natural voice became re-invented as what was clearly a gay man, who I called Steve. I became Steve; and Steve expressed himself as only he could.” Ciani adopted the male persona and collaborated with Peter Baumann of Tangerine Dream on “Steve Goes to a Party.” The track features Ciani-as-Steve adlibbing in decadent and delirious fashion alongside Baumann’s robotically funky beats. Steve would emerge again a few years later at George Louvis’s Stardust Studios in New Jersey, to create “Steve Saves the World,” an absurdist and ecstatic proto-house groover complete with a gospel-esque chorus from the Stardust All-Stars. This EP is rounded out by a birthday wish to Ciani’s then-boyfriend Alfred on “Steve Happy Birthday Wishes” featuring Suzanne. Steve’s Out of the Closet perfectly captures the delirious techno-poptimism of the 1980s downtown avant-garde, with parallels in Robert Ashley’s Perfect Lives or Lynn Goldsmith’s project Will Powers, responsible for the track “Adventures in Success.” The Steve sleeve was designed by Eloise Shir-Juen Leigh, and the record also includes a birthday card with liner notes from Ciani.

“La Conga Vieja” channels the spirit of the Nickodemus, Quantic and Tempo’s evergreen hit “Mi Swing Es Tropical” - a driving 4/4 groove built on Afro-Latin percussion, salsa piano, and punchy horn lines. What started as an improvised moment at a Puerto Rico show playing a borrowed, decades-old conga became the foundation for this uptempo dancefloor cut. Featuring vocals from Puerto Rican poet Flaco Navaja and trumpet from Carlos Sarduy, the track blends classic Latin rhythms with modern club sensibility. Perfect for DJs moving between tropical, house, and global sets. Includes a bonus beat, radio edit, and instrumental.

This release pairs 'In the Heights' standout Flaco Navaja with Grammy Award–winning trumpeter Carlos Sarduy (Chucho Valdés), delivering a globally rooted, crossover-ready sound. The track comes from internationally respected producer/DJ Nickodemus, whose catalog spans five albums and 11 Turntables on the Hudson compilations, backed by strong digital metrics (52k+ followers, 704k+ monthly listeners, 300M+ streams), including “Mi Swing Es Tropical” (63M+) and multiple other high-performing tracks. The release also features Italian percussionist Gabriele Poso, whose catalog has surpassed 10M+ streams. Nickodemus tours globally to consistent demand, with strong listenership across the USA, France, Spain, Germany, UK, Netherlands, Mexico, Italy, Canada, and Australia. Supported by press in Billboard, Rolling Stone, Complex, The FADER, and Paste, plus global radio (BBC 6, FIP, RFI, KCRW, KEXP).



c 03: La Conga Vieja (Radio Edit) feat. Flaco Navaja & Carlos Sarduy
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]



[c] 03: La Conga Vieja (Radio Edit) [feat. Flaco Navaja & Carlos Sarduy]
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]

Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography - thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

Your favourite edits (probably) crew, Local Sugar Diggers, aka the trio of sonic sculptors that are Scruscru, Tony Lavrutz and Los Protos all come together here on a new 7" offshoot label from the Soul Service. The a-side cut 'Rave w Polsce' is a full-fat funker with deep cut grooves that roll on rubbery bass and soar with rasping wind leads. Plenty is going on wherever you listen and it all serves to get you moving. 'Otra Ritmo' is an immediate portal to a communal get down somewhere sun-baked and lush with green in South America. The horns, the freewheeling percussion and the loosely assembled rhythm are all irresistible invitations to cut loose.

New Japanese Ambient Electronica from Tokyo

Composing primarily with the piano, Kotaro Maruyama creates music for a variety of visual media, including commercials and short films. Influenced by the composer Toru Takemitsu, he places importance on the “silence” and "ambience" of sound, aiming to create works where the music quietly depicts a scene.

Kotaro Maruyama's first solo album, "Vapor Curve," is constructed entirely from the sound source of the OP-Z digital synthesizer. Notably, he avoids the concept of harmony for a single tone, instead pursuing a unique "woven harmony" created by intricately layering multiple independent melodies. Using only the OP-Z, and recording everything in a single take without using a computer, Kotaro Maruyama's "Vapor Curve" is distinguished by its uncompromising production style. The minimalist melodies that are layered to create an ambient soundscape, along with the incidental noise that gives an organic texture to the inorganic electronic sound, showcase the raw appeal of sound that is imperfect."

Originally scheduled for release September 2025, this album faced delays due to a series of errors involving the distributor, pressing plant, and cutting engineer. However, earlier this year, Personal Affair teamed up with a new distributor, Rubadub, who introduced them new pressing plant, allowing them to restart the entire pressing process from scratch. Emerging from Tokyo via Glasgow, this release is now ready to deliver a fresh sound to the world."

Comes with liner notes and interview on the back of the sleeve.

Dennis & Christy Soares are a husband-and-wife duo whose prolific output - over 100 albums and nearly 2,000 songs recorded across CD, cassette, vinyl, and streaming - stands as one of the most quietly remarkable self-made catalogs in contemporary music. Based for two decades on the Big Island of Hawai'i before recently relocating to Centralia, Washington, the pair have been making music together since meeting at San Joaquin Delta College in 1986, channeling a DIY spirit rooted in sincerity, spirituality, and an unshakeable belief in the power of a song. Their work spans platforms most listeners have never heard of, distributed through sheer determination and an infectious enthusiasm for reaching new ears.

Free At Last is an 11-track anthology compiled by AGS founder Roger Bong, representing less than 1% of Dennis & Christy's total recorded output. Drawing from more than 600 songs considered over the course of 12 years, the collection makes no claim to being definitive - instead, it offers what Bong calls "simply an invitation": a way in for new listeners, and a distillation of the warmth and pure intention that runs through everything this duo creates. From their earliest recordings to the present day, Dennis & Christy have never stopped making music on their own terms. Free At Last is an introduction long in the making, and very much overdue.

'Channel Zero is a new release produced by the London-based Brazilian artist Protocol. It is made up of 4 unprocessed live jam recordings of heavy, stripped-down techno. Composed over a period of 2 years, the artist focuses on experimenting on the far edges of techno, inspired by early avant-garde music, drone, and Musique Concrete. It comes in a hand-numbered limited edition of 180g black labels, in a 3mm inside-out cover with a black inner-sleeve.
'The work is a confirmation that techno still thinks forwardly, but pays homage to its mostly overlooked origins. The titles come from one of the early Cybernetic Culture Research Unit essays, also named Channel Zero.
'Lost Signal (Noise) opens up the EP with reverberated static noise, followed up by a deep bass with more layers of percussion and atmospheric noise patterns, slowly evolving into unexpected rhythms. The second track, Blind Belief, is composed of a deconstructed kick sequence, with machinic-like sound structures in the background and a hi-hat that morphs with various envelopes, together with a nostalgic 909 rim-shot. Turning to the B side, Electromagnetic Shadow is an atmospheric four-to-the-floor techno track, where deep kick drums and polyrhythmic noise soundscapes move into industrial noise pattern. Closing Protocol's debut EP, Black Snow Cult brings together the EP's sound palette into aggressive patterns of Birmingham-esque industrial percussions, where synthetic sounds are put together in primitive sounding sequences together with high pitched frequencies.'

This next manifestation of Corvus Corone is a project featuring one As’teka tribal original and 3 collaborators with their own take. All RMX’s are different but stay within the parameters of the original and the label. Get two 12“ and mix for an endless experience.
A trip into the dark heart of the jungle where evil could be lurking anywhere. Are those birds or bats? Was that a gigantic insect crawling? Was that shadow moving? Did you hear that voice? Arghh, is it day or nite? What day is it? I am getting stuck in quicksand - I...am...being...sucked...in...

Banging Mentalcore, progressive and minimal. A pearl !

OOZ proudly presents the sixth instalment on the label with Nate Oldfield’s inaugural solo EP. Informed by minimalist techno and intuitive modes of machine music – made predominantly with hardware – Nate puts forth a record that feels as though it’s dancing out of the shadows and into the light. Eery chords and vocals are paired with sharp percussive rhythms by a producer that seems to revel in the play of music-making. At points stark and almost plaintive, the depth of feeling throughout the record is contrasted by the playful nature of how sound is manipulated. Grooves plod along to cold, melodic chimes, guitar plucks and a discussion about walking through Danson Park near Nate’s hometown of Abbey Wood, South-east London.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

Der Mann hinter der Maske, Jonathan Bree, kehrt mit seinem sechsten Studioalbum "Don't Call It Love" zurück. "Don't Call It Love" kommt als Doppelalbum mit 17 Songs und ist ein erotisches Konzeptalbum, das sich mit Sexualität auseinandersetzt und Kollaborationen mit Frauen aus den Bereichen Musik, Film, Fotografie und Tanz enthält. "Don't Call It Love" klingt wie der düstere Soundtrack zu einer versteckten, mit Samt ausgekleideten Bar in einem schummrigen Keller - mal verspielt und verführerisch, mal beunruhigend und provokativ. Brees neue Songs setzen sich mit dem gesamten Spektrum der Sexualität und ihrer emotionalen Last auseinander - ein Album, das sich weigert, wegzuschauen, und sein Herz buchstäblich auf der Zunge trägt. Fans haben diesen neuen Sound bereits mit den düster-nostalgischen Klängen von New Order und Siouxsie & The Banshees verglichen, wobei Brees musikalische Entwicklung über die Jahrzehnte hinweg endlich ihr von den 80ern durchtränktes, melancholisches Ziel erreicht hat: ein melodramatisches Meisterwerk raffinierter Sleaze-Musik. Jonathans charakteristische Orchesterarrangements sind nach wie vor vorhanden und verbinden diesmal eine karge, düster angehauchte Noir-Ästhetik mit filmischer Instrumentierung und seinem grüblerischen Bariton. "Don't Call It Love ist zudem Jonathans bisher kollaborativstes Album, auf dem eine außergewöhnliche internationale Riege von Frauen einige der entscheidenden Momente des Albums mit ihren einzigartigen Stimmen bereichert. Die bei den Fans beliebte Princess Chelsea kehrt für drei beeindruckende Songs zurück ("Live To Dance", "Part Time Love", "Slow"); Neuseelands bestgehütetes Musikgeheimnis Rachel Clarke bewegt sich bei "Savour My Love" von intimer Zurückhaltung zu schwindelerregender Intensität; die französische Fotografin und Künstlerin Eloïse Labarbe-Lafon liefert auf "Chameleon" eine charaktervolle Gesangsdarbietung, die an die Tradition von Jane Birkin anknüpft; während die französische Musikerin und Schauspielerin Adah Dylan auf dem Titeltrack zu hören ist und den Leadgesang mit direkter, schnörkelloser Klarheit trägt: "don't call it love_ when we fuck." Für einen Künstler, der bereits sechs Alben veröffentlicht hat, gibt es hier eine Reihe von Premieren - sein erstes Doppelalbum, sein gitarrenlastigstes Album, sein kollaborativstes und sein bisher kompromisslosestes konzeptionelles Werk. Es wird nicht jedem gefallen, und es ist klar, dass Bree kein Interesse daran hat, es abzuschwächen. Wie er es ausdrückt: "Als ich meiner Mutter davon erzählte, schlug ich ihr vor, dieses Album vielleicht lieber auszulassen."

Nichts ist so beständig wie der Wandel. Kaum eine Band verkörpert diesen Gedanken derzeit so konsequent wie Musa Dagh. Die Formation um Aren Emirze bewegt sich seit dem selbstbetitelten Debüt von 2021 durch die Zwischenräume von Noiserock, Alternative und Post-Hardcore - laut, sperrig, emotional aufgerissen und zugleich getragen von einem feinen Gespür für Dynamik, Atmosphäre und Melodie. Der Bandname verweist dabei auf den historischen Kontext des armenischen Genozids und bildet einen leisen, aber prägenden Resonanzraum im Selbstverständnis der Gruppe. Von Anfang an wirkt Musa Dagh weniger wie eine klassische Band als ein offener Prozess. Keine feste Konstruktion, sondern ein Zustand permanenter Bewegung. Unterschiedliche musikalische Erfahrungen, Persönlichkeiten und Energien treffen hier aufeinander, verschieben sich gegenseitig und erzeugen genau daraus jene Spannung, die zum Kern dieser Musik geworden ist. Schon die ersten Aufnahmen entstanden aus dieser Offenheit heraus. Begegnungen und Arbeitsphasen mit Thomas Götz, Sascha Madsen und Aydo Abay wirkten dabei weniger wie klassische Kooperationen, sondern eher wie Reibungsflächen, die den Sound immer wieder neu ausrichten. Musa Dagh klangen nie nach Stillstand - jede Verschiebung öffnete neue Räume. Mit "Endurance" tritt die Band nun in eine neue Phase ein. Die Veränderung wirkt nicht wie ein Bruch, sondern wie eine Erweiterung dessen, was Musa Dagh immer ausgemacht hat: Bewegung, Offenheit und Transformation.

Silbernes Vinyl, limitiert auf 500 Exemplare. Nichts ist so beständig wie der Wandel. Kaum eine Band verkörpert diesen Gedanken derzeit so konsequent wie Musa Dagh. Die Formation um Aren Emirze bewegt sich seit dem selbstbetitelten Debüt von 2021 durch die Zwischenräume von Noiserock, Alternative und Post-Hardcore - laut, sperrig, emotional aufgerissen und zugleich getragen von einem feinen Gespür für Dynamik, Atmosphäre und Melodie. Der Bandname verweist dabei auf den historischen Kontext des armenischen Genozids und bildet einen leisen, aber prägenden Resonanzraum im Selbstverständnis der Gruppe. Von Anfang an wirkt Musa Dagh weniger wie eine klassische Band als ein offener Prozess. Keine feste Konstruktion, sondern ein Zustand permanenter Bewegung. Unterschiedliche musikalische Erfahrungen, Persönlichkeiten und Energien treffen hier aufeinander, verschieben sich gegenseitig und erzeugen genau daraus jene Spannung, die zum Kern dieser Musik geworden ist. Schon die ersten Aufnahmen entstanden aus dieser Offenheit heraus. Begegnungen und Arbeitsphasen mit Thomas Götz, Sascha Madsen und Aydo Abay wirkten dabei weniger wie klassische Kooperationen, sondern eher wie Reibungsflächen, die den Sound immer wieder neu ausrichten. Musa Dagh klangen nie nach Stillstand - jede Verschiebung öffnete neue Räume. Mit "Endurance" tritt die Band nun in eine neue Phase ein. Die Veränderung wirkt nicht wie ein Bruch, sondern wie eine Erweiterung dessen, was Musa Dagh immer ausgemacht hat: Bewegung, Offenheit und Transformation.

Independent Belgian artist of Congolese descent MAHINA explores an eclectic voice where soul, Afrocentric melodies, R&B, reggae , and both acoustic and electronic sounds intertwine, carried by percussion. ZAZA is MAHINA's long-awaited debut EP.

Moving between deep introspection, spiritual messages, and enchanting harmonies, Mahina embodies a new voice - both innovative and singular. Her ambition is clear: to make listeners feel, heal, resonate, and find a space where music becomes a language of truth and elevation.

Alongside her music, Mahina has performed in the critically acclaimed theater production Dear Winnie (KVS & NNT) and appeared on screen in the short film Le retour des femmes colibris by visual artist Patricia Kaersenhout.

Zaza is much more then just an EP, it is an inner quest, a journey through love, faith, vulnarability and resilience. Through an eclectic sound palette : soul, Afro-rhythmic, R&B, reggae, acoustic and electronic. Mahina offers a unique identity, both intimate and universal.

This adventure is conceived as a breath, a space where emotions and spirituality meet. Balancing fragility and strength, softness and intensity, Mahina unfolds a sincere and captivating voice that seeks to make listeners feel, heal and resonate.

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.

Der ganz offizielle Soundtrack (sowie Fat Mikes zusätzliche Filmmusik auf CD-Format) zum aktuellen NOFX-Doku-Feature "40 Years Of Fuckin' Up"! Vier Jahrzehnte zählten NOFX zu den lautesten, chaotischsten und am hartnäckigsten unabhängigen Bands der Punkszene. Nun bringen sie ihre ganze Geschichte - jede Fehlentscheidung, jeden großartigen Song und jede unglaubliche Anekdote - mit "40 YEARS OF FUCKIN' UP" in die Kinos. Es ist eine rohe, ungefilterte Dokumentation, die genau so genossen werden sollte, wie es sich gehört: laut, gemeinsam und auf der großen Leinwand (idealerweise im örtlichen Kino). Dies ist keine weichgespülte Rock-Doku, das hier ist das echte Punkrock-Leben. Die Drogen, der Alkohol, die Katastrophen auf und abseits der Bühne - und ja, mindestens eine Geschichte, die eine wahrhaft unglückliche medizinische Situation beinhaltet. Der 15 Songs umfassende Soundtrack enthält die brandneuen, bisher unveröffentlichten Singles "40 Years of Fucking Up" und "We Did It Our Way" (geschrieben als der allerletzte NOFX-Song, der jemals live gespielt werden soll). Des Weiteren sind sechs seltene und unveröffentlichte Tracks enthalten - wie etwa "Secret Society (Demo)", "On The Road (Demo)" und "La Bamba (Cover)" - sowie Live-Versionen der Hit-Singles "Linoleum" und "NOFX". Die zusätzliche Original-Filmmusik besteht aus 11 brandneuen Tracks, welche von Fat Mike komponiert und gemeinsam mit einem Orchester eingespielt wurden. Pinkfarbene Einzel-LP mit Soundtrack sowie CD mit Soundtrack & Filmmusik - das Cover-Artwork wurde von Illustrator Tokyo Hiro entworfen.

Salt N Pepper Vinyl. New pressing of Mom Jeans. 2018 album, Puppy Love. The Berkeley, CA quartet is lauded for stream-of-consciousness lyrics and energetic performances that prompt audiences to shred their worries and simply bounce along. By trading the sappy for heartfelt and the melodramic for truthful, Mom Jeans have created a brand of emo that's self-aware but not self-indulgent. 2018's Puppy Love follows up 2016's Best Buds and oers up more of that sweet noise that fans of bands like Modern Baseball and The Front Bottoms, will love. Recorded by Ryan Ellery. Mastered by James Trevascus.

Mit ihrem neuen Album Nine setzt das aus Chicago stammende Post-Metal-Trio Russian Circles seine bedächtige Weiterentwicklung und disziplinierte Verfeinerung fort. Dabei besinnen sie sich auf ihre Stärken und erweitern zugleich die Grenzen ihres Klangspektrums. Dies ist eine Band ohne Radio-Hits. Es gibt keinen Konsens unter Fans darüber, welches ihr bestes Album ist. Was bleibt, ist der Ruf nach Beständigkeit und Qualität - ein Ruf, der sie zu einer der weltweit bedeutendsten Bands im Bereich des instrumentalen Heavy Rock gemacht hat. Auch wenn sie betonen, dass ihre Musik aus einer Vielzahl unterschiedlichster Einflüsse schöpft, lässt sich sagen, dass sich die experimentierfreudige Vielfalt von Russian Circles zu einem unverwechselbaren, einzigartigen Sound entwickelt hat. Obwohl die Mitglieder von Russian Circles mittlerweile über das ganz USA verstreut leben - Gitarrist Mike Sullivan in Los Angeles, Schlagzeuger Dave Turncrantz in Chicago und Bassist/Keyboarder Brian Cook auf Vashon Island bei Seattle -, haben sie für Nine ihre jeweiligen Standorte musikalisch miteinander verwoben. Die sieben gewaltigen, fast seismischen Titel wirken wie Soundtracks zu den Herausforderungen und Tragödien des modernen Lebens. "Unsere Musik ist ein gemeinsamer Prozess der Versöhnung, der Orientierung und der Reflexion über das Älterwerden - sowohl als Individuen als auch als kreative Einheit. Das Leben hat reale räumliche Distanzen zwischen uns geschaffen, doch die Band bildet weiterhin unseren gemeinsamen Mittelpunkt. Diese kreative Zusammenarbeit ermöglicht es uns, den Lauf der Zeit zu erfassen und zugleich voller Zuversicht in die Zukunft zu blicken", erklärt die Band. Während frühere Alben beim Erkunden verschiedener musikalischer Gefilde fast spielerisch wirkten, ist Nine das Zeugnis einer Band, die ihr Terrain genau kennt und ihre Position in dieser vielfältigen Klanglandschaft festigt.

The 2019-released label debut on Minor by Bristol-based producer Gordon Apps a.k.a. Relapse is another excellent showcase of how the long-standing underground imprint from Leipzig expands its sonic spectrum into dark and dubbed out Halftime Drum'n'Bass without losing its Industrial edge, providing a massive secret peak time weapon with the fluttering low end and seductive vocal snippets of the B-side tune „Multilingual Talk Channel“.
Never officially distributed before this is the first time ever this barely recognized underground gem is available to a wider audience, albeit in highly limited quantities. Limited pressing of 150 single copies on transclucent colour vinyl.

Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley & Swain and the newly discovered dance floor energy of Stock Aitken Waterman.

Featuring the international hit 'Venus' (Top 10 in 20 countries, #1 in 6 countries including the US Billboard Top 100) alongside fan favourites including 'More Than Physical', 'Do Not Disturb' and 'A Trick of the Night,' the album remains one of the defining releases of the 80s.

True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group.

To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats.

Originally released in 1986, True Confessions captured Bananarama at the height of their global success, blending their infectious pop hooks with the sleek production of Jolley & Swain and the newly discovered dance floor energy of Stock Aitken Waterman.

Featuring the international hit 'Venus' (Top 10 in 20 countries, #1 in 6 countries including the US Billboard Top 100) alongside fan favourites including 'More Than Physical', 'Do Not Disturb' and 'A Trick of the Night,' the album remains one of the defining releases of the 80s.

True Confessions saw Bananarama's transformation from DIY ingenues to MTV superstars. It would begin their imperial phase of peerless hit singles and introduction into the Guinness Book of Records for the highest number of chart entries for an all-female group.

To celebrate 40 years of True Confessions London Records is re-issuing True Confessions across a multitude of formats.

In Walter Benjamin’s seminal essay “Art in the Age of Mechanical Reproduction”, he posits that the aura of art objects is destroyed by the ability to photographically reproduce them. When you had to make a pilgrimage to a work it remained elusive, charged, ever distant; but when you can easily see a reproduction, such aura dissipates. What Benjamin did not anticipate is that in the age of AI and the frictionless fount of digital content, we have imbued mechanical and analog means of media production with aura. Film cameras from the last 100 years are in high demand (the point and shoot Olympus Mju I featured in Wim Wenders film Perfect Days still sells for $200), vinyl sales continue to grow year by year, 35mm and 70mm film screenings have become aura-drenched events people travel across country for, and as to the world of vintage and analog synthesizers, when a friend asked for the price on the Yamaha CS-80 synth used on Toto’s “Africa”, the answer was a cool $60,000.

Despite the ability to simulate almost any synthesizer on a computer, the original physical units retain their mystique. Perhaps this lies in the physical process, many of these synths are temperamental and difficult to fully utilize, and the effort and ingenuity can be felt in ways that will always be absent from easy digital simulacra. Perhaps there is an aura in their imperfection, as Brian Eno wrote: “Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.” Some may call this nostalgia, but such sonic imperfections are the sounds of humans interacting with the physical world, and it is understandable to feel a pang of emotion and attachment in a time of exponential alienation.

Marche 22 was recorded over a week at the Museo Del Synth Marchigiano in Macerata, Italy. The museum is filled with rare and obscure synths (especially CRB, GEM & Elka) as well as salvaged materials from a nearby shuttered Farfisa organ factory, including MARS, an unfinished realtime audio processing application developed by IRIS - similar to the now well known MAX/MSP. Kyle Dixon and Michael Stein play a suite of pieces that encompasses the last sixty years of synthesizer music—there are nods to Cluster, Tangerine Dream, Jean Michel Jarre, and Morton Subotnick. Dixon and Stein are like jazz masters playing the American songbook with their own riffs and quotations. What shines through in these varied works that are sometimes rhythmic, sometimes melancholic, and sometimes both, is a soul, a spirit, an emotion vibrating through the tones like the charge of coming rain or the thrum of a distant train on the tracks. - Neil Fauerso

MY BLOOD AS THE INK marks Night Lovell’s first full-length release in 2.5 years and feels like a natural evolution of his catalog while pushing his world into darker, more refined territory. Motivated by pain, betrayal, loyalty, and the emotional weight that comes with success, the album sharpens Lovell’s signature atmosphere into something more nuanced, mature, and complex. It still carries the cold, cinematic darkness fans expect from him, but there is a deeper sense of reflection here, with Lovell sounding more focused, more intentional, and more aware of the cost of the life he has built.

In 2021, Golden Earring announced their parting after more than 60-years as a group. This meant that their last live show, held at the Rotterdam Ahoy on 16th November 2019, was also their final performance as a band. With this knowledge, the excellent audio recordings of this tremendous concert were unshelved in close cooperation with the band and John Sonneveld – the band’s long-time technical assistant and producer. The result: You Know We Love You!

It's the ultimate goodbye of this legendary Dutch rock band and available as a limited edition of 500 individually numbered copies on transparent vinyl. This 3LP is packlaged in a deluxe trifold sleeve featuring a collage of photos that fans of Golden Earring submitted, plus a 4-page booklet including a replica of the original concert poster.

Toller Doppel-LP-Sampler mit den ersten 3 EP's der Indierocker Beach Bunny um die charismatische Frontfrau Lili Trifilio, die zwischen 2015-2017 nur im digitalen Format erschienen. Das Trio hält seit einem Jahrzehnt engen Kontakt zu seiner treuen Fangemeinde, organisiert eigene "Pool Party"-Festivals in seiner Heimatstadt Chicago, tritt regelmäßig bei Festivals wie Coachella und Lollapalooza auf, kooperiert mit Künstlerinnen wie Tegan & Sara und Marina, und erreicht mit Songs wie "Prom Queen", "Cloud 9" oder "Sports" Gold- bzw. Platinstatus, die Nr.1 der Billboard "Heatseekers Albums" Charts mit der 2022er LP "Emotional Creature", sowie mit der Single "Vertigo" (2024) einen echten Radiohit.

Magi Merlin’s debut LP, POWER HOUSE, is a high-production, 12-track masterclass in modern pop - an infectious, high-energy record that feels deceptively familiar at first touch, yet every time you reach for a comparison, you realize it doesn't quite fit; a one-of-one project that remains as polished as it is daring.
Conceptually, POWER HOUSE is an exploration of the internal architecture we all inhabit, housing the conflicting rooms of anger, fear, vanity, and ultimately, a reclaimed sense of power. Where Magi Merlin’s previous work, Gone Girl, was a study of external strength, this new era is an ode to the realization that inner work is the only true outer work. With a perspective that is both empathetic and furious, and a grow-as-you-go philosophy, she proves that real change starts small but sounds massiv

Released in 1991, the Cramps’ “Look Mom No Head!” is a stone-cold classic.
As well as black vinyl, it was also released on red and Ace are delighted to give fans old and new the opportunity to restock their vinyl blood bank with that delicious colour.

Limited purple vinyl. KICKIN VALENTINA return with a sensational new full-length album, "Anthems From The Underground", set for worldwide release in August 2026. The highly-anticipated record will be released via Mighty Music and delivers a crushing, no-compromise statement of modern underground hard rock. Formed in 2013, Kickin Valentina quickly built momentum in the U.S. and internationally, first signing with Atlanta indie label Highway 9 Records before moving to Mighty Music in 2015. Since then, the band has released a steady run of acclaimed records including "Super Atomic", "Imaginary Creatures", "Revenge of Rock", "Star Spangled Fist Fight", and "Raw Trax, B-Sides and Bootlegs", as well as the EP "Chaos in Copenhagen", earning a strong reputation for raw, high-energy rock'n'roll rooted in a take-it-or-leave-it attitude.

"There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.

Splatter Vinyl, exklusiv via 375 Media. "There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.

New album by acclaimed Nigerian ambient producer / sound designer Ibukun Sunday, interweaving Africanised rhythm with lush and elegant synthesis.

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

Illusive Bristolian beatmaker Claude Cooper returns with a visceral blast of psychedelic-hip-hop, enlisting IDLES frontman Joe Talbot and BEAK> bassist Billy Fuller for ‘Perfect Execution’, a limited edition 7" single in aid of War Child UK.

Claude Cooper has found a kindred spirit in Joe Talbot. The IDLES frontman has long worn his hip-hop influences as openly as his post-punk ones, and on ‘Perfect Execution’ that affinity finds its fullest expression yet. Cooper's raw, dissonant production collides with Talbot's breathless, confrontational lyricism in a track that draws its lineage from Public Enemy as readily as it does from Bristol's own bruised musical history.

The lyrics pull no punches. Talbot inhabits a landscape of public spectacle and private suffering, circling images of crowds, chains, hanging and the hollow comfort of slogans. The repeated refrain of “No pain no gain” hits differently when set against the track's subject matter, its bludgeoning repetition somewhere between protest chant and bitter irony.

Joe says, “It’s an honour to work with some beautiful Bristol heads on this track for Warchild. All is love”.

Morgan Noise erschaffen mit ihrer Musik eigene Welten, in denen sie Jazz-Sensibilität und alternative Experimentierfreude mit Singer-Songwriter-Flair verbinden. Alle vier Mitglieder, darunter Musikerinnen der Bands Fat Dog und Flur, verfügen über einen Jazz-Hintergrund. Ihre Improvisationskunst ist entscheidend für die Entfaltung und Weiterentwicklung der Songs. Inspiriert von den Klanglandschaften von Saya Gray, Nilüfer Yanya und Astrid Sonne, schlagen Morgan Noise eine kunstvolle Brücke zwischen komplexen Emotionen und klanglicher Präzision, lyrischer Nuancierung sowie künstlerischer Klarheit. Zu ihren bisherigen Erfolgen zählen Auftritte beim Green Man Festival sowie eine Live-Session für Riley & Coe. Nach der UK Support-Tour für Porridge Radio steht nun die Veröffentlichung ihres Debütalbums an – ein Werk, das vom Lebensgefühl der frühen 2020er-Jahre und den Erfahrungen während der Tourneen in dieser Zeit inspiriert ist.