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Picture the scene - October 2025, while staying at a friend’s apartment in Chennai, Gavsborg created umpteen ideas and contacted his good friend and bassist from back home, Delroy Pele Fyah Hamilton to collaborate. Hamilton, now based in Singapore performs and records regularly with F.Y .A.H. (successor band from Raging Fyah).

Both Blair and Hamilton share a love for Caribbean music. With this foundation the two set out to create something a bit different that sits between Bouyon, Dancehall & Dennery. The amalgamation resulted in this unique four-track instrumental EP . While the track titles are packed with broader Caribbean references, the project name and title track is an ode to the 90s dancehall pioneers, “Black Roses Crew” , who were based in Arnett Gardens (aka Jungle), Kingston, Jamaica, one of the important homes of 90s dancehall. Roses helped shape dancehall culture through dance, style, crew affiliation, and performance, largely soundtracked by Computer Paul’s Corduroy Riddim with Gerald Levy aka Bogle being the poster human.

Arnett Gardens (Jungle) is one of the key engines that produced the version of dancehall both Gavsborg and Pele draw here from. Think tight, bubbling, bouncing riddims, rolling basslines unlike anything you’ve heard before. Jamaican Dance Music for the movers and shakers

Jim Legxacys Mixtape homeless ngga pop music* erscheint erstmals als LP und CD uber XL Recordings. Der dreifach fur die BRIT Awards nominierte und mit einem MOBO Award ausgezeichnete Kunstler schaffte mit diesem Projekt aus dem Jahr 2023 den Durchbruch und erntete große Anerkennung der Kritiker. Darin setzt sich der aus Sudlondon stammende Musiker mit seinen Beziehungen, seiner Identitat und seiner Erfahrung von Obdachlosigkeit auseinander. Das Mixtape ist eine beeindruckende Verschmelzung von Midwest-Emo-Gitarrensamples, UK-Drill, Afrobeats und Jersey Club. Es definiert nicht nur neu, wie Musik aus Großbritannien klingen kann, sondern auch, wofur sie stehen kann: ein mutiges, vollstandig ausgereiftes Werk, das nur aus dem kreativen Geist dieses einzigartigen Kunstlers hervorgehen konnte.

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

,Our Final Album - Vol. 1" ist das vierte Album von Glenn Morrow's Cry For Help und zeigt die Band aus Hoboken, New Jersey, auf dem Höhepunkt ihrer Kreativität. Obwohl der Titel einen Abschied suggeriert, präsentiert das Album eine lebendige und vielseitige Sammlung von elf neuen Songs, die von klassischem Gitarrenrock über gefühlvolle Balladen bis hin zu Bossa-Nova- und Soul-Einflüssen reichen. Angeführt wird die Band von Glenn Morrow, einer Schlüsselfigur der unabhängigen US-Musikszene, der als Musiker, Journalist und langjähriger Betreiber des Indie-Labels Bar/None Records bekannt wurde. Gemeinsam mit Bassist Mike Rosenberg, Gitarrist Ric Sherman und Schlagzeuger Ron Metz greift Morrow auf jahrzehntelange Erfahrung in der traditionsreichen Hoboken-Musikszene zurück. Aufgenommen wurde das Album erneut im Magic Door Studio von Produzent Ray Ketchem, der besonders das Gespür der Band für eingängige Melodien und starkes Songwriting hervorhebt. Unterstützung erhält die Band diesmal vom renommierten Keyboarder Andrew Burton, dessen Beiträge den Songs zusätzliche Tiefe und Klangfarben verleihen. Musikalisch verbindet ,Our Final Album - Vol. 1" kraftvolle Rocksongs wie ,That's That", ,Beatle Bones" und ,Into Something New" mit nachdenklicheren Momenten wie ,Stop Your Crying", dem Bossa-Stück ,Boom Boom" oder dem souligen ,Let's Stay In Bed". Dabei ziehen sich Glenn Morrows persönliche Geschichten, Lebenserfahrungen und eine leichte Melancholie durch das gesamte Album. Das Ergebnis ist ein abwechslungsreiches, warmes und zeitloses Rockalbum, das die Stärke einer Band zeigt, die auch nach vielen Jahren nichts von ihrer Leidenschaft verloren hat.

Bilal Hassani, aged 25, a singer-songwriter, actor and producer, shares his daily life with over 3 million loyal fans around the world. He is the symbol of a new generation and champions the values of tolerance, acceptance, self-love and respect for all. Bilal is ranked among the world's 20 most influential LGBTQ+ figures by Vanity Fair. Regarded as a pop icon by Les Inrockuptibles magazine, Bilal Hassani has three albums and one mixtape to his name. With *Bonsoir Paris*, Bilal Hassani has released a twelve-track album entirely dedicated to partying, nightlife and the freedom to be oneself. Produced by himself and Sutus, the record revives the unapologetic pop and French Touch of the likes of David Guetta, Bob Sinclar, Daft Punk and Martin Solveig - that 90s house music that shaped his childhood - which he blends with bolder electro sounds and even a touch of Romanian pop. The album is mainly mixed by Nathan Boddy, whose work features on tracks by New Jeans, Mura Masa, Oklou, Olivia Dean and Shygirl, guaranteeing a production that is both pop and resolutely contemporary. In 2019, after representing France at Eurovision with his song "ROI" - a powerful message of self-acceptance - he released his debut album, KINGDOM, and won the NRJ Music Award for "Francophone Breakthrough Artist of the Year". In 2022, his third album, *Théorème*, was released, produced by the king of French pop, GrandMarnier of the group Yelle. With an average tempo of 124 BPM, the new album is made for dancing, conceived as a breath of fresh air for himself and his audience.

Tropical East Asian folk fused with psychedelic electronic rock and noise driven by a winding and jagged Sanshin guitar, shape forming vocals, odd percussion and spacey sounds. A Sgt. Peppers tour through the folklore of Okinawa. Amamikyu is the creation Goddess of the colourful Island of sound visited by Phil MFU ( formerly Vanishing Twin ) on his journeys through expanding his scope of experimental electronic music effortlessly locking style in with master Sanshin player and vocalist Yuko Tsubame to create a psychedelic trippy island of sound, revisiting classic folk songs in a new far out funky light. Amamikyu are a London based band of Phil MFU ( ex Vanishing Twin ) and Okinawan electric Sanshin player and singer Yuko Tsubame, with an expanding group of live musicians.

Baltimore's End It is telling it like it is on their debut album, Wrong Side Of Heaven, set for release this summer. The hardcore band has built a reputation through being unapologetically outspoken, playing fast, ripping songs, and putting on an electrifying live show. Now they're ready to enter their next era. Formed in 2017, the band consists of vocalist Akil Godsey, drummer Chris Gonzalez, guitarist Ray Lee, and bassist Patrick Martin. Signed to Flatspot Records, End It came out strong with the release of their self-titled EP the same year they started, and followed it up with 2020's One Way Track EP. In the summer of 2022, the band took the hardcore world by storm with their Unpleasant Living EP, solidifying the Baltimore outfit as one of the most exciting acts in the genre. Following the release, End It embarked on a packed touring and festival schedule across North America and Europe, playing alongside No Warning, Terror, Cold World, Drain, Speed, Angel Du$t, Scowl, and many more. The band's reach goes even farther with breakout single "New Age Slavery" featured on the soundtrack for Tony Hawk's Pro Skater 3 + 4. No matter where they are and what they're doing, End It is true to keeping things authentically them and that shines through on the forthcoming Wrong Side Of Heaven. Entering Salad Days Studio with renowned producer Brian McTernan (Turnstile, Snapcase, Hot Water Music) the band came in with a few demos and wrote the majority of the album during the two month recording process in early 2025. Taking direction from classic hardcore, thrash, and soul music, End It has crafted a 15 song magnum opus centered on "Spreading awareness of the change that's coming to Americans, personal growth, and maintaining the ethics and integrity of hardcore."

,Independent" ist das 1996 erschienene Album der New Yorker Hardcore-Band Maximum Penalty und gilt als eines ihrer wichtigsten Werke. Die Band verband darauf klassischen New York Hardcore mit melodischen Elementen, Groove und dem markanten Gesang von Jimmy Williams, wodurch sie sich deutlich von vielen Zeitgenossen abhob. Zum 30-jährigen Jubiläum erscheint das Album erstmals auf Vinyl. Die Neuauflage würdigt den anhaltenden Einfluss von Maximum Penalty auf die Hardcore-Szene, der zuletzt durch die Unterstützung von Bands wie Turnstile und das Cover von End It neu sichtbar wurde. Für viele Fans gilt ,Independent" als ein Schlüsselmoment in der Geschichte des melodischen New York Hardcore.

For acclaimed folk artist Martin Simpson, this release reflects not just a remarkable 50-year recording career, but over six decades shaped by song, tradition, and continual artistic growth. Yet this is not a retrospective, it's a forward-looking work, carrying the depth, skill, and passion of a lifetime into the present. Marking 50 years since his debut album Golden Vanity, Simpson describes Some Kind of Jubilee as "my best work to date." To realise this landmark project, he brings together an exceptional group of collaborators drawn from across his long and distinguished career. Among them are renowned pedal steel guitarist Greg Leisz, guitarist Zac Hobbs, cellist Liz Hanks, guitarist Louis Campbell, and double bassist Ben Nicholls. Together, they create a rich and textured soundscape that honours tradition while embracing fresh perspectives. Recorded at Groovemaster Studio in Santa Monica and completed in Yorkshire, the album blends newly written songs with reimagined traditional material and inspired reinterpretations from Simpson's own catalogue. The result is a deeply rooted yet vibrant collection that reflects both heritage and innovation. As Greg Leisz puts it, "This music has some profoundly deep roots - so dig in." With Some Kind of Jubilee, Martin Simpson honours his past while continuing to shape the future of folk music, reaffirming his place as one of the genre's most respected and enduring voices.

Originally conceived as the solo project of Izio Orsini (Rancho Bizzarro), Bantoriak has evolved into a collective sonic ritual, bringing together an impressive cast of friends and collaborators from the Italian and international underground scene. Steeped in warm 70s inspired sounds, hypnotic grooves, expansive jams and heavy psychedelic atmospheres, Vol. II travels from the dusty landscapes of the Californian desert to more mystical and introspective territories. The album features special appearances by Sergio Ch. (Los Natas, Soldati) on "Blu Bus" and Dome La Muerte on "Ritualism" and "La Muerte". For fans of: Kyuss, Los Natas, Colour Haze, Yawning Man, Monster Magnet, Dead Meadow and Black Sabbath.

After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges 3 is a record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they've ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below.

Hypnos , a new collection of his own mesmerising compositions, enchants us with sublime, atmospheric guitar intricacies beautifully constructed over soul- drenched hammond sound-beds. "With Hypnos , I wanted to create something paired back and super simple. These pieces were initially written as etudes for solo guitar, and they reflect the wide range of influences found in the music I love to listen to. A life spent listening to Django Reinhardt and Philip Glass! The inclusion of the Hammond organ came from a desire to pair the nylon- string guitar with an instrument you don't usually hear alongside it. For me, the Hammond evokes gospel and the classic organ trios of Wes Montgomery - it's a soulful, funk sonic and very spiritual. It was a real blessing to have Nathaniel Ledwidge play Hammond on the record and to showcase the softer side of this iconic instrument. Hypnos is the Greek god of sleep, the father of Morpheus, the god of dreams. Is the music dreamy and hypnotic, a brief slumberous escape from the madness out there? I hope so." - Robin Katz It's available as a limited- pressing 180g vinyl 'Gearbox Cut' LP and gatefold CD digi sleeve with obi strip & photo insert.

Nach der Breakout-EP „Discount Fireworks“ haben Roman Candle ihren Sound konsequent weiterentwickelt. Die jüngsten Singles zeigen eine Band, die emotionale Direktheit mit kontrolliertem Chaos verbindet; „Can We Watch Something Happy?“ basiert auf persönlichen Erfahrungen von Piper und unterstreicht den ungefilterten erzählerischen Ansatz der Band.

A reggae cover of the classic track by Pharoah Sanders and War is being released on 7"!

Two legendary reggae covers from the album 『Drag'N Fly』, released in 2024 by the popular French reggae band The Dynamics, are now available on 7-inch vinyl!!

"You've Got To Have Freedom"is a bold reggae arrangement of the iconic track by spiritual jazz master Pharoah Sanders. It’s a standout cover with a powerful, dubby texture that really grabs you. The B-side features a reggae cover of"Low Rider,"the signature song released in 1975 by the legendary funk band War. With both sides sounding absolutely fantastic, this is an absolute must-have!

A superb Japanese lovers’ cover of Minnie Riperton’s classic track is now available on 7"!

SISTER KAYA, who has released numerous tracks as a reggae singer, covers Minnie Riperton’s classic ‘Lovin’ You’! The A-side features a ‘Lovers’ version sung with heart-warming Japanese lyrics, whilst the B-side includes a bossa nova version with the original lyrics. Built upon a romantic reggae rhythm, this superb track features SISTER KAYA’s powerful and warm vocals that truly resonate. A must-have for all reggae fans!

As always at U JAZZ ME Records we have limited edition (100 numbered copies) of 180g black vinyl with insert.

Astrocyrk (Astrocircus) is the next chapter in a story that began in 2123, when Captain Harrison Focus, after an emergency landing, finds himself on the mysterious planet Carmin. Following the events described in the previous album, the main character – Triceradiplodocus – leaves the planet's surface, following Ropuch’s instructions. However, the light on the horizon turns out to be the beginning of a new nightmare, and the dinosaur is trapped in the Astrocyrk. Under Klown’s guidance, he begins exploring this dark place. Only the finale reveals the true history of the Astrocyrk and
surprisingly intertwines Triceradiplodocus's fate with events from years past and the character of Captain Harrison Focus.

Musically, the album develops Twoosty Mayonez's distinctive style – one that focuses on improvisation and cinematic storytelling. Each composition represents a new chapter in the story, creating a cohesive musical journey through the world of Astrocyrk. Subsequent tracks lead the listener through the ship's dark attractions.

The new album is a natural continuation of the story from planet Carmin, while also opening a completely new chapter in the Twoosty Mayonnaise universe – one that is bigger, darker, and even more unpredictable.
The album features guest appearances by Szymon Białorucki (oud), Marek Konarski (sax), and Bartłomiej “Eskaubei” Skubisz (rap). The recordings were made at the Twoosty Room studio in Warsaw by the band's drummer.

„Take Me Back / Live from the Gorge“ ist ein bahnbrechendes Live-Album, das 2025 während des jährlichen Labor-Day-Wochenendes der Band im Gorge Amphitheater in Washington aufgenommen wurde. An diesem Wochenende spielte DMB zum ersten Mal das Album „Before These Crowded Streets“ in voller Länge live. Weitere Songs sind: Dylans „All Along The Watchtower“, „You Never Know“ und „It Could Happen“. Béla Fleck (der auf „Before These Crowded Streets“ als Gastmusiker mitwirkte) begleitet die Band bei „Last Stop“ und „Don’t Drink the Water“.

Das fünfte Soloalbum von Jim James, dem Frontmann von My Morning Jacket, beschäftigt sich mit den psychischen Folgen des digitalen Zeitalters. Nachdem er ein umfangreiches Archiv mit Musikstücken entdeckt hatte, die er Anfang der 2010er Jahre für zwei große Film-Soundtrack-Projekte komponiert hatte, erlebte James einen plötzlichen Inspirationsschub und verwandelte diese Fragmente in ein fesselndes Werk voller gefühlvoller Psychedelia. „Wowed Out“, sein erstes neues Soloalbum seit acht Jahren, ist ein visionäres neues Werk von einem der experimentierfreudigsten Künstler der Rockmusik des 21. Jahrhunderts.

»Pipe Dreams II & III« presents two new, side-long organ works by Mary Jane Leach, extending the sonic investigations of her 1989 landmark »Pipe Dreams«. Recorded in Ghent and Cologne, the two side-long pieces use shifting stops, resonance and beating tones to turn the pipe organ into a vivid, physical field of sound.

When »Pipe Dreams« was issued on vinyl for the first time by Blume in 2017, it was effectively the first time many of us encountered Mary Jane Leach’s music, finally placing her work in its proper historical context amid the searching Downtown milieu of Julius Eastman, Arthur Russell, Arnold Dreyblatt, Ellen Fullman, Philip Corner, Daniel Goode, and Peter Zummo. Leach collaborated with most of these artists at one point or another, either in Downtown Ensemble or as a guest on their records.

Now »Pipe Dreams II« and »Pipe Dreams III« arrive, recorded in 2023 and 2024 at Miry Concertzaal in Ghent, Belgium, and Kunst-Station Sankt Peter in Cologne, respectively.

»When I was a young child, my family lived next door to a church, where my mother was the organist. I spent many hours lying on the floor of the sanctuary listening to the music, letting the sound of the organ envelop me. I also liked to play the piano loudly with the pedal down, producing clouds of sound, much to my family’s annoyance. These two organ pieces explore some of my earliest musical interests and aesthetics.

In 1989, I lived in a tower attached to St Peter’s Church in Cologne, where I had access to its organ. It had two sets of pipes, front and back, which could create antiphonal effects. I spent countless hours exploring the possibilities of all the permutations of notes, space, and the resulting sound phenomena. I wrote »Pipe Dreams« for that organ. Fast forward to 2023, when I was asked to create a piece for organ for a concert at the Miry Concertzaal in Ghent, Belgium: »Pipe Dreams II«. I had a few days to familiarise myself with the organ, its available stops, and the layout of the console. I choreographed stop changes for a volunteer, as I couldn’t reach them myself. Some amazing sounds began to happen, and at one point the sound was so visceral that I felt as though I were taming a wild beast.

»Pipe Dreams III« was performed in 2024 on the organ that I had spent so much time playing in 1989–90. One big difference, though, was that the console was totally new and computerised. Having access to the organ for only a few hours before the concert, I decided that I did not have enough time to feel comfortable with the console and should not attempt to recreate the piece I had written in 1989. I would instead use the same sequence of stops and perform an improvised piece. I loved the sounds that were being created, and I was having so much fun that at one point I even started to laugh quietly. I began to visualise the beating notes as if they were atoms, opening them up to expose their innards, with the beating, higher-pitched notes — neutrons and protons — shimmering at the top, and the lower notes — the electrons — throbbing away at the bottom. I was playing notes not so much for their pitch value, but for how they affected the notes and sound phenomena already being played. Instead of a time signature, I timed the entries by listening to the beating patterns, waiting for the right moment to enter. And no, I wasn’t hallucinating.«

Mary Jane Leach, 2026

Das 1997 erschienene Album „Romanza“ verhalf Bocelli zum weltweiten Durchbruch: Es verkaufte sich
weltweit fast 20 Millionen Mal und wurde zu einem der meistverkauften Alben der modernen Klassik aller
Zeiten.
„Romanza (30th Anniversary)“ wird sowohl als Standard- als auch als Deluxe-Edition erhältlich sein. Das
Deluxe-Paket enthält zwei goldfarbene Schallplatten, eine von Bocelli signierte Lithografie sowie einen
Bildband mit eigens in Auftrag gegebenen Begleittexten des renommierten Journalisten Craig McLean, der
Bocellis außergewöhnlichen Aufstieg vom aufstrebenden italienischen Tenor zu einem der weltweit gefeiertsten Künstler nachzeichnet. Beide Editionen enthalten zudem bisher unveröffentlichte Fotos von den
Aufnahmen zum Album.
Die Sammlung vereint alle 16 Titel des Originalalbums, darunter die zeitlosen weltweiten Hits „Time
to Say Goodbye“ mit Sarah Brightman und „Vivo per Lei“ mit Giorgia sowie eine bisher unveröffentlichte
Extended Version von Bocellis Hit „Con te Partirò“.

Hailing from Providencia, Colombia (Old Providence Island), Henner, Derrick, Luis, Feliciano and Senen are the Black Diamonds; a band that seamlessly blends the irresistible grooves of reggae with the infectious rhythms of calypso, creating a sound that is both timeless and refreshingly original.

For years, Black Diamonds have been synonymous with the laid-back, soulful reggae sound of Old Providence Island, crafting songs that reflect the Caribbean's easy rhythms and rich cultural heritage. Their debut release, however, takes an unexpected—and thoroughly enjoyable—detour into upbeat calypso, proving that the band is more than capable of stepping outside its comfort zone.

"De Seh Seh" (gossip.. chat and talk to much about the others in Creole) also features a remix by Venezuelan producer and multi-instrumentalist Caribombo, who transforms the song into a dancefloor-ready journey, blending electronic textures with soukous-inspired Afro-house rhythms for a bold, cross-Caribbean reinterpretation.

Founded in 2019 by Nick Whaley and Luca Tantari, Piss Drunk Records was born in Northern California from a shared passion for underground electronic music and the DIY ethos that has always driven independent scenes.

Rather than waiting for opportunities, the label was created with a simple philosophy: if nobody releases the music you believe in, do it yourself. Every release represents that independent spirit, putting artistic freedom before commercial expectations.

Nick Whaley has been an active figure in the Northern California underground electronic scene for many years, continuously releasing music, cutting lathe records, and performing live sets while keeping the local DIY spirit alive. Luca Tantari, originally from Italy, lived in California where the idea for Piss Drunk Records was born. After returning to Italy, he continued developing the label, expanding its international reach while preserving its original vision and underground identity.

Although founded in California, Piss Drunk Records has always maintained strong roots in both the United States and Italy, creating a bridge between two underground communities.

The label embraces a broad spectrum of electronic music, from raw industrial techno, experimental electronics and noise to old-school hardcore, gabber and more dancefloor-oriented productions. Style is never the priority—authenticity is.

The first five releases were issued as hand-cut lathe records and a limited cassette, reflecting the label's commitment to small-run, handcrafted formats. PDR006 marks Piss Drunk Records' first professionally pressed vinyl release, representing a new milestone while remaining true to the DIY philosophy that inspired the project from day one.

Piss Drunk Records exists for one reason only: to release music that deserves to exist—without compromise, without trends, and without waiting for permission.

Old school Industrial deviance to the hardcore french industrial pityless style... TNT used to be a fanzine devoted to the birth of the hardcore unformated french style.
Without this label there wouldn't be Hangars Liquides and the future XP HC generations... worldwide !

Limited 150 copies, on red vinyl.

A sound meeting Bloody Fist and old school UK Speedcore... Back to the roots of the roots !

A side is a trip... Bloody experience...
Like I say "if a record does not have something to say... then abort !"
Here frequencies becomes weapons !
Screwdrivers for solid brains !

The flip brings 2 Speedcore at same speed for a deejay pleasure, as expected with this vinyl only project !

The name of the EP in in memory of parties organised between 1994 and 1995 where the music was...

Enjoy !

Mastered by ArmguetNad.
Cut at The Exchange.
Visuals by Artcoton

A side is "Drumfetish" a ZMK 01 hit combo... The music is exactly at the inbetween Hardtek and Hardcore... And also it's a super cut-off/bring-it-in crossfader tune for actives deejays ! Eenjoy the different ways to spin it... Or with Drum & Bass or with Hardcore !

The flip is "Refuse To Believe", it brings a very mystical or nostalgic, or new wave feeling, using flangers and Transcore tricks... I always felt it was an node to the IST productions.

At a time Stefan ZMK was making lots of music for our scene, and ZMK was one of my favorite crew on vinyl. I am really proud he accepted to make a vinyl with us. Nowadays he is one of my favorite mastering studio...
So I asked him if he could re-master his own music ?

Here's the result : one track per side, playing 45 RPM (wich is cool because at 33 it's a bloody weapon too).

We all definitely hope you'll enjoy this new mastering & cut as we do !

Mastering : Stefan ZMK
Cut by : Simon Davey
Visuel : Vstee FDB
Pressing : Record Industry
Distro : Toolbox Records

Following the success of Naturalisten’s release “Forms”, E2-E8 is back with the latest offering from Milan-based artist Joseph Tagliabue. “Espansione” presents a meticulously crafted sonic exploration that transcends conventional genre boundaries. It is a double LP consisting of four distinct parts: an ambient concept presented in Part 1 & 2, and four techno tracks in Part 3 & 4. This structure makes for a multifaceted listening experience, seamlessly blending organic textures with synthetic manipulations.

Part 3 & 4 pivot towards the dancefloor, presenting four tracks of driving, progressive techno. This transition from meditative ambient to hypnotic rave is executed with precision, showcasing Tagliabue’s versatility. These cuts are designed for late-night immersion, while maintaining the album’s overall sense of depth and trance and channeling a deep, immersive rave experience.

The album as a whole is a sophisticated sound collage, highlighting Tagliabue’s mastery of sonic manipulation. The dense sonic flow, characterised by echoes of distant temples and molten synthetic modulations, creates a compelling auditory and potentially visual experience. The interplay between organic and synthetic, combined with the album’s thematic depth, makes Espansione a noteworthy evolution in Joseph’s artistic expression. A work designed to be both deeply listened to, and physically experienced.

Early support comes from Vladimir Ivkovic, Marco Shuttle, Konduku, among others.

'La Proyección' is the debut LP by Jose María Lluch, featuring 11 compositions developed between 2015 and 2024. Recorded and assembled in his home studio, the album combines fingerpicked guitar, field recordings, tape manipulation, and ethereal soundscapes into a deeply personal listening experience. A reflection on memory, imperfection, and the freedom to create without external expectations. 'La Proyección', the debut LP by Jose María Lluch, an architect and musician from San Sebastián, emerges as a transition-a gradual shift that unfolded over time. Intimate and innocent, disconnected and erratic at times, the 11 compositions presented here are drawn from recordings spanning nine years, between 2015 and 2024. Humbly assembled in his home studio, the music invites listeners to let their minds drift as the processes of composition, recording, and editing intertwine. Field recordings from everyday life, fingerpicked guitar, soothing harmonics, tape manipulation, and ethereal soundscapes are combined with a naïve openness. The album reveals the joy found in imperfection. Rarely do we have the chance to glimpse someone's work in its most unguarded form, without a specific context, after years spent making music simply as a way to break away-not for anyone else, but for oneself. The songs on 'La Proyección' reveal that very essence, shaped by a shared memory.

"Solaris", das zwölfte Studioalbum von The Ocean, würdigt die bisherige Entwicklung der Band und verleiht ihr eine neue, intensive Note. Mit Mitgliedern aus sechs verschiedenen Ländern im Kern-Line-up kehrt The Ocean zu einer kollektiven Besetzung zurück und schöpft aus dem Erfahrungsschatz und Talent eines Pools außergewöhnlicher Musiker. Nachdem man mit dem Vorgängeralbum "Holocene" einen anderen Weg eingeschlagen hatte, zeichnet für den weitläufigen, organischen Klang von "Solaris" erneut der schwedische Produzent Jens Bogren verantwortlich, der bereits die beliebtesten Alben der Band - "Pelagial" sowie "Phanerozoic I" & "II" - gemischt hat. Das neue Album stellt die Sänger*innen Lane Shi und Enrico Tiberi sowie die Gitarristen Emmanuel Jessua und Marco Gennaro vor. Sie ergänzen den Gründungs-Gitarristen Robin Staps, den langjährigen Bassisten Mattias Hägerstrand und Schlagzeuger Jordi Farré. Jeder von ihnen bringt seine ganz eigene Note ein, um dieses fast 70-minütige Opus zum Leben zu erwecken. Für die Aufnahmen wurde der Kreis der Mitwirkenden noch weiter gefasst: Thorsten Quaeschning (Tangerine Dream) steuerte modulare Synthesizer bei, der griechische Komponist Orestis Zafiriou (Playgrounded) lieferte ebenfalls Elektronik- und Synthie-Elemente, und Simen Eifring von der norwegischen Post-Rock-Band Spurv übernahm den Posaunenpart. Aufgenommen wurde das Album in den legendären Berliner Hansa Studios, wo bereits Klassiker wie David Bowies Low und Heroes, Iggy Pops Lust For Life und Depeche Modes Construction Time Again entstanden. Innerhalb dieser Studiowände entwickelte sich "Solaris" zu einem lebendigen Zeugnis für die Kraft von Entdeckergeist und Teamarbeit. Da der neue Sänger Tiberi zudem ein versierter Pianist und Multiinstrumentalist ist, wurden Klänge von Celesta, Flügel, Rhodes-Piano und Hammond-Orgel zu einem integralen und unverwechselbaren Bestandteil des Solaris-Sounds. Der für The Ocean typische, atmosphärische Post-Metal wird durch den experimentierfreudigen Geist der neuen Mitglieder sowie die Beiträge der exzellenten Gastmusiker bereichert. Ein Werk, das für The Ocean hinsichtlich Ambition und erzählerischer Tiefe einen neuen Höhepunkt darstellt. Das CD- und 2LP Gatefold-Sleeve ist jeweils aus 360g Spezial-Karton gefertigt und auf Vorder- wie Rückseite mit roter Metallic-Heißfolien-Prägung veredelt. CD mit 6seitigem Fold-Out-Booklet, die 2LP in bedruckten Innenhüllen kommt zusätzlich mit A2-Poster.

In den vergangenen Jahren hat Nate Amos einen bemerkenswerten Aufstieg erlebt. Ob als Solokünstler unter dem Namen This Is Lorelei oder mit seiner Band Water From Your Eyes - aus gefeierten Veröffentlichungen wurden ausverkaufte Tourneen rund um den Globus, während seine Songs von einigen der einflussreichsten Künstler der Gegenwart neu interpretiert wurden. Mit The Singer in My Band, seinem ersten Album für das renommierte Label Matador Records, legt Amos nun ein Werk vor, das seinen Status als eine der spannendsten Stimmen der modernen Indie-Musik untermauert. Das Album greift die Tradition des Great American Songbook auf und übersetzt deren grundlegende Stärken (starke Melodien, prägnante Texte und zeitlose Songstrukturen) in eine moderne, eigenwillige Klangsprache. Entstanden während ausgedehnter Tourneen, ist The Singer in My Band zugleich das erste echte "Road Album" in Amos" Diskografie. Viele Ideen entwickelten sich unterwegs, fernab von Instrumenten und Studios, geprägt von den Eindrücken des ständigen Reisens. Die Vorabsingle "Billy Came Back" verkörpert diesen kreativen Ansatz beispielhaft. Der Song begleitete Amos über Monate hinweg, verschwand immer wieder aus seinem Bewusstsein und kehrte dennoch ständig zurück, bis er schließlich vollendet wurde. Wie viele Stücke des Albums verbindet er eingängige Melodien mit einer erzählerischen Offenheit, die Raum für eigene Interpretationen lässt. Bevölkert wird das Album von Figuren wie Billy, Joey, Genevieve, Sarah und Buddy, die durch ein Panorama amerikanischer Schauplätze wandern. Ihre Geschichten bewegen sich zwischen Realität und Fiktion und spiegeln die flüchtigen, oft widersprüchlichen Erfahrungen des Unterwegsseins wider. Musikalisch setzt Amos auf Reduktion und die Stärke klassischer Songkunst. Der Einfluss seiner lebenslangen Verbundenheit zur Bluegrass-Musik zeigt sich weniger im Klang als in den kompositorischen Prinzipien: Ein Song muss durch Melodie, Text und Harmonie überzeugen. Mit The Singer in My Band gelingt Amos ein Album, das Tradition und Gegenwart verbindet und seinen wachsenden Einfluss innerhalb der internationalen Indie- und Songwriter-Szene eindrucksvoll bestätigt.

Es war ein Coup, als Gründer und Bassist Lee Payne vor drei Jahren ankündigte, dass Harry „The Tyrant“ Conklin, der nach Griechenland gezogen war, seiner Band Cloven Hoof beitreten würde. Der ehemalige Jag-Panzer-Frontmann war der perfekte Nachfolger für Russ North, der für die Fans bis dahin als der ultimative Cloven-Hoof-Sänger galt – leider weilt er nicht mehr unter uns. Daher waren die Reaktionen auf das erste Album der Band mit Harry Conklin am Mikrofon herausragend. »Heathen Cross« wurde 2024 bei High Roller Records veröffentlicht.
Nun folgt Cloven Hoofs zehntes Studioalbum mit dem Titel »Never A Prophet In Your Own Land«. Wieder einmal ist die Gesangsleistung vom „Tyrant“ absolute Weltklasse. Lee Payne grinst: „Das Lob gebührt einzig und allein Harry. Wir können uns glücklich schätzen, einen so brillanten Sänger und Frontmann in der Band zu haben.“
Kontinuität ist für jede Band wichtig, und Cloven Hoof hatten in der Vergangenheit mehr als einen Besetzungswechsel zu verzeichnen. Diesmal nicht, wie der Bassist nicht ohne Stolz erklärt: „Wir haben dieselbe feste Besetzung wie auf »Heathen Cross«, das kann ich mit Freude sagen. Am Gesang der einzig wahre Harry Conklin und an den Gitarren Luke Hatton sowie Chris Coss. Dazu Ash Baker am Schlagzeug. Luke, Chris und Ash sind nun seit über zehn Jahren bei Cloven Hoof; sie kennen ihre Rollen in- und auswendig. Ich selbst bin seit 1979 in der Band, also sollte ich inzwischen eine Vorstellung davon haben, was ich mache (lacht).“
„»Never A Prophet In Your Own Land« ist keine direkte Fortsetzung von »Heathen Cross«“, fährt Payne fort. „»Heathen Cross« hatte seine eigene schwere und düstere Atmosphäre. »Never A Prophet In Your Own Land« ähnelt eher »A Sultan‘s Ransom«, doch diese Ähnlichkeit war weder konstruiert noch geplant. Es ist einfach so gekommen.“

Bloodstain gehört zu den vielversprechendsten jungen Heavy-Metal-Bands, die in den letzten Jahren aus Schweden hervorgegangen sind. Die Ende 2023 in Stockholm gegründete Band hat sich schnell einen Namen gemacht, indem sie die Grundlagen des klassischen Metal und Hard Rock mit der Dringlichkeit, dem Selbstbewusstsein und dem Bühneninstinkt einer modernen Live-Band verbindet. Anstatt sich auf einen eng gefassten Revivalismus zu verlassen, schöpft Bloodstain aus einer breiteren Heavy-Metal-Tradition – kraftvolle Riffs, einprägsame Hooks, dynamisches Songwriting und ein klares Verständnis dafür, wie Songs sowohl auf Platte als auch auf größeren Bühnen rüberkommen müssen.
Ihr selbstbetiteltes Debütalbum „Bloodstain“ ist das erste umfassende Statement zur Identität der Band. Es präsentiert eine junge Band mit klarer Ausrichtung: diszipliniertes Songwriting, ein unverwechselbares visuelles Profil und ein Ehrgeiz, der bereits über die Clubebene hinausreicht. Während das Material die Wucht und Direktheit klassischer Heavy-Musik in sich trägt, verleihen die Entscheidungen bei Produktion und Arrangement der Platte eine zeitgemäße Kraft, die sie fest in der Gegenwart und nicht in der Vergangenheit verankert.
Das von Alex Hellid, Per Aldeheim und der Band selbst produzierte Album erscheint mit einer Geschichte, die in Presse, Handel und Exportkanälen großen Anklang findet. Bloodstain ist nicht einfach nur eine Band mit starken Songs, sondern eine Band mit Schwung. Frühe Veröffentlichungen sorgten sofort für Aufmerksamkeit, ihre visuelle Identität ist bereits klar definiert, und ihre Live-Präsenz wächst durch immer präsentere Auftritte und strategisch gewählte Vorgruppen-Slots weiter. Beim Sweden Rock Festival und beim Hellfest reagierte das Publikum bereits auf unveröffentlichtes Material, was unterstreicht, dass die Musik der Band in Echtzeit ankommt und sich nicht allein auf ihre Positionierung verlässt.
Was Bloodstain in dieser Phase auszeichnet, ist die Kombination aus Jugend, Klarheit und Bereitschaft. Die Band wirkt frisch, agiert jedoch mit einem Maß an Organisation und Zielstrebigkeit, das das Vertrauen der Branche weckt. Es entwickelt sich bereits eine Sammlermentalität rund um das Projekt, ein wachsender Direktkanal zu den Fans und eine klare Fähigkeit, zu skalieren, ohne dabei die Identität zu verlieren.
Damit ist „Bloodstain“ nicht nur ein starkes künstlerisches Debüt, sondern auch ein strategisch bedeutendes Album, das ein Publikum aus den Bereichen Hard Rock, Heavy Metal und moderner, riffgetriebener Metal-Musik erreichen kann, ohne durch eine enge Genre-Schublade eingeschränkt zu sein.