Belgian Limburg-based Cold Wavers Siglo XX, were a leading coldwave band, successfully touring around Europe,and active between 1978 and 1989. Often called the Belgian Joy Division with their dark sound they made quite an impression in their heydays. Their backcatalogue and their liveshows still sound today timeless and fresh.
The past year they started touring again and played an impressive and powerful concert on January 17th in Ancienne Belgique, Brussels. On the set list an exquisite selection of their best work. This live album captures that performance as if you were there yourself, and maybe you were!
Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.
Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.
At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.
The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."
With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.
Reissue of the second album by the almighty TDeK, an absolute classic and one of the very best and most important Spanish Hardcore Punk records ever, originally released in 1986. An even more focused and destructive effort than their legendary debut, "Esto es Una Empresa Capitalista" (1984), with the band in top, killer shape ripping through 13 nasty, explosive and unforgettable songs. A memorable, ugly and fierce milestone of Spanish Punk and Hardcore created by an infamous band, absolutely essential! Includes two inserts.
The Montréal psych-ambient synth-droners return with Sequence Three, their first album in five years and the final instalment in the group's opening trilogy of records that began with Sequence One in 2019. The spectral supergroup co-founded by Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes), usually joined in some capacity by Lasek's Besnard bandmate Olga Goreas, deliver another dose of its trademark longform slowburn jams, forged from restored vintage synths and analogue electronic gear. Lasek and Ramsay don their seasoned producer hats to apply rockist sound design to minimalist tracks, saturated with tube compression, drenched in pink and brown noise, all queasy modulation, sparse beats, and languorous melodic lines. Evoking a humid dawn on a gas giant, these alien drone anthems meld the numinous transcendentalism of Spiritualized and Cluster with the eroded grit of William Basinski and GAS. Light Conductor has been tagged "heavyweight analogue synth nirvana" by Uncut Magazine and praised for its "fabulous, epic, shimmeringly radiant kosmische" by Electronic Sound, among other accolades. Sequence Three consolidates these strengths, while leaning into the darker disquietude that has always been an undercurrent of Light Conductor's aesthetic. Opener "She Glitters The Dust" fades up slow with intertwining detuned synth loops, a languorous lullaby beat dropping at the 3-minute mark, accompanied by insectoid shimmers and a tease of melody that's eventually given free reign over the song's second half. Aptly titled, it's as if a transmission captured within a cosmic dust cloud has provided the raw material for the band to jam on, tease out, and terrestrialize. An echo of that beat sets the tranced pulse for "Omenize", the centerpiece of Side One and the fulfilment of Light Conductor's one-vocal-track-per-album directive. With layered harmonies by Goreas and Lasek, this is the group at its ethereally anthemic best, the devotional floating-in-space bliss attenuated by another gently warped denouement. "Ghost City Radio" closes out Side One with the band's most overtly anxious tune to date, deceptively stolid in its simple bass guitar riff and filter-swept hi-hat: groove stripped to its minimum as the foundation for an extended spokenword sample of a doomsaying prepper/preacher, a sort of homage to that early hallmark of their Godspeed compatriots, done up through the lens of Light Conductor's inimitably destabilized celestial ambience. (Lasek mixed the most recent two GY!BE albums.) Side Two offers up "High In The Orange Air", a beatless, squelching, bubbling ostinato drone and the album's most orthodox ambient kosmische track. This provides the set and setting for 15-minute closer "Supercontinent", which starts off in similar territory but gradually yields to a submerged and reversed techno pulse pumping through coruscated chordal drone, gaining in woozy mesmeric psych intensity over its inexorable hypnagogic trajectory. Sequence Three rounds out a satisfying trio of full-lengths that Light Conductor has released on Constellation, featuring vibrantly minimal geometric cover art designed by label co-founder Ian Ilavsky that integrates the trilogy as a visual series as well. In keeping with the previous two albums in the set, the Deluxe 180gLP includes a 12"x24" art poster. Thanks for listening.
Mit "Almost There", liefert der Pianist und Komponist ESPEN ERIKSEN nach einer äußerst erfolgreichen Reihe von sieben Alben in 16 Jahren, darunter zwei mit dem bekannten britischen Saxophonisten ANDY SHEPPARD, ein weiteres melodisches Meisterwerk ab. Fesselnd und lyrisch, stets melodisch, aber gleichzeitig auch melancholisch und erhebend, handelt es sich um wahrlich ergreifende Kompositionen. "Music with a rich sense of melody coupled with a poignant lyricism that is infectious". - All About Jazz "A wonderfully plaintive jazz record, abandoned to the lost art of melodic minimalism, stripped back and beautifully near bare. No smoke and mirrors, just the graceful chemistry of superb musicians at the top of their game". - BBC Erwähnt werden muss die atemberaubende Klangqualität des Albums. "Almost There" überzeugt mit einem detailreichen und dynamischen Klang, der insbesondere durch seine organische Natürlichkeit hervorsticht. Die Kompositionen wurden in ESPENs bevorzugtem Studio Propeller Music in Oslo aufgenommen und abgemischt. Dort hatte er sich bereits für seine letzten fünf Alben eingefunden, welche aufgrund ihrer außerordentlichen Aufnahmequalität auch häufig in Tests verwendet und in HiFi-Kreisen hervorgehoben werden. Das ESPEN ERIKSEN TRIO wurde im Jahr 2007 gegründet und veröffentlichte 2010 sein Debüt-Album. Als zunehmend beliebte Live-Band tourte das Trio, bestehend aus ESPEN ERIKSEN (Klavier), LARS TORMOD JENSET (Kontrabass) und ANDREAS BYE (Schlagzeug), bereits auf vier Kontinenten und verfügt über ein reichhaltiges Repertoire. Die Musik zeichnet sich durch äußerst melodische und lyrische Instrumentalstücke aus, manchmal versehen mit nordischem Einschlag, sowie durch einen "Weniger ist mehr"-Ansatz, der von der internationalen Presse oft als einzigartiger Beitrag zur heutigen Jazzszene gewürdigt wird. Alle drei Musiker verfügen über einen vielseitigen musikalischen Hintergrund, der von Pop bis Jazz reicht, und haben bereits mit Musikern wie Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, John Taylor, Vince Mendoza, Eivind Aarset, Knut Reisersrud, Mathias Eick, Nils Petter Molvær, Thomas Stronen, Odd Nordstoga, Håkon Kornstad, Jarle Bernhoft und Bendik Hofseth zusammengearbeitet.
A clerestory - a bright or "clear" level or "story" - is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection - of key importance for Reidy"s work as a whole - inform the sumptuous surfaces of Clerestory. "Shadow Symmetric" is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. The piece makes simultaneous use of two pitch sets, beginning from the same starting point but expanded using different scaling to produce what Reidy describes as "two offset spectral layers." "Clerestory Windows" offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a 90s RPG soundtrack. This episode derives from Reidy"s installation Inside, Crystals and Circuitry, held in Stockholm in 2025. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity.
“Music for me, is rarely complete,” says GODFLESH mastermind Justin Broadrick, “but it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.” Broadrick is primarily referring to the nebulous process of writing and arranging songs into their various potential shapes, but he could just as easily be describing GODFLESH’s imminent conclusion. Just three years after the hypnotic crunch of Purge, 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s Decay. “Decay was born from the same sessions as Purge,” Broadrick declares of the new record’s six tracks. “It was one huge pool of songs. I picked what I felt was appropriate for what I wanted to achieve with Purge, with the intention of releasing the songs that didn't fit as a new album within a year of Purge being released. Unfortunately, two years passed whilst considering external labels, so that I didn't have to self-release GODFLESH anymore, but it took an awful lot of time to establish a comfortable home for me. The recordings were done, but as usual for me, I did change a lot of stuff once I came back to it.” Now, GODFLESH is ready to unleash an even bolder, bleaker series of sounds in Decay. These songs arrive shortly after Broadrick released a public statement about major abdominal surgery he underwent earlier this year.
In 2024, Audrey Powne emerged as a compelling new voice in contemporary jazz with the release of her acclaimed debut album From the Fire; a self-produced and self-composed work celebrated for its lush string arrangements, soaring trumpet performances, and emotionally rich songwriting. Now, two years later, Powne returns with Bodies of Water, a bold and deeply introspective follow-up that continues her elemental exploration: from fire to water. An exploration of what it means to exist alongside others in an increasingly unstable world, Bodies of Water reflects on vulnerability, responsibility, and human interconnectedness. The album’s title and conceptual foundation were inspired by a passage from Caleb Azumah Nelson’s novel Small Worlds: “...to make himself a body, like water, a still surface, but beneath this, a ripple, and beneath this, an ebbing tide, and beneath that, a violent, constant tow…” Throughout the record, lyrics ruminate on the idea that like all bodies of water, we are vulnerable to disruption and catastrophe. Unlike inanimate bodies of water, however, we are conscious participants in both the damage and the repair. That tension between what we are made of and what we are responsible for became a grounding and harmonious thought. This album is a meditation on that idea, both in my personal life and in a broader, collective sense. Swollen, Broken Record, and Karma, reflect on moments of cruelty and error including her own that felt unbearable. Viewing them instead as forces moving through the landscape of a life, violent but temporary to survive their immediate impact. More socially conscious tracks Stay Awake, Creeds, RYV, and Two Sides confront frustration with political polarisation and the emptiness of language unaccompanied by action. The title and final track Bodies of Water brings these ideas together, reimagining both personal and societal upheaval as events shaped by bodies of water moving through the world destructive at times, transformative at others, and always in motion. Blending traditional jazz with Afrobeat rhythms, Dilla-inspired grooves, ambient textures, and expansive arrangements, Bodies of Water reveals the breadth of Powne’s artistic vision. The record moves fluidly between spiritual jazz, warped soul and rhythm-driven experimentation, while layered interludes and meticulous production thread its disparate influences into a unified and immersive sonic world.
Errands is the first duo recording from Marja Ahti, Swedish-Finnish sound artist and electroacoustic composer, and John McCowen, a native of Southern Illinois, now residing in Iceland, whose work centres on a radical exploration of clarinet multiphonics. Working without the aid of electronics, McCowen has spent years finessing performance techniques that allow him to layer beating patterns and split tones that belie their source in a monophonic instrument. Ahti, in contrast, has built up a stunning body of work in recent years using a classic electroacoustic palette of electronic, field recordings and instrumental sounds. Sharing a bill at the 2024 iteration of Stockholm’s Edition Festival, the pair discovered a sensibility shared across their different sonic means, beginning the collaborative process that would eventually result in the mercurial side-long pieces heard on Errands.
The word ‘errand’ suggests something purposeful but routine, and Ahti’s and McCowen’s work is suffused with the everyday. Meeting with McCowen to record in Iceland, Ahti used the opportunity to gather field recordings, capturing not the natural sublimity often associated with the country—think Chris Watson’s shifting glaciers—but everyday life in Reykjavik. Snatches of bustling streets and what could be humming engines thread between static sinewaves, stretches of clarinet resonances and fleeting textures, the latter often at once visceral and impossible to identify. Errands: we are a long way from the grandiose framing devices favoured by the pioneers of electroacoustic music, yet many of their principles are at work here. The gradual metamorphosis of one sound into another, the carefully achieved ambiguity between the acoustic and electronic, the treatment of the stereo field as a compositional element: all of these link Ahti and McCowen’s music to the electroacoustic tradition, yet their sensibility is radically different. The overall effect is a kind of stillness, but one at peace with continuous change. Like the unwieldy but somehow stylish everyday forms captured in the Hertta Kiiski photographs that adorn the record's sleeve, the music seems to prize a kind of deliberate awkwardness, interrupting static held textures not with an abrupt cut, but with a quick fade, suddenly revealing background as foreground.
Ahti and McCowen’s world is everyday and unornamented, but also shadowed by the numinous. Halfway through 'Chorales', we hear an arrangement for overdubbed recorders of an early motet of Messiaen’s, O sacrum convivium! Played on recorders, the piece shrinks into delicacy and dim memories of childhood music lessons, while at the same time its harmonies retain the grandeur of their liturgical origin. This double quality inflects much of what follows on Errands, including snatches of field-recorded water or air, which seem at once elemental and domestic. Enlivened with countless details that repay repeated relistening, Errands is a record that leaves the listener ready to open their ears anew to their own sound environment.
Released on Tip Top Recordings, the album features 10 songs that that brim with melody, wit and understated charm. After years of singing downbeat songs of melancholy & loss, after waving goodbye to a long-term relationship, after working at a care home during the Covid pandemic, after seeing people off from the platform of life in his role as a Funeral Celebrant, Pete Fij has decided to have a reset. Slinging back on the electric guitar, ditching the job, upping the BPMs, and falling in love again has resulted in Pete embracing his fuzzed up dream- pop past but also throwing in elements of pop and electronica.
KR3.021 Steve Bicknell Remixes - brings together four reinterpretations of tracks from his latest double 12" - Several Streams of Thought - originally released in May 2025 as the sixteenth chapter in the KR3 catalogue. Carefully assembled, the release features reworks by Rrose, Function, Broken English Club and The Hacker. Working from Bicknell’s original material, each artist reframes its core elements through a distinct sonic approach, opening up new perspectives while maintaining a connection to the source work. The visual dimension of the project has likewise been revisited by Marco Maldarella. His artwork for the original gatefold sleeve has been reimagined for this release, extending the dialogue between sound and image and giving the project a renewed visual identity.
A1 The Reassurance Ritual Rrose Remix
A2 Reassurance Ritual Function Remix
B1 The Concept of Practopia Broken English Club Remix
B2 The Power Pyramids [The Hacker Remix]
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Elderberry Jak was and is arguably the finest rock band to come out
West Virginia. It is certainly an arguable case if its single album is an accurate indicator, as the recording reveals a quartet as strong as any number of its more well-known, more commercially successful hard
rock contemporaries--bands such as Free, the James Gang, the
Guess Who, and Three Dog Night--all with which Elderberry Jak shared a variety of sonic attributes. The band came together in the fall of 1969, with bass player Dave Coombs and lead vocalist Joe Cerisano (Silver Condor, Trans-Siberian Orchestra) as its co-founders. The two had previously played together in Coombs' outfit J.B. and the Bonnevilles
. The Bonnevilles formed in 1965 and developed over the next few years into the most outstanding and popular group in the entire state of West Virginia. Upon the demise of J.B. and the Bonnevilles in 1969,
the duo formed a new unit called Kaboose, which lasted seven months. Then, with the addition of Tom Nicholas on guitar and Joe Hartman behind the drum kit, they became Elderberry Jak, named after the elderberry wine made by an uncle of Coombs. The quartet had soon become a powerful unit, mixing hard-driving rock with invigoratingly tight funk. The band traveled throughout their home states, Ohio and Pennsylvania, for performances, eventually earning a record deal with
Kenny's brother Leland Rogers in Memphis. The result was the first-
rate Long Overdue, released in 1970
"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.
"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.
Das neue EUROTEURO Album "Magic" stellt eine musikalische Neuorientierung dar, bewegt sich zwischen New Wave, Art Pop und Neuer Deutscher Welle. Ein Sound, der sich nicht festlegen will aber trotzdem seine klare Form nicht verliert. Das Wiener Projekt um Peter T. präsentiert sich von der düsteren Seite. Die Texte sind teils in Deutsch, teils auf Englisch gehalten, Englisch erlaubt abstrakter zu bleiben, weil es nicht Muttersprache ist und dadurch etwas Fantastischeres behält. Deutsch hingegen eignet sich im Euroteuro Kosmos besser für klare Aussagen, direkte Botschaften, Slogans der Subversion. Nach ihren bisherigen "Volume"-Veröffentlichungen, die eher als Singles-Collections fungierten, steht "Magic" als das erste geschlossene Album da. Entstanden in einem gemeinsamen Prozess, an dem Musiker*innen wie Alexander Kranabetter, Topsy Turvy, Katarina Maria Trenk, Soap&Skin, Farce, Voodoo Jürgens und Elisa Mory beteiligt sind. Magic ist ein Nachtalbum. Es führt an einen inneren Ort, der sich im Laufe der Songs verändert. Am Anfang steht ein eher karger Raum, ein Ich, das sich umsieht und eine Bestandsaufnahme macht. Mit der Zeit wandelt sich dieser Raum, wird dichter, vielschichtiger. Der Hedonismus ist Draußen. Die Verweigerung von Selbstoptimierung auch. Euroteuro wird 10 und im Zentrum steht die Frage warum wir sterben müssen und was dann sein wird. Der Blick ist nach innen gerichtet. Euroteuro ist unterwegs zwischen Orientierungslosigkeit und Euphorie, durch eine Nacht, die nicht endet. "Magic" der Soundtrack dieser nächtlichen Odyssee ist schön und unheimlich zugleich. Das Albumartwork folgt dem, ist psychedelisch, zugleich schön und bedrohlich, trägt Trauer in sich und verweist auf den Kreislauf von Werden und Vergehen. Das Ölbild existierte bereits, die Künstlerin Ramsko brachte es ins Studio, wo es sofort mit der Musik resonierte. 180g schweres, klassisch schwarzes Vinyl oder CD im 6seitigen Digisleeve erhältlich
"Polyrhythms, fiddle drones, and acid melodies are once again on display under a kaleidoscopic sun, where high voltage is never far away, celebrating an incantatory Occitan prose.
La Raive is a path between dream and reality, memory and imagination, where dance becomes a space of vivid memory. In this workshop, Brama seizes the pulse to build an architecture where each motif is a door, each variation a secret passage."
Albert Bouchard is best known as one of the founding members of Blue Öyster Cult. The original band sold millions of albums for Columbia Records with such
classic songs as “Don’t Fear the Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burning For You”. As a songwriter, he wrote many BÖC songs including the very popular “Astronomy” (which was covered by Metallica on their 1998’s release Garage Inc) and the live staple “Cities on Flame with Rock and Roll”, which he also sang lead vocals.
Albert’s famous cowbell on “(Don’t Fear) The Reaper” was the basis of the popular SNL skit with Will Ferrell and Christopher Walken, which has gained over 32 million views and spawned the phrase “More Cowbell”. Imaginos IV–Rhyme Of The Starclock sees Albert continuing the story of Imaginos, a concept album about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The album weaves scripts and poems by the late Sandy Pearlman. This is the follow up to the initial Trilogy and goes back to a young Imaginos. It features guests Blue Coupe, Ross The Boss (Dictators), Joe Cerisano (Silver Condor, TSO), and many others. The first single “Four Winds Bar” is due out July 31st, with the follow up single “Germany Minus Zero” coming on August 28th.
Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.
Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.
In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.
Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.
Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.
In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.
Knock Off präsentieren ihr siebtes Album "Pain Or Madness" _ ein Album, das nicht nur für die Band selbst in diesen Zeiten wichtig ist. Die Welt ist völlig verrückt und es scheint, als habe die Menschheit vergessen, wie man Konflikte löst, miteinander spricht und den Kreislauf der Selbstzerstörung stoppt. Und wenn die Schläge im persönlichen Umfeld näherkommen und das Schicksal zuschlägt, kann man schnell den Boden unter den Füßen verlieren. Wut, Hass, Aggression zusammen mit Depression, Lustlosigkeit, oder halt "Pain or Madness". Auf dieser Grundlage entstand Knock Offs siebtes Album. Punkrock war schon immer am stärksten, wenn die Zeiten düster sind, und dieses Album ist einfach eine musikalische Therapie und Offensive gegen alles was Dich zerstört. Knock Off spielen immer noch klassischen UK Oi! und Punkrock und haben ihren eigenen Stil über die Jahre perfektioniert, sorgen dabei aber stets aufs Neue für Überraschungen. Mit jeder verdammten Note spürt man, dass die Songs direkt aus dem Herzen kommen! Ein Schlag ins Gesicht, ohne Rücksicht auf Empfindlichkeiten, in Songs wie "Go Fuck yourself". Dieses Gefühl, wenn Hilflosigkeit in "Violence" umzuschlagen droht. Kein Diskutieren oder Erklären über Punk, denn "My Punk!" (is whatever I choose). Wenn die Jungs auf die '70s football youth' oder 'Good Times' zurückblicken, sind keine weiteren Erklärungen nötig, das ist und war deren Leben, hier gibt es nicht zu romantisieren. Selbst heutzutage kann man noch seinen Ärger rauslassen, und Knock Off tun das perfekt mit Songs wie "Anger is an energy" oder der dreckigen kleinen Selbstironie-Hymne "Middle age rage". "Pain or Madness" enthält ein Dutzend neuer Songs: Energiegeladene Punkrock-Hymnen mit großartigen sing-along Refrains und aggressiven Shoutings. Solch ein Album nach sieben Platten rauszubringen, ist ein auf keinen Fall zu verpassendes Statement! Zwei unterschiedlich mehrfarbige Vinyl-LP-Versionen erhältlich
Knock Off präsentieren ihr siebtes Album "Pain Or Madness" _ ein Album, das nicht nur für die Band selbst in diesen Zeiten wichtig ist. Die Welt ist völlig verrückt und es scheint, als habe die Menschheit vergessen, wie man Konflikte löst, miteinander spricht und den Kreislauf der Selbstzerstörung stoppt. Und wenn die Schläge im persönlichen Umfeld näherkommen und das Schicksal zuschlägt, kann man schnell den Boden unter den Füßen verlieren. Wut, Hass, Aggression zusammen mit Depression, Lustlosigkeit, oder halt "Pain or Madness". Auf dieser Grundlage entstand Knock Offs siebtes Album. Punkrock war schon immer am stärksten, wenn die Zeiten düster sind, und dieses Album ist einfach eine musikalische Therapie und Offensive gegen alles was Dich zerstört. Knock Off spielen immer noch klassischen UK Oi! und Punkrock und haben ihren eigenen Stil über die Jahre perfektioniert, sorgen dabei aber stets aufs Neue für Überraschungen. Mit jeder verdammten Note spürt man, dass die Songs direkt aus dem Herzen kommen! Ein Schlag ins Gesicht, ohne Rücksicht auf Empfindlichkeiten, in Songs wie "Go Fuck yourself". Dieses Gefühl, wenn Hilflosigkeit in "Violence" umzuschlagen droht. Kein Diskutieren oder Erklären über Punk, denn "My Punk!" (is whatever I choose). Wenn die Jungs auf die '70s football youth' oder 'Good Times' zurückblicken, sind keine weiteren Erklärungen nötig, das ist und war deren Leben, hier gibt es nicht zu romantisieren. Selbst heutzutage kann man noch seinen Ärger rauslassen, und Knock Off tun das perfekt mit Songs wie "Anger is an energy" oder der dreckigen kleinen Selbstironie-Hymne "Middle age rage". "Pain or Madness" enthält ein Dutzend neuer Songs: Energiegeladene Punkrock-Hymnen mit großartigen sing-along Refrains und aggressiven Shoutings. Solch ein Album nach sieben Platten rauszubringen, ist ein auf keinen Fall zu verpassendes Statement! Zwei unterschiedlich mehrfarbige Vinyl-LP-Versionen erhältlich
Dutch collective.multibeat return with OOO their third album and debut for Sonar Kollektiv. Rooted in Utrecht’s vibrant musical community, the trio of Boudewijn Pleij (keys), Thijs van Zutphen (bass) and Aron Smit (drums) blend hip-hop, jazz and beat culture into a groove-driven sound inspired by artists such as Robert Glasper, J Dilla and the contemporary UK jazz scene.
The three musicians first met while studying at the conservatoire in Utrecht, initially performing as a live backing band under the name Muddy Grease before evolving into a production-focused collective. Over the years they have built a reputation for connecting the worlds of jazz, hip-hop and contemporary beat music through an ever-expanding network of collaborators, while helping to foster a vibrant and experimental local scene around them.
Warm, collaborative and deeply groove-centred, OOO captures .multibeat at their most confident and expansive.
It is an album that honours the collective’s roots in jazz and hip-hop while continuing to push their sound into new and inspiring spaces, a fitting introduction to one of the most exciting young groups to emerge from the Dutch scene in recent years.
The final album from Brian Auger & The Trinity released in 1970. Features inspired reinterpretations of material by Sly & The Family Stone, Herbie Hancock, Traffic and Gabriel Fauré, now regarded as a landmark British jazz-rock recording. Newly remastered reissue, curated ith the Auger family and presented as a high-quality single LP replica edition.
10th Anniversary Edition auf metallic goldenem Vinyl. Mit neuem Artwork und A2 Lyric/Poster Insert. Casey (South Wales) drücken dem Hardcore aus UK ihren eigenen Stempel auf . Mit berechtigten Vorschusslorbeeren (1. Single bereits auf Heavy Rotation bei BBC1) geht die Band Ende September mit ihrem Debüt-Album an den Start und im November auch gleich mit guter Begleitung (Being As An Ocean & Capsize) auf Deutschland Tour. Ihr Sound hat Punk von LA DISPUTE, Hardcore von TOUCHE AMORE und das Feeling von LETLIVE verinnerlicht!
Bright Madness is the third album from the improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer, a glorious afternoon"s worth of instant compositions laid down in Asheville NC in the early spring of 2025. The sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another is encompassing, flowing from shell-game sleights of hand to effortless beauty in the flicker of an ear, a lyrical group sound, with an insistent, vivid and immediate feel.
Iker is back with "Sinkronia". A gripping takes on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker's attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca's Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao's UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work. "Iker Munduate is an artist and musician who brings a delicate sense of composition and design_ Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura (Derek Walmsley, The Wire Dec'24)"
Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions. These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form. Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of “1192” (named after the month and year it was originally recorded.) The illuminating spirit of the performances on 1192 are guaranteed to turn the world upside down for blue album fans everywhere. This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.
BRUTAL TRUTH's 1996 Relapse debut Mini-Album, a genre-defining moment of experimental Grindcore and Metal. Now fully remastered by Brad Boatright and available on vinyl for the first time in 30 years!
BRUTAL TRUTH's defining 1997 album is one of Grindcore's most essential releases! Now fully remastered by Brad Boatright and available on vinyl for the first time in more than 20 years! "From startling exercises in savage brevity to disorientating psych-rock squalls, it’s grind with no brakes, no safety net and absolutely no fear." - Metal Hammer
Ancient spirits come alive as SKÁLD extend an invitation into times long gone but not forgotten. Ørlǫg, coming September 25, 2026, is their first album via Napalm Records, and it is our destiny. As the Norns weave our future, this album is a fascinating passageway into our pristine origins and the consequences of our choices. Ten new songs as stepping stones, Ørlǫg is an offering to listen, to dwell, to reflect—and to find something within yourself previously unknown. SKÁLD don’t just play music, they awaken ancient ways.
BRAT is a New Orleans-based extreme metal band known for their "bimboviolence" or "Barbiecore" aesthetic. Founded in 2020 during Mardi Gras, they have quickly made a name for themselves in the hardcore, death grind, and power violence scenes by pairing blistering heavy riffs with bright, Y2K-inspired feminine imagery and pop samples.
Ein modernes Blue-Note-Werk mit ausgefeilten Beats, Grooves und harmonischer Raffnesse! Keyboarder
und Produzent Kiefer arbeitete unter anderem mit Dr. Dre, Drake, De La Soul, Pete Rock, KAYTRANADA
und Stanley Clarke zusammen. Für seine Arbeit mit Anderson .Paak erhielt er einen Grammy. Gerade erst
sorgte er als Mitglied des neuen Blue-Note Projekts FATHERS gemeinsam mit Nate Smith, CARRTOONS
und Kenny Beats für Aufmerksamkeit. Nun folgt der nächste Schritt: Der Kalifornier veröffentlicht mit
„Memory Bomb“ sein erstes Soloalbum für Blue Note.
Darauf verbindet er Jazz, Hip-Hop, Soul und elektronische Klangwelten zu einer organischen musikalischen
Sprache. Es entfaltet sich eine schwebende, cineastische Atmosphäre, in der improvisatorische Offenheit auf
präzise produzierte Beats trifft. Groove und harmonische Raffnesse stehen gleichberechtigt nebeneinander.
Zu den Album-Gästen zählen unter anderem Nate Smith, Walter Smith III, Erick the Architect, Planet
Giza, Tony Stone, Luke Titus, Amber Navran (Moonchild), Cisco Swank, Rae Khalil, Phil Beaudreau und
Gareth Donkin.
Picture Disc: Seit 2006 haben sich Pierce The Veil auf unaufdringliche, aber beständige Weise ihren Weg in
die Herzen von Millionen Menschen weltweit gebahnt – dank ihrer unerschütterlichen Hingabe an ehrlichen
und mitreißenden Hardrock. Das Quartett aus San Diego – Vic Fuentes Gesang, Rhythmusgitarre, Keyboard, Mike Fuentes [Schlagzeug, Percussion], Tony Perry [Sologitarre] und Jaime Preciado [Bass] – bleibt
dieser Tradition auch auf ihrem vierten Studioalbum „Misadventures“ wieder einmal treu. Das Album
erschien 2016 bei Fearless Records, erreichte Platz 4 der Billboard 200 und enthielt Hits wie „The Divine
Zero“ und „Texas Is Forever“.
Anlässlich des 10-jährigen Jubiläums kehrt das Kultalbum nun mit einer brandneuen Picture Disc mit
dem Cover-Artwork zurück.
Standard White LP: Seit 2006 haben sich Pierce The Veil auf unaufdringliche, aber beständige Weise ihren
Weg in die Herzen von Millionen Menschen weltweit gebahnt – dank ihrer unerschütterlichen Hingabe an
ehrlichen und mitreißenden Hardrock. Das Quartett aus San Diego – Vic Fuentes [Gesang, Rhythmusgitarre, Keyboard], Mike Fuentes [Schlagzeug, Percussion], Tony Perry [Sologitarre] und Jaime Preciado
[Bass] – bleibt dieser Tradition auch auf ihrem vierten Studioalbum „Misadventures“ wieder einmal treu.
Das Album erschien 2016 bei Fearless Records, erreichte Platz 4 der Billboard 200 und enthielt Hits wie
„The Divine Zero“ und „Texas Is Forever“.
Anlässlich des 10-jährigen Jubiläums kehrt das Kultalbum nun mit einer Neuauflage der weißen LP zurück.
Picture Disc: Seit 2006 haben sich Pierce The Veil auf unaufdringliche, aber beständige Weise ihren Weg in
die Herzen von Millionen Menschen weltweit gebahnt – dank ihrer unerschütterlichen Hingabe an ehrlichen
und mitreißenden Hardrock. Das Quartett aus San Diego – Vic Fuentes Gesang, Rhythmusgitarre, Keyboard, Mike Fuentes Schlagzeug, Percussion, Tony Perry [Sologitarre] und Jaime Preciado [Bass] – bleibt
dieser Tradition auch auf ihrem vierten Studioalbum „Misadventures“ wieder einmal treu. Das Album
erschien 2016 bei Fearless Records, erreichte Platz 4 der Billboard 200 und enthielt Hits wie „The Divine
Zero“ und „Texas Is Forever“.
Anlässlich des 10-jährigen Jubiläums kehrt das Kultalbum nun mit einer brandneuen Picture Disc mit
dem Cover-Artwork zurück.
Standard White LP: Seit 2006 haben sich Pierce The Veil auf unaufdringliche, aber beständige Weise ihren
Weg in die Herzen von Millionen Menschen weltweit gebahnt – dank ihrer unerschütterlichen Hingabe an
ehrlichen und mitreißenden Hardrock. Das Quartett aus San Diego – Vic Fuentes [Gesang, Rhythmusgitarre, Keyboard], Mike Fuentes [Schlagzeug, Percussion], Tony Perry [Sologitarre] und Jaime Preciado
[Bass] – bleibt dieser Tradition auch auf ihrem vierten Studioalbum „Misadventures“ wieder einmal treu.
Das Album erschien 2016 bei Fearless Records, erreichte Platz 4 der Billboard 200 und enthielt Hits wie
„The Divine Zero“ und „Texas Is Forever“.
Anlässlich des 10-jährigen Jubiläums kehrt das Kultalbum nun mit einer Neuauflage der weißen LP zurück.
40th Anniversary Splattered Vinyl LP EditionA milestone release in German hardcore punk. Alongside bands such as Hostages of Ayatollah, Skeezicks, and Challenger Crew, they were at the forefront of the scene at the time. Punk as fuck: fast, furious, packed with relentless energy, highly inventive, and something entirely new for Europe. The lyrics were not always overtly political, but often carried the trademark tongue-in-cheek humor of American rogue Lee Hollis. The album also features the anthem "My God Rides a Skateboard", a slogan that seemed to be spray-painted on every halfpipe back in the day.
Surfing on a sun-drenched wave of psychedelia comes Brighton's very own Merry Pranksters, Wax Machine. Primarily recorded and mixed in a closet room directly above a mortuary, their self-produced album Hermit's Groove is a heady trip through progressive psychedelia, kitsch Italian library music and Brazilian tropicalia.
Soulful, future-leaning house & hip hop distilled into wax form. Standout cuts by AKA ZEB & LIL DAVE 215, with appearances from J-LIVE, BLU and BLOOMY MEADOWS, bridging the gap between classic andy with contemporary with warmth and depth. Support from CRACKAZAT
‘The Art Of Loving’ is a tender, intentional deep dive into the many dimensions of love – romantic, platonic, self, and everything in between. The album features the singles, ‘Nice To Each Other’, 'Man I Need' and ' Baby Steps'
