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Freddie Gibbs and Madlib release their new album, Bandana, via Keep Cool/RCA Records and MadlibInvazion/ESGN. The album includes previous releases "Flat Tummy Tea," "Crime Pays," and "Giannis" featuring Anderson. Paak. The album is the pair's follow up to their 2014 critically-acclaimed debut Piñata, and includes additional features from Pusha T, Killer Mike, YasiinBey, and Black Thought.

The duo's seamless collaboration juxtaposes two giant talents: Madlib,the prolific producer with a record collection spanning all genres and eras, an adept sampler, peer to the late J Dilla (his collaborator on Champion Sound and his musical soulmate), foil for DOOM, hip hop's Charlie Parker, with whom he created the landmark album Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past ten years.



On Piñata, Madlib offered Gibbs, then a gritty street rapper from Gary, Indiana, a chance to expand his captivating storytelling, giving him the dramatic backgrounds for his brutally-honest, soul-scraping lyrics. As a pair, Freddie and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum.



Freddie Gibbs and Madlib are also set to play a string of shows in the U.S. and Europe this summer, which kicked off earlier this week with a sold-out, two-night residency at The Roxy in Los Angeles. They're set to play at MoMa PS1's Warm Up series in New York, Paredes De Coura Festival in Portugal, and Made in America in Philadelphia later this summer before heading off to Europe again in the Fall. Additional dates to follow soon.

Aus Music founder Will Saul collaborates with Fink and James Alexander Bright on the final EP in the AUS200.

After music from the likes of Quantic, Dam Swindle, K-Lone and Cinithe, Will Saul brings celebrations around his label's 200th release to a close with one track alongside long-time friend Fink and one with James Alexander Bright, an artist he discovered and signed to !K7 during a 10-year stint A&Ring with the label.

Saul's music has provided the backbone of the label since day one. His club-ready EPs and more immersive, expansive albums have helped to define its melodically rich fusion of bass and house. Just as importantly, his A&R has helped it evolve over the last two decades so it remains as relevant as ever with the current generation while providing a platform for contemporary talents to shine.

First up here he links up with his old friend, singer, songwriter, guitarist and producer Fink who, as Sideshow, was behind the first-ever release on Aus back in 2006. Since then, he and Saul have continued a fruitful working relationship which now bears juicy musical fruit once more. Their 'Slo-mo Life' is six sublime minutes of deep, dubbed-out downtempo. It's powered by a prowling bassline with tender melodies and introspective chords next to subtle vocal loops that cannot fail to bliss you out. Fink then offers up a remix as Sideshow that rides on airy jungle breaks while evocative synths are smeared in painterly fashion before decaying in endless reverb to an angelic ambient sound.

British multi-hyphenate James Alexander Bright has built up a colourful body of albums and EPs that soundtrack everything from hazy daydreams to lazy afternoons in the park via dance floor trips. The singer has worked with, among others, Groove Armada’s Tom Findlay and Girls Of The Internet and always brings a lovably lo-fi and intoxicating sensibility.

'Blue' is a raw, live sound with crashing hits and broken kick patterns. Bright's nagging vocal speaks of emotional pain while shimmering chords bring the heat. Bright's remix reworks the track into a widescreen hazy breakbeat soul track that gives his vocals extra room to make their mark while the exquisite live drums from Joris Feiertag keep you moving.

Irish rock band The Murder Capital Return with their third studio album ‘Blindness’ recorded in Los Angeles earlier this year with producer John Congelton (St Vincent, Angel Olsen, Sharon Van Etten) and featuring the recently released single ‘Can’t Pretend To Know’ and coming single ‘Words Lost Meaning’. ‘Blindness’ is the vividly realised, clear-sightedly ambitious new album from The Murder Capital. A record that’s both momentous and charged with momentum. That’s intimate and simultaneously expansive. Eleven songs that don’t hang about in terms of grabbing the listener.

Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

Widely regarded as one of the foremost songwriters of her generation or any other, Suzanne Vega is sharing her first studio album of new songs in eleven years. "Each song on Flying With Angels takes place in an atmosphere of struggle", Vega notes, "struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live".

Widely regarded as one of the foremost songwriters of her generation or any other, Suzanne Vega is sharing her first studio album of new songs in eleven years. "Each song on Flying With Angels takes place in an atmosphere of struggle", Vega notes, "struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live".

Sextile, das in Los Angeles beheimatete Duo, das für seinen unbeugsamen, elektronischen Punk-Sound gefeiert wird, hat Details zu ihrem kommenden, starken Album „Yes, please.“ bekannt gegeben, das am 2. Mai 2025 auf Sacred Bones erscheint, sowie Pläne für eine umfangreiche Europatournee in diesem Sommer geteilt. Sextile, die sich derzeit mit ihren Labelkollegen Molchat Doma auf einer großen US-Tournee befinden, kündigen ihr neues Album mit der Single „Freak Eyes“ an, die ihren dunklen, pulsierenden Sound in neue Höhen treibt. Der Song beginnt mit einem fiesen Bass-Growl, das abrupt in einen Techno-Beat übergeht, der mit klirrender Kuhglocke und scharfer Hi-Hat gespickt ist. „I feel the pressure / Man the pressure I feel when we're together“, singt Sänger Brady Keehn kühl, aber bestimmt, in den ersten Zeilen. Inspiriert von der Art und Weise, wie Druck sowohl Herausforderungen als auch Verbesserungen hervorrufen kann, beschwört „Freak Eyes“ elektrisierende Bilder von schäbigen Hinterzimmern auf dem Sunset Strip und von in Leder gekleideten Tanzflächen in Lagerhäusern herauf.

Manche Bands finden ihren Groove und bleiben dabei, andere erfinden sich ständig neu. Sextile gehört zu den letzteren, die den Nervenkitzel einer sich ständig verändernden Landkarte genießen. Das Duo Melissa Scaduto und Brady Keehn aus Los Angeles macht Musik mit Lebenslust und lässt sich dabei von No Wave bis Hardstyle inspirieren. Ihr neuestes Album „yes, please.“ stößt in kühnes Neuland vor, indem es anarchisches Elektro-Feuer mit rohen persönlichen Erinnerungen verbindet - und mit genug aufgemotzten Bässen, um ein oder zwei Boxen zum Platzen zu bringen. „yes, please.“ ist ein Album der Kontraste: eine verletzliche Platte, die ihre Seele ebenso entblößt wie sie im Exzess schwelgt und zeigt, wie weit man seinen Sound treiben kann, wenn man seine Hemmungen abschüttelt. Zusammen verraten die beiden ein Selbstvertrauen, das niemals schwankt, und machen einen kühnen Spritzer auf dem schnellen Intro mit einer Rave-Sirene, die aus einer New Yorker Hausparty der `00er oder einem verschwitzten Brooklyn-Lagerhaus stammt. Auch der Geist des Electroclash pirscht sich an das Gebäude heran, zeigt seine Identität bei den mit Kuhglocken gespickten Donnerschlägen von „Freak Eyes“ und „Rearrange“ und sorgt mit „Women Respond to Bass“ für eine schmutzige Dancefloor-Bombe. „Push Ups“ - mit dem Gesang von Jehnny Beth - ist pure Muskelmusik, gestärkt durch einen wummernden Bass und ergänzt durch Synthies, die so hart hämmern wie Hagelkörner auf einem Glasdach. Aber hinter den Slogans, der Frechheit und der monstermäßigen Tanzenergie verbirgt sich eine Intimität, die man nur finden kann, wenn man sich über schmerzhafte, lebensverändernde Ereignisse öffnet. „Hospital“ und ‚Soggy Newports‘ reflektieren Scadutos erschütternde Erfahrungen in einer staatlichen Einrichtung in New York nach einem beinahe tödlichen Unfall. „Resist“ befasst sich mit Abtreibungsrechten, während ‚Penny Rose‘ das amerikanische Bildungswesen, künstliche Intelligenz und zukünftige Generationen thematisiert. Scadutos elastischer Gesang glänzt überall, von den messerscharfen Synthesizern von „S is For“ bis zu den Trance-Pop-Höhen von „Kids“ mit Izzy Glaudini von Automatic. „yes, please.“ ist eine actiongeladene Dance-Platte, vollgestopft mit wilden, berauschenden Gassenhauern, aber im gleichen Atemzug auch ein Zeugnis dafür, zu leben und niemals zurückzuschauen. Indem sie sich für eine neue, „befreiende“ Art des Musikmachens öffnen, haben Sextile ihr bisher kreativstes Werk geschaffen. Bisher, denn man spürt einfach, dass sie noch so viel mehr zu geben haben.

Sextile, das in Los Angeles beheimatete Duo, das für seinen unbeugsamen, elektronischen Punk-Sound gefeiert wird, hat Details zu ihrem kommenden, starken Album „Yes, please.“ bekannt gegeben, das am 2. Mai 2025 auf Sacred Bones erscheint, sowie Pläne für eine umfangreiche Europatournee in diesem Sommer geteilt. Sextile, die sich derzeit mit ihren Labelkollegen Molchat Doma auf einer großen US-Tournee befinden, kündigen ihr neues Album mit der Single „Freak Eyes“ an, die ihren dunklen, pulsierenden Sound in neue Höhen treibt. Der Song beginnt mit einem fiesen Bass-Growl, das abrupt in einen Techno-Beat übergeht, der mit klirrender Kuhglocke und scharfer Hi-Hat gespickt ist. „I feel the pressure / Man the pressure I feel when we're together“, singt Sänger Brady Keehn kühl, aber bestimmt, in den ersten Zeilen. Inspiriert von der Art und Weise, wie Druck sowohl Herausforderungen als auch Verbesserungen hervorrufen kann, beschwört „Freak Eyes“ elektrisierende Bilder von schäbigen Hinterzimmern auf dem Sunset Strip und von in Leder gekleideten Tanzflächen in Lagerhäusern herauf.

Manche Bands finden ihren Groove und bleiben dabei, andere erfinden sich ständig neu. Sextile gehört zu den letzteren, die den Nervenkitzel einer sich ständig verändernden Landkarte genießen. Das Duo Melissa Scaduto und Brady Keehn aus Los Angeles macht Musik mit Lebenslust und lässt sich dabei von No Wave bis Hardstyle inspirieren. Ihr neuestes Album „yes, please.“ stößt in kühnes Neuland vor, indem es anarchisches Elektro-Feuer mit rohen persönlichen Erinnerungen verbindet - und mit genug aufgemotzten Bässen, um ein oder zwei Boxen zum Platzen zu bringen. „yes, please.“ ist ein Album der Kontraste: eine verletzliche Platte, die ihre Seele ebenso entblößt wie sie im Exzess schwelgt und zeigt, wie weit man seinen Sound treiben kann, wenn man seine Hemmungen abschüttelt. Zusammen verraten die beiden ein Selbstvertrauen, das niemals schwankt, und machen einen kühnen Spritzer auf dem schnellen Intro mit einer Rave-Sirene, die aus einer New Yorker Hausparty der `00er oder einem verschwitzten Brooklyn-Lagerhaus stammt. Auch der Geist des Electroclash pirscht sich an das Gebäude heran, zeigt seine Identität bei den mit Kuhglocken gespickten Donnerschlägen von „Freak Eyes“ und „Rearrange“ und sorgt mit „Women Respond to Bass“ für eine schmutzige Dancefloor-Bombe. „Push Ups“ - mit dem Gesang von Jehnny Beth - ist pure Muskelmusik, gestärkt durch einen wummernden Bass und ergänzt durch Synthies, die so hart hämmern wie Hagelkörner auf einem Glasdach. Aber hinter den Slogans, der Frechheit und der monstermäßigen Tanzenergie verbirgt sich eine Intimität, die man nur finden kann, wenn man sich über schmerzhafte, lebensverändernde Ereignisse öffnet. „Hospital“ und ‚Soggy Newports‘ reflektieren Scadutos erschütternde Erfahrungen in einer staatlichen Einrichtung in New York nach einem beinahe tödlichen Unfall. „Resist“ befasst sich mit Abtreibungsrechten, während ‚Penny Rose‘ das amerikanische Bildungswesen, künstliche Intelligenz und zukünftige Generationen thematisiert. Scadutos elastischer Gesang glänzt überall, von den messerscharfen Synthesizern von „S is For“ bis zu den Trance-Pop-Höhen von „Kids“ mit Izzy Glaudini von Automatic. „yes, please.“ ist eine actiongeladene Dance-Platte, vollgestopft mit wilden, berauschenden Gassenhauern, aber im gleichen Atemzug auch ein Zeugnis dafür, zu leben und niemals zurückzuschauen. Indem sie sich für eine neue, „befreiende“ Art des Musikmachens öffnen, haben Sextile ihr bisher kreativstes Werk geschaffen. Bisher, denn man spürt einfach, dass sie noch so viel mehr zu geben haben.

Vinyl Only!

Prepare to embark on a transcendental musical journey with Vick Lavender's latest album, "BEYOND". This release showcases Lavender's unparalleled ability to blend genres and create a rich tapestry of sound that defies boundaries. Teaming up with the talented Justin Dillard, who serves as music director and contributes his skills on organ and keys, Lavender delivers an album that is both innovative and deeply soulful.

From the deep house grooves of "Midnight Hour" and "Overdrive" to the jazzy house vibes of "Beyond" and "Knights", each track on this album is a testament to Lavender's versatility and mastery of his craft. The hip hop tracks "The Project" and "Good Timing" (featuring Big Mel) add a fresh and dynamic element, while the soulful house tracks "Experimental" (featuring Brian 'Smokey' Williams) and "Get Here" (featuring Angel-A) provide a lush, emotive experience.

The album also features contributions from a stellar lineup of musicians, including Simon Sims on bass, Joe McCoy on organ, Jackie Shepard on guitar, and Charles Roland on woodwinds. Special respect is given to Aundre Miller, Vick's mentor, whose influence is felt throughout the album.

"BEYOND" is more than just an album; it's a sonic journey that pushes the boundaries of genre and takes listeners on an unforgettable ride. Whether you're a fan of deep house, hip hop, jazz funk, or soulful house, this album has something for everyone. Don't miss out on this must-have collection from one of the most innovative producers in the game.

“Music is the weed that keeps popping out of the concrete in my life. It just seems to want to come out.” –Jeff Bridges

Extensive booklet including liner notes by Sam Sweet, new interviews with Jeff Bridges, and never-before-seen archival photos.

Featuring Burgess Meredith (Rocky, Batman), members of Oingo Boingo, and assorted characters from the West Los Angeles art and music underground
Culled from a single decaying cassette tape labeled “July 1978,” these recordings are a window into the secret musical life of the Dude. Even after becoming one of Hollywood’s biggest stars, Bridges spent all his free time jamming and recording with a trusted circle of musicians composed of childhood friends, artists, and assorted L.A. oddballs.

Imagine The Band playing at CBGB with The Exploding Plastic Inevitable. Or Arthur Russell and the Talking Heads collaborating on a suite of mutant disco. Though Bridges and his friends were brought up around the movie industry, they decided to create their own private musical universe, where they could be as weird as they wanted.

Their music opens a portal to a hidden world of outlandish creativity and camaraderie in 1970s Los Angeles. It’s the missing piece of his musical evolution, revealed here for the first time in all its joyful abandon.

Following the hyperactive “Blood Karaoke” (2022, Reading Group), “Performing Belief” builds rhythmic thickets from gathered sounds interwoven with synths, drum machines and other samples. Having built these rhythmic nests, Krivchenia then called on two contemporary mages of the low end: electric bassist and fellow Angeleno Sam Wilkes (Wilkes/Gendel) and double bassist/multi-instrumentalist from Krivchenia’s native Chicago, Joshua Abrams (Natural Information Society). Wilkes and Abrams bring the presence of a grounding human witness to the rhythmic undergrowth, providing a centering and even at times melodic voice to the gathering. This alchemy carries a profoundly fresh sense of time, blurring the edges of the quantized grid and the generic boundaries of electronic music.

The core of the album is a lush, opulent matrix of percussion ranging from the familiar—hand claps and drum machines—to the mysteriously verdant, sampled largely from Krivchenia’s own performed field recorded collection. For years, he would record any and all of his musical encounters with natural objects: performing on a particularly resonant log on a hike, throwing rocks into a pristine pond, tap dancing in the mud. This archive of “natural” sounds became the fertile soil out of which the tracks on “Performing Belief” grew. What is gained in the process is not just a novel set of sounds, but a new rhythmic language. The particular give, the anticipatory rustle, the extra breath of a hollow log when functioning as a kickdrum provides a greenness that overtakes the rhythmic grid, giving this music a peculiar kind of stickiness. This rhythmic language, set in Krivchenia’s long-fermenting electronic musical palate, feels like a revelation, even while it calls back not only to his wonderfully elastic timekeeping behind the kit with his beloved band Big Thief, but also to his prior work in computer music as well as his deep study and love of the vast human archive of drumming. “Performing Belief” is in good company in the rank and file of the legendary Planet Mu label. From the foundational early releases of the likes of Jega and Venetian Snares, to the contemporary envelope-warping work of Jlin and hundreds of brilliant releases in between, Planet Mu has been a beacon of forward-thinking rhythmic music for decades, informing Krivchenia’s own sense of the weird metaphysics of musical time since he was a kid. Krivchenia’s contribution to this history calls to mind the principle of organic danceability that subtends Mu’s whole catalogue, while bending our sense of rhythm in new and gracious dimensions. Krivchenia brings out the loamy complexity of natural rhythms, a clearing as generous as it is inviting. Let the drummer give you some.

Limitierte Auflage: Transparentes rotes Vinyl im Klappcover. Im Jahr 1942 baute die Entwicklungsabteilung der US Pentecostal Church einen Roboterprediger, um menschliche Prediger zu ersetzen, die im Krieg im Ausland waren. Alles lief gut bis das Programm von einem Pharmaunternehmen aufgekauft wurde. Durch regelmäßige Software Aktualisierungen begannen sie, das Sprachprogramm mit Verkaufsargumenten zu erweitern. Nach dem Krieg kehrten die menschlichen Prediger zurück und das Litronix-Programm wurde Ende 1945 eingestellt. Die Litronix Einheit wurde in die Wüste von Nevada gebracht und an einem unbekannten Ort vergraben. 80 Jahre später, beim Ausheben der neuen Fundamente eines Hotels, wurde die Litronix gefunden - immer noch voll funktionsfähig. Als sie wieder erwachte, begann die Litronix in Richtung Los Angeles zu laufen. Im Laufe der letzten Jahre haben sich die religiösen und pharmazeutischen Programme in LA zu einem spirituellen und holistischen Ansatz entwickelt. Seine externe Festplatte hat mehr als 4500 Dokumente zum Thema Hypnose heruntergeladen. Regierungsbehörden und viele neue amerikanische Wirtschaftsoligarchen haben sich deswegen an die Litronix mit Jobangeboten gewandt. Litronix lehnte ab. Litronix hatte auch Jingles und Songs mit seinem internen Aufnahmesystem aufgenommen. Dieses Album "One a Day Keeps The Doctor Away" ist eine bearbeitete Version der 200 Stunden aufgenommenen Materials.

"Water Season" is a collaborative EP between the lo-fi duo Hooky and shoegaze artist Winter. They first met online as fans of each other's music and soon started corresponding with ideas, the first of which was writing "horseshoe." After relocating from Los Angeles to New York, Winter took a trip over to Philadelphia in the summer of 2024 where they all became good friends and spent the whole day writing songs together. They coalesced in their love for lo-fi, indie, electronica pairing beautiful melodies with experimentation, sampling, and guitar. In their own way they created a sonic snapshot of that intersection of time and feeling- the bittersweet and fleeting sensation of the end of summer fading into fall. Both bands will be playing shows together this year as well as touring to promote the EP.

Frantic Amber steht für Melodic-Death-Metal made in Sweden.
Angeführt von vier unglaublichen Musikerinnen, ist ihr einzigartiger Sound eine intensive Mischung aus brutalen Riffs und schweren Melodien kombiniert mit aƽressivem Growl-Gesang. Die Band wird im April 2025 ihr drittes, neues Studio-Album "Death Becomes Her" veröffentlichen. Erwartet ein unglaubliches, einzigartiges und brutales Biest mit elf fantastischen Tracks, die eure Lautsprecher und euren Verstand durchpusten werden

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. Santería draws heavily on music for its ceremonies. This Afro-Cuban syncretic religion, sometimes called La Regla de Ocha, saw the Orisha deities of the West African Yoruba peoples codified with Catholic saints. Yoruba practitioners, brought by force to the West, continued to worship their gods under the nose of those who sought to dehumanize them by adopting their spiritual language. The chants that became Santería’s prayers were often accompanied by the beat of the batá drum. This heartbeat runs through every invocation, through every sacred song. In the same way that the shuffling chains on the feet of enslaved African peoples dancing defiantly in Colombia birthed the distinctive rhythm of cumbia, syncretism has been present in music as much as it has in religion. It has always been about challenging the odds, about creation, creativity, and heart.

Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Gold nugget vinyl, limited to 350 copies. Even the name is mysterious-Black Honey Cult evokes a sense of intrigue and the otherworldly, a fitting moniker for a band born out of deep roots in Los Angeles' storied underground music scene. The story begins in the early '90s, when Johnny DeVilla and Jake Cavaliere first crossed paths, performing in various bands at the legendary JabberJaw, a hub for raw talent and boundary-pushing sound. Fast forward to 2003, when Spencer Robinson joined forces with Jake and Johnny in The Lords of Altamont, solidifying a creative bond that has endured for decades. Over the years, this trio found themselves collaborating time and again, refining their chemistry and exploring new sonic landscapes. It wasn't until 2010 that Black Honey Cult began to take shape, though the journey to a definitive lineup was a winding road. After several incarnations, the band finally coalesced into its current form with the addition of Garey Snider on drums, and Travis Petersen on guitar, whose contributions completed the puzzle. Jake and Garey, longtime conspirators with a shared desire to work together, brought their vision to fruition, creating a group that feels both destined and uniquely fresh. Drawing inspiration from pioneers like The Velvet Underground and psychedelic icons, The 13th Floor Elevators, Black Honey Cult infuses their sound with shades of early goth, post-punk, and krautrock. The result? A hypnotic, genre-defying blend of dark, atmospheric psychedelia that transports listeners to another plane - like dropping LSD on Mars. The band's sound was brought to life by the legendary Paul Roessler (of Screamers and 45 Grave fame) at Kitten Robot Studios, a perfect match for their haunting and transportive vision. Black Honey Cult stands as a testament to years of collaboration, creativity, and perseverance, offering an immersive experience for those ready to step into their enigmatic world. Prepare to follow the cult and lose yourself in the spellbinding sounds of Black Honey Cult.

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. The 15-track album of new recordings from Zanetti brings together six original compositions by Navarro dictated to the Italian guitarist on a month-long trip to Cuba andreinterpretations of Angulo"s nine original Cantos Yorubade Cuba, which give the record its name.

Die CREMATORY Hitfabrik öffnet mit ihrem neuen Studioalbum "Destination" zum 17. Mal ihre Pforten und erreicht ein neues, noch höheres Level als bisher! Es ist ein Album, das sprichwörtlich alle Stärken und Phasen der Gothic Metal Pioniere vereint, sprich es geht stellenweise zurück zu ihren Melodic Death Metal Wurzeln, dann taucht man wieder tief in die Gothic Gefi lde ein und überrascht mit einigen Elektro-Tanzfl ächen-Knallern. "Destination" ist wie ein musikalisches Best-Of Werk, eine Rückbesinnung kombiniert mit den Stärken der Gegenwart. Eines ist jedenfalls klar: CREMATORY sind hochmotiviert, ziehen den Härtegrad an und haben defi nitiv selbst nach 34 Jahren erfolgreicher Bandgeschichte noch so einiges zu sagen!