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Aimed proudly presents its ninth release, welcoming Lithuanian artist Tourman to the label.

The EP features four dancefloor-ready tracks, each with its own distinct character, crafted to elevate the energy and transform any party into a full-blown celebration.

Tourman’s signature sound fuses nostalgic rave aesthetics, acid-laced grooves, and vintage drum machine textures. He effortlessly blends the spirit of '90s and early-2000s house with a sleek, modern progressive twist.

Having already made his mark on esteemed imprints such as SpaceWax, Trance Atlantyk, Pluto’s Plan, and Neptune Discs, Tourman continues to prove his ability to ignite dancefloors while captivating listeners with hypnotic soundscapes.

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.

A testament to introspection and self-awareness.
Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.

The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years.

„Above The Clouds I Finally Found Peace“, das neueste Werk des französischen Künstlers Quelza (Leo Naït Aïssa) auf Ostgut Ton, fühlt sich wie eine Heimkehr an.

Ein Zeugnis der Selbstreflexion und Selbstwahrnehmung. Anstatt sich strikt an einen cluborientierten Ansatz zu halten, markiert die EP einen Schritt vorwärts in Richtung Ausdrucksfreiheit, bricht mit einem rein clubbasierten Format und führt stattdessen in ein breiteres Hörgebiet. Sie entfaltet sich wie ein persönliches musikalisches Tagebuch, geprägt von Wahrnehmung, Erinnerung und Emotion.

Wie der Titel schon andeutet, hat die Platte eine spirituelle Unterströmung. Sie ist ein aufrichtiges klangliches Statement eines jungen Künstlers, der von einer klaren Absicht getrieben ist: Verletzlichkeit und Ehrlichkeit durch Klang auszudrücken.

Die EP lädt den Hörer dazu ein, die Erwartungen, die durch frühere Veröffentlichungen entstanden sind, loszulassen, während sie gleichzeitig die emotionale Intensität und die unverwechselbare klangliche Identität bewahrt, die dieses Werk in den letzten Jahren geprägt haben.“

Seven - a number steeped in mystery and meaning, woven into the very fabric of time and space. Throughout history, the number seven has stood as an immutable symbol: from the days of the week to the alchemical metals, from the kings of Rome to its seven hills. An archetype that unites astronomy, myth, and ancient civilizations, finding its deepest expression in Rome.
According to legend, the Eternal City guarded seven sacred relics, the Pignora Imperii, objects whose possession ensured divine protection, prestige, and political authority. Ovid referred to them as the "pledges of power": testimonies of Rome's Trojan heritage and its connection with peoples such as the Sabines, Etruscans, and Greeks. These artifacts, now lost, were:
I. Lo scettro di Priamo
II. Il velo di Iliona
III. Il Palladio
IV. Le ceneri di Oreste
V. Lo scudo ancile
VI. La quadriga di Veio
VII. L'ago di Cibele
From this mythology emerges the new project by Lykos Records: a narrative journey in seven chapters, each dedicated to one of these relics, unfolding through the various artists releases corresponding to catalogue numbers 7, 14, 21... up to LYKOS-XLIX.
Chapter I, "Lo scettro di Priamo" LYKOS-VII, is dedicated to the symbol of Troy's power, brought to Latium by Ilioneus on Aeneas' command as a pledge of alliance and reconciliation. It is said to have been kept on the Palatine Hill.
To inaugurate this journey, seven Roman artists - PixFoil, DJ Red, Brando Lupi, Luigi Tozzi, Feral, Sunday Bath, and Worg - will give life to a sonic mosaic celebrating the musical heritage of the capital. Their tracks will form a collective work that bridges generations and diverse artistic visions.
Each double vinyl will feature an original illustration by Roberto Mulliri, wrapping the entire front and back cover and included inside as a poster.
Within the Pignora Imperii lies the strength and power of Rome, witnesses of the city's epic saga; likewise, Lykos Records weaves its destiny into the history of these sacred Roman objects, becoming a messenger of their enduring legends.

Two IDM icons, Roel Funcken and exm come together on Science Cult for an LP that is nothing short of alchemy. Flyphel feels like a living, breathing entity — an intricate fusion of sound that shifts between the mechanical and the organic. Each track unfolds like a story told in textures and tones, with Funcken’s razor-sharp precision meeting exm’s ethereal abstractions. You're not just invite you to listen, you're pulled into its world, where every detail reveals something new on repeat visits. This stunning release arrives as a 2x12" LP encased in a beautifully printed outer jacket with matching inner sleeves featuring paintings by Roel Funcken, making this as much a visual statement as an auditory one. With their combined expertise in sound design and their shared commitment to pushing boundaries, Roel Funcken and exm have created something that feels both timeless and ahead of its time.

At the start of the 1980’s X-Plode’s dad had a second-hand colour TV business in Bolton, Lancashire where he would buy, sell, repair and trade TVs. He would come back home with all kinds of things he had traded for a TV but the most memorable, to a 10 year old kid at that time, were the keyboards. He use to watch his dad play songs from the 1960’s on these keyboards and when his dad had gone out, Lee X-Plode would sneak on them and start messing about, experimenting with the drum programs and fiddling with the buttons, trying out ideas. He had to move fast though because these keyboards didn’t stay in the house for long as his dad would trade them again for something else; one time that was an old analogue echo chamber, which Lee also messed about with when his dad was out. That echo chamber was a revelation to Lee and opened up the possibilities of what was possible with sound. So by the time Lee was 16, he decided he wanted his own keyboard and started saving. When his 17th birthday came around he had saved up £200 and visited his local Argos where he bought himself a Yamaha PSS 680, an FM synthesizer with memory banks and a basic drum machine incorporated. ‘It was shit quality like, but I didn’t mind. I just wanted it for the programmable drum machine, the synth and the memory banks that came with it” Lee recalls. The year was 1987 and by this time in Lee’s life he was into reggae and hip hop, the latter he first embraced in 1983 by the way of breakdancing and listening to electro, so all he wanted to do when he got his gear was make reggae and electro sounding beats. Recalling his youth and the fun he had with the echo chamber, the next edition to his home set up was to acquire one of those, which he did via a mate of his. But by the time he got his minimal set up sorted in 1988, his musical tastes had changed. House music had landed here in UK and this was Lee’s new passion, so from that point on wards he started experimenting, trying to nail a decent house groove. ‘I wanted 808 sounds, but I didn’t know what one was!’ Lee explains.

Around late 1990 or early 1991, Lee started to improve upon his set up, purchasing an Atari STE, a Cheetah MS6 , a 6 voice polyphonic/multi-timbre analogue rack mounted synth that linked up to his Yamaha – “It wasn’t a great bit of kit, I kept getting electric shocks from it. Eventually it just blew up!” Lee had acquired a cracked copy of Cubase on floppy disk from his local computer game shop but struggled with it. “It was so complicated to understand and took me ages to get used to it. I was stoned a lot back then and I just couldn’t concentrate on anything for long” Lee laughs, continuing “I also picked up a 4 channel sampler/sequencer which plugged into the side of the Atari and that’s when I first started sampling, I think this would have been late 1991. I had the Simon Harris ‘Breaks, Beats and Scratches’ vinyl that he put out on Music for Life which were a godsend back then. I was also sampling a lot from cassette tapes, especially reggae. I would also record the Stu Allan show on Key 103FM, one of the main stations broadcasting out of Manchester. He would do a 3 hour show with hip hop and house, and then hardcore house came along. Eventually he dropped the hip hop altogether and it was just house and hardcore. I recorded the shows onto cassette most weeks and started to learn more about how house and hardcore was put together by listening to those shows.”

2024 Repress

Dimi Angelis with his characteristic obsessive way brings a new 12inch on Tar Hallow with 4 excellent raw bangers.

Vienna sludge doom masters TARLUNG return with their most focused and destructive statement to date. Axis Mundi is a massive slab of low tuned heaviness forged in the darkest corners of sludge and doom.
Built on suffocating riffs, dragging tempos, chugging grooves and feral vocal delivery, TARLUNG create a sound that feels both crushing and hypnotic. The band move between oppressive sludge weight, bleak doom atmospheres and abrasive noise soaked tension, shaping long, immersive compositions that pull the listener into a collapsing sonic landscape.
While rooted in nasty, direct sludge doom, TARLUNG also explore experimental textures, subtle dynamic shifts and rare moments of contemplation within the chaos, only to be swallowed again by waves of uncompromising brutality. This is an album made for listeners who want weight, tension and depth, not just volume.

For Fans Of: YOB, Crowbar, Weedeater, Iron Monkey, Dopethrone, Thou, SUMA

Mourn The Light kehren mit einem beeindruckenden neuen Album zurück, das epischen Heavy Metal mit einer düsteren, doomlastigen Atmosphäre verbindet und mit gewaltigen Vocals, emotional aufgeladenen Melodien und massiven Riffs überzeugt.

„Sorrow Feeds the Silence“ hebt den charakteristischen Stil der Band mit dramatischem Songwriting, dynamischen Arrangements und einem Sound, der an die Glanzzeiten des klassischen Metal erinnert und gleichzeitig mit moderner Intensität voranschreitet, auf ein neues Niveau. Von herzlichen, langsameren Passagen bis hin zu triumphalen Metal-Hymnen ist dieses Album das stärkste und vollständigste Statement in der Karriere der Band.
Unverzichtbar für alle, die kraftvollen, melodischen und atmosphärischen Heavy Metal suchen.

Für Fans von Candlemass, Dio, Grand Magus, Solitude Aeturnus, Savatage.

Stef Heeren, driving force of Belgian band Kiss the Anus of a Black Cat, is embarking on a special reunion concert series with his original folk ensemble to celebrate the 15th anniversary of the band’s acclaimed album, Hewers of Wood and Drawers of Water. Arguably their finest work in their discography, the album was the pinnacle of the band's folk-oriented sound, after which they tapped into more electronic territories.

The initial vinyl pressing (and cd) of Hewers of Wood and Drawers of Water, released in 2011, has long been sold out and now fetches excessive prices on the secondhand market. To mark this milestone, the album will be reissued in early 2026 as a limited-edition vinyl on KTAOABC’s own imprint, Kattengat.
With this re-release on the horizon, Kiss the Anus of a Black Cat is eager to hit the road once more, revisiting their folk roots and performing the songs that defined their earlier years. The concerts will not only celebrate the album Hewers of Wood and Drawers of Water, but also offer a chance to explore the full spectrum of the band's career, from their folk beginnings to their more modern, electronic explorations.

Happy anniversary!

Clear Red with Black Splatter