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Das Audio von „Even In The Quietest Moments…“ wurde in den Abbey Road Studios von Miles Showell übertragen und vom Album-Toningenieur Peter Henderson überwacht, wo sie den 1/2-Speed-Master
schnitten, der für die Pressung der Vinylplatte verwendet wurde. Die LP ist auf 180 g schwerem schwarzem
Vinyl gepresst. Es ist das fünfte Studioalbum der Gruppe.

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

Mixed by Simon Lam (Kllo, Armlock) and mastered by Grammy-nominated engineer Andrei Eremin, the album features collaborations with British talent including rising spoken-word artist Emmeline, Mancunian ambient producer Frameworks, and Nattica from Fickle Friends on the single 'Oh My'. Speaking on the album, Fractures says: "There's no overarching theme to this album, not lyrically anyway. It's cobbled together like short diary entries of someone journeying through a sort of middling stasis in their life, a time of nothing particularly noteworthy, and that in itself provokes deeper and maybe darker introspection.

I didn't feel like needlessly plugging holes with lyrics, just light dabs here and there, light and shade to complete the visual I pictured in my head. The through line of the album is more within the sonic palette. There's a murkiness, a sort of dust in the audio that is cast over every song. Noth

Against all odds, a devout audience has ridden shotgun and grown with them every step of the way. This symbiotic relationship speaks to the band's quiet impact with over 167 million streams in the United States alone, widespread acclaim, and sold-out shows. They loudly carved out their own corner of heavy music with an inimitable hybrid of head-crushing polyrhythmic prog-spiked metal, hardcore spirit, and unbridled attitude.

They have assuredly leveled up over the course of albums such as Via 2011, No Sleep [2014], Different Animals [2017], and Happier? [2021]. Kerrang! hailed the latter as "an album that gives a nod to the band's past while still bringing in new ideas." Meanwhile, the group shared stages on tour with everyone from Ice Nine Kills and Born of Osiris to Dance Gavin Dance and Counterparts.

Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza.

In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures.

This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra.

Unreleased Records is the label founded by Arodes, recognized for its afro-house, melodic, and club-oriented sound within the international electronic music landscape. Through a combination of high-quality productions, a strong and carefully developed artist roster, and an expanding live platform, Unreleased Records positions itself as a forward-thinking imprint that bridges underground credibility with international audience reach, and are now, after much demand, debuting on vinyl, with this standout 4 tracker EP with 3 tried and tested club bangers, and 1 unreleased gem.


So far, “Gwele,” “Don’t Mind,” and “Nothing’s Changed” have already been supported by heavyweights of the scene, including, Ante Perry, Black Coffee, Bluckther, Camilo Franco, Carl Bee, Chus & Ceballos (Ceballos), Cincity, Deer Jade, Djuma Soundsystem, Enoo Napa, Facundo Mohrr, Hyenah, Jonathan Kaspar, Joseph Capriati, Mauricio Brigante, Moeaike, Nicolas Masseyeff, Queen Rami, Sasha Carassi, Simone Vitullo, THEMBA, and Xinobi.

They also embraced a more organic, live- recording approach on Welcome to the Mood. The group explains, "Off the back of touring the last album, we had played more shows than ever and wanted to bring more of the live element into the process, so we didn't use drum breaks and loops as much as previous records and tracked live." They continued expanding their sound by bringing in specialist musicians -- string sections, brass, pianos, and backing vocalists -- pushing the sonic possibilities beyond their individual skill sets. Yet at its core, the album remains deeply personal. Written in remote hideaways, the songs carry the tranquility of escape while capturing a newfound confidence in emotional vulnerability.

Thematically, Welcome to the Mood is a rich sonic auditory tapestry woven with threads of authenticity, humanity, and creative celebration. Lyrically, the album explores universal experiences -- love, loss, connection, hope, and purpose -- drawn from the everyday yet rendered in LEISURE's distinct palette of lush tones and laidback groove. Tracks are anchored in realness but elevated by a sonic landscape that feels simultaneously nostalgic and futuristic, mirroring the ethos of Frank Lloyd Wright, whose Taliesin West provided literal and symbolic inspiration during the album's visual journey.

From the depth of transient memories comes ‘Some Leaves Must Fall 聽其自然’, Temple Rat’s latest EP and the inaugural release for Martin Gilleshøj’s ‘Buttheads’ label.

Across 6 tracks Temple Rat distills fragments of spatial memory, merging conceptual ambience with the mystic, spatial, and driven edges of deep trance and hypnotic techno. A pensive and functional synthesis, one played out like an ode to the sustained.

Through 2024 while moving between Berlin and Sichuan, Temple Rat conceptualized and finished ‘Some Leaves Must Fall 聽其自然’. At its core, the work is an exploration of how the personal memory of cities and their particular acoustic environments can be transmuted in musical form. For these places, altered by the passing of time and the shifting of contexts, mirror the fluid and generative nature of sound itself.

Creatively this approach was borne out in a kind of archaeology of sound: by sampling and capturing auditory fragments Mei was able to preserve otherwise fleeting moments of experience. Sonics which not only embodied the emotions of the present but served too as a mechanism of recall, pulling memory back into focus even against the erasures of time.

In its method this project seeks to transform the sonic textures of urban and natural environments into high-energy dance tracks, exploring the tension between the certainty of space and the uncertainty of time. A tension operating not only within the structural logic of the sound itself, but so too as an affective experience, extending into the listener’s body and perceptual field.

For we are not the first to note that in a world of pervasive temptation and fragmented information, sustained listening has become rarified. Through this project, Temple Rat hopes to counter this tendency; to encourage a deeper mode of listening that restores attention, re-establishing our essential connection with the present.

All music is written, recorded, arranged, and produced by Temple Rat aka Yuxin Mei
Mastered by Giuseppe Tillieci at Enisslab
Distributed by One Eye Witness


New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

"Murk Patterns" is eighth album by Mexican producer Rainforest featuring three talented collaborators - Homemade Weapons (Samurai Music, Weaponry), David Louis (Repertoire) and Heatwave (Onset Audio, AGN7).

Rooted in jungle pressure and expanding into halftime and atmospheric drum & bass, the release unfolds as a dynamic exploration of rhythm, weight, and space. Side A presents Rainforest’s solo work, including material released under his second alias Bwoykah, while side B is dedicated to showcasing collaborative tracks.

Repress on black vinyl. A longtime dream has been to capture YAWNING MAN performing in the very environment that so inspired their music. The opportunity arose in 2020 from the challenges artists and musicians faced during the Covid 19 Pandemic, social distancing forcing artists to creatively adapt to alternatives to express themselves musically and visually. Yawning Man 's answer to this calling is "Live at Giant Rock". This cinematic concert experience is intimately and beautifully captured by videographer Sam Grant in the environment that inspires Yawning Man's spacious, expansive and cinematic music. Filmed live in the early morning hours of May 18th, 2020 in the visually stunning and mysterious landscape of Giant Rock. In the spirit of Pink Floyd's "Live at Pompeii" the performance is shot on location with no audience, just the band performing their instrumental meditations in the rugged beauty of the Mojave Desert. Giant Rock in Landers California has attracted Native American Nomads, Scientists, UFO Researchers, and travelers from all over the world, drawn by its magnetic spiritual energy

Repress on blue jay vinyl, limited to 200 copies. A longtime dream has been to capture YAWNING MAN performing in the very environment that so inspired their music. The opportunity arose in 2020 from the challenges artists and musicians faced during the Covid 19 Pandemic, social distancing forcing artists to creatively adapt to alternatives to express themselves musically and visually. Yawning Man 's answer to this calling is "Live at Giant Rock". This cinematic concert experience is intimately and beautifully captured by videographer Sam Grant in the environment that inspires Yawning Man's spacious, expansive and cinematic music. Filmed live in the early morning hours of May 18th, 2020 in the visually stunning and mysterious landscape of Giant Rock. In the spirit of Pink Floyd's "Live at Pompeii" the performance is shot on location with no audience, just the band performing their instrumental meditations in the rugged beauty of the Mojave Desert. Giant Rock in Landers California has attracted Native American Nomads, Scientists, UFO Researchers, and travelers from all over the world, drawn by its magnetic spiritual energy

Kalipo kündigt sein fünftes Solo-Album mit Titelsong ‚Alles' auf Iptamenos Discos an!

Der in Berlin-ansässige Multinstrumentalist Jakob Häglsperger ist seit fast zwei Jahrzehnten einer der umtriebigsten deutschen Produzenten. Neben unzähligen Hits, sechs Alben mit seiner Band Frittenbude und vier von der Presse gefeierten Solo-Alben als Kalipo gründete er nebenbei 2020 - gemeinsam mit Local Suicide - die Band Dina Summer, ein weiteres Nebenprojekt welches seit dem international Wellen macht.

Mit über 30 Millionen Streams und weltweitem Radio-Airplay, verbindet sein Soloprojekt elektronische Intensität mit emotionaler Tiefe irgendwo zwischen Clubkultur und Indie-Ästhetik. Geradlinige, treibende, im Krautrock verwurzelte Beats treffen auf markante, von Electroclash, House und Techno der 2000er und 2010er Jahre inspirierte Melodien.

Mit fünf Soloalben und einem breiten Katalog von Remixen und Singles auf renommierten Labels wie Ki Records, Get Physical, Audiolith Records, Iptamenos Discos und Heimlich hat sich Kalipo einen festen Platz in der Szene erarbeitet. Seine Veröffentlichungen wurden unter anderem von Medien wie TAZ, Spiegel Online, Rolling Stone, Musikexpress, DJ Mag, Mixmag, Tsugi und Resident Advisor gelobt.

Das neue Album kommt mit einer ordentlichen Portion Darkness, schwebenden Gitarren und einem stampfenden Beat daher. Darüber singt Kalipo mal auf deutsch mal auf englisch lässig über das Loslassen von inneren Ängsten, Beziehungen und alltägliche Lasten. Ohne seine Fans zu verschrecken schafft er auch auf ‚Alles' wieder einen stimmigen Spagat zwischen Clubmusik und klassischen Songstrukturen.

Solid Ball of Rock is the tenth studio album by legendary heavy metal band Saxon and was originally released in 1991. Five of its eleven tracks were written by new bassist Nibbs Carter, who co-wrote another three songs.

The addition of young bassist Nibbs Carter seemed to inject new life into the group, which unleashed some of its most aggressive songs in years, including the full-on thrashing "Altar of the Gods" and positively scorching "Baptism of Fire."

"For our audience – and without an audience there is no band – our focus returned on Solid Ball of Rock…" noted singer Biff Byford. "Since then, we've been right on it."

Solid Ball of Rock is available as a limited edition of 1000 individually numbered copies on silver vinyl and includes an insert.

Dusty Springfield hosted this impromptu TV special to promote the Tamla Motown artists that were taking part in their first ever European tour in 1965. Motown sent over their six premier - The Supremes, The Temptations, The Miracles, Stevie Wonder, Marvin Gaye, Martha & The Vandellas were all backed by the Motown house band, The Earl Van Dyke Sextet. Dusty was a huge Motown fan and was keen to play her part in bringing the acts to a wider audience. The Beatles and the Stones also went out of their way to give Motown a mention in their interviews. Remember, Motown had only just launched its label in Europe earlier that year and the artists were known only to a small number of soul aficionados, so ticket sales for the tour were very poor. Mary Wilson recalls that the acts referred to it as the ghost tour, but they all put a performance for this fabulous TV show.

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Comic Sans are back! The San Sebastián Midwest Emo quartet has finished their second album, "Todas las cosas que nos salieron mal", following" Éramos felices y no lo sabíamos" and the EP "Ojalá fuera mi cumpleaños". However, "Todas las cosas que nos salieron mal" and its opening single mark an evolution within Comic Sans"s perfectly recognizable style. Without abandoning the parameters of midwest emo, the San Sebastián band wants to reach a wider audience and sound more like themselves than their influences. They have matured, and it shows in deeper lyrics, while still remaining honest and direct, and in a more personal choice of structures, effects, and melodies. Everything"s more indie, really; understanding indie no longer as a genre (which it never was) or a classification related to the size of a band"s distribution channels, whether more mainstream or more underground, but as the desire to move away from the conventions of the style in which they emerged and took their first steps in order to develop something genuinely their own.

Wewantsounds is delighted to release for the 1st time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the 80s and early 90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. Newly remastered and accompanied by liner notes by Gysin scholar Jason Weiss, this LP edition coincides with a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, underscoring his lasting impact on contemporary culture.

Endlich wieder auf Vinyl erhältlich: Das legendäre „Bodo Ballermann“ 7“ Single.Die 50th Anniversary Edition erscheint in limitierter Auflage als Picture Disc mit dem Original Single Cover. - mit der B-Seite „Ich träume oft davon ein Segelboot zu klau`n“

Nach dem Riesenerfolg von „Votan Wahnwitz“ 1975 veröffentlicht Udo Lindenberg und das Panikorchester im Januar 1976 das futuristisch anmutende "Galaxo Gang - Das sind die Herrn vom anderen Stern“Das Album erreicht Platz 4 der deutschen Charts.
Die anschließende Tournee mit dem Untertitel „Das sind die Herrn vom anderen Stern“ wird ein Riesenerfolgund ist Udos erste Rock ´n`Roll Revue
Zensurmaßnahmen im Radio und TV sowie Kontroversen um den Song "Lililiputaner" prägten die zeitgenössische Kritik - das Album hält sich dennoch 4 Monate in den Charts und wird viermal mit Gold ausgezeichnetEs enthält außerdem die inzwischen zu Udo-Klassikern gewordene Songs: "Bodo Ballermann", "Rock ´n`Roller", "Radio Song" oder "Gene Galaxo“, ein apokalyptisches Drama, gespickt mit ironischen Anspielungen auf Deutschlands kulturelle und politische Lage in 1970er Jahren.
Das Album erscheint jetzt zum 50 Jubiläum in einer limitierten, remasterten Version auf blauem Vinyl / 180g.

Tenor Arias from Italian Operas zeigt Luciano Pavarotti auf dem Höhepunkt seiner Ausdruckskraft, wie er
jene Arien interpretiert, die ihn zur Legende machten.
Von der schwebenden Lyrik Verdis bis zur tief empfundenen Leidenschaft Puccinis offenbart diese maßgebliche Sammlung Pavarottis unvergleichliches Talent, Melodien zu formen, Charaktere zum Leben zu erwecken und die Seele zu berühren. Jeder Track strahlt neue Tiefe und Präsenz aus und zieht die Hörer
näher denn je an die unverwechselbare Wärme und Brillanz des weltweit beliebtesten Tenors heran.
Das Album erscheint erstmals seit 1984 wieder auf Vinyl – mit neu geremastertem HD-Audio, ebenfalls
zum ersten Mal. Das Material wurde direkt aus den Pre-Master-Bändern in den Decca-Archiven übertragen
und verleiht diesen historischen Aufnahmen eine neue, wunderschöne Perspektive.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

Kim Rapatti (Mono Junk) is a long-running Finnish electronic music producer and the operator behind DUM Records. In the early 1990s, releasing across multiple aliases was a practical way to keep output organized and to present a broader label roster. Mars 31 Heaven was one of Rapatti's period-specific side names, used to separate a more inward strand of work from the main Mono Junk line.

Mono Junk presents Mars 31 Heaven: Collected Works '93–'95 is the first time these recordings have been compiled onto a single release. The tracks were previously scattered across various compilations, with "Little Elephant" later reappearing on a Mono Junk release. Audio was sourced from the original DAT tapes and remastered by Michael Diekmann. "Osaka House Remix" and "World of Isolation" originally appeared on the B-side of DUM Records' Blue File Compilation (1993). "Violins" and "Abyss" appear on vinyl for the first time after CD-only appearances ("Violins" on Dum Trax, 1995, and "Abyss" on Unitunes and Came From Outer Space I), and the original mix of "Osaka House" is previously unreleased. Housed in full-colour sleeves designed by Ed Cheverton.

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Here we have two luminaries of contemporary music, vocalist Audrey Chen and iconoclast guitar player Tashi Dorji, who both have proven themselves as key representatives of idiosyncratic music for the past 20 plus years.

Audrey, born into a family of material scientists, doctors and engineers, channeled those family genes through un-processed hyperextended voice, consequently transmutating her family's DNA into her very own sonic language of equal precision, discipline and creative power as her kins' professions.

Tashi, on the other hand, carries the mountains in his spirit: born in Bhutan, Southeast Asia, now residing in Ashville, North Carolina, close to the Appalachians. That earthly power is unmistakably present in his energetic guitar playing, which also incorporates folkloric elements of both his native country, and his homeland since 2000.

Those two strong musical personalities met on stage in the late summer of 2023 at Morphine Raum, Berlin. The fact that it took place in one of the birthplaces of techno music, seems to have pushed their performance towards an industrial, repetitive aesthetic of, at times, almost dancelike quality. However, as the track titles suggest, that classic forward pulsating rhythm, associated with electronic dance music, is bent at their heart's content, as are its appertaining clean melodies gnashed to smithereens.

One of the UK’s most singular voices, Murkage Dave has spent the last decade crafting a body of work that refuses to fit neatly into any genre box. His music, loosely pop but informed by indie, outsider art, and an instinct for storytelling, is built on honesty, empathy, and fearless social commentary. Across his career, he has earned a cult following and praise from Pharrel Williams, Iggy Pop, BBC Radio 6 Music, The Guardian, Rolling Stone, Pitchfork, Clash, Complex, Highsnobiety, and Vogue. His debut album Murkage Dave Changed My Life (2018) amassed over 12 million Spotify streams, while follow-up The City Needs A Hero (2022) reached #10 on the UK iTunes Chart and #15 on the UK Independent Chart.

Der postklassische Komponist, Klangkünstler und Kurator Matthew Patton ist mit seinem zweiten Album als Those Who Walk Away zurück. "Afterlife Requiem" ist eine Elegie für seinen Freund und Kollegen Jóhann Jóhannsson. Drones, Elektroakustik und fast vollständige Stille, extrahiert aus unvollendeten Aufnahmen auf Jóhannssons Festplatten, bilden die Grundlage für zwei Streichquintette - Ghost Orchestra (Reykjavík) und Possible Orchestra (Winnipeg) -, die in einem traurigen, langatmigen Werk verarbeitet und ausgelöscht werden. Patton hat auch wieder mit Andy Rudolph (Guy Maddin) und Paul Corley (Sigur Rós, Ben Frost) an der Koproduktion und dem Sounddesign gearbeitet, um eine brodelnde Körperlichkeit zu schaffen, die brodelnde Tiefen mit eindringlichen Bewegungen gespenstischer Streicher kontrastiert. ,Alles, was ich je geschrieben habe, ist ein Requiem. Alles ist ein Ende. Der Tod ist überall in dieser Musik präsent. In meinen Werken geht es um das Verschwinden - der Gegenwart, der Vergangenheit, von allem. Afterlife Requiem wird im Laufe seiner Dauer immer langsamer, es ist ein einziges großes Ritardando, die Zeit verlangsamt sich nicht nur, sie verschwindet. Ohne dass ich darüber nachgedacht hätte, ereigneten sich zwei miteinander verbundene Tragödien, die während des Schreibens, Aufnehmens und Arbeitens organisch an die Oberfläche kamen: der Tod meiner Mutter und der Tod des Komponisten und Freundes Jóhann Jóhannsson. Wenn ich mit dem Schreiben anfange, denke ich an nichts Bestimmtes, ich schreibe einfach, komponiere, nehme auf und höre zu ... aber irgendwas macht sich immer auf unvorhergesehene Weise bemerkbar oder drängt sich in den Vordergrund. Nach dem medizinisch assistierten Tod meiner Mutter wurde mir beim Ausräumen ihrer Wohnung klar, dass ich auch die physische Manifestation ihrer Welt auslöschte - und dass ich genau dasselbe mit der Musik tat, die ich schrieb und aufnahm. Während dieser Zeit wurde mir auch Jóhanns Tod immer wieder bewusst. Für Afterlife Requiem habe ich kurze, verlassene Fragmente aus Jóhann Jóhannssons Festplatten genommen und diese körperlosen Audio-Geister abwechselnd in meine eigene Musik eingebaut, wobei ich sie unrein gelassen habe - und dabei die Grenze zwischen Schaffen und Zerstören verwischt habe. Nach seinem Tod hatte ich diese Festplatten aus Jóhannssons Berliner Studio zum Anhören bekommen. Diese Musik war aufgegeben worden, in verschiedenen Stadien der Entstehung und Auflösung: ein Verzeichnis zerfallener und toter Erinnerungen, vergessen und jetzt nur noch in einer Reihe ineinandergreifender mechanischer Teile vorhanden, die mit der Zeit selbst versagen und verschwinden werden, wie alles andere auch. Monatelang hörte ich mir diese Überreste von Jóhanns Musik obsessiv an und versuchte, Hinweise auf Jóhann vor seinem Tod zu finden. Oft stellte ich fest, dass er das Aufnahmegerät noch lange nach Ende der aufgenommenen Musik laufen gelassen hatte. Er schien nicht zu bemerken, dass die Musik aufgehört hatte, oder registrierte nicht, dass dies das Ende der Musik war, oder vielleicht war er durch etwas anderes abgelenkt. Aber ich fand diese langen Stillephasen zutiefst emotional und berührend. Die verschwindenden Elegien von Afterlife Requiem sind weniger Musik als vielmehr Überreste von Musik. Auf diese Weise arbeite ich immer auf die Subtraktion von Bedeutung hin. Die Musik ist fern und verschwommen, beschädigt, geisterhaft und gespenstisch und deutet nur wie eine halb vergessene Erinnerung an das, was einmal existierte, eine verdichtete Darstellung von Verfall und Auslöschung. Ich habe dieses neue Stück von Anfang bis Ende mit diesen körperlosen Stillephasen aus Jóhanns eigenem Werk, Raum und Zeit unterlegt. Jetzt für immer verschwunden, bleibt seine aufgezeichnete Stille zurück; eine monumentale Leere, die der Welt verloren gegangen ist. Im gesamten Stück, insbesondere in den Abschnitten ,Memorial Environment", habe ich auch unzählige Geräusche aus der Natur integriert, von vulkanischer Lava über Lastenaufzüge bis hin zum menschlichen Blutfluss, dem Zischen von Turbinen und Selbstmordinjektionen. Der Künstler Robert Smithson sagte vor Jahrzehnten: ,Es ist die Dimension der Abwesenheit, die es noch zu finden gilt." Für mich misst diese Musik auch, wie die Zeit abläuft. Tatsächlich ist die Zeit bereits abgelaufen. Die Ewigkeit hat bereits begonnen." - Matthew Patton (Those Who Walk Away)

Decca Classics präsentiert Lise Davidsen: Live at the Met - aufgenommen während des bahnbrechenden
Soloauftritts der Sopranistin an der Metropolitan Opera im September 2023.
„Es kommt selten vor, dass die Met einen Künstler zu einem Solokonzert in ihrem Auditorium mit 3.800
Plätzen einlädt. Und noch seltener ist es, dass diese Sängerin ihr Debüt in New York City gibt. Aber
Davidsen ist etwas ganz Besonderes: eine echte dramatische Sopranistin.“ (The New York Times). „Keine
Kulissen, keine Kostüme, kein Orchester: Aber die ganze Oper war da.“ so die Zeitung weiter.
Davidsen hat eine enge Beziehung zur Met, wo sie seit ihrem Debüt 2019 regelmäßig in Hauptrollen von
Tschaikowski, Wagner, Strauss, Verdi, Puccini und Beethoven auftritt. „Ich betrachte die Met als mein
zweites Zuhause“, sagt Davidsen. „Aber um so etwas gebeten zu werden, war etwas ganz Besonderes.“
Zu den Höhepunkten zählen Wagners „Dich, teure Halle“ aus Tannhäuser, Amelias Arie aus dem dritten Akt von Verdis ”Un ballo in maschera” und Puccinis „Vissi d’arte“. Dazu kommen Lieder von Schubert
sowie Musik von Grieg und Sibelius als Hommage an Davidsens skandinavische Herkunft.
Die Veröffentlichung folgt auf Davidsens gefeiertes Wagner-Album ”Der fliegende Holländer”, welches den
Gramophone Award 2025 für die beste Opernaufnahme gewann und von Kritikern weltweit hoch gelobt
wurde.

John Lee Hooker is widely recognised as one of the true giants of the blues, along with Muddy Waters, B.B. King, and Howlin' Wolf. Hooker is often called the "King of the Boogie" and his driving, rhythmic approach to guitar playing has become an integral part of the blues' sound and style that perpetuated the UK's rhythm and blues scene of the '60s. Presented here is one of John Lee Hooker' s finest album, The Big Soul of John Lee Hooker, recorded in Chicago in 1962.

In a career that spanned some forty odd years, a pivotal point of success came with his 1989 album The Healer, which featured collaborations with Carlos Sanatana, Bonnie Raitt, Charlie Musselwhite, and Los Lobas. The album expanded his audience beyond the blues idiom, earning him his highest Billboard album chart success (#62) his first Grammy Award; all of this at the grand-old-age of 73. For those not familiar with Hooker's earlier work, the Big Soul of John Lee Hooker is an excellent starting point.

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

NOCTURNIA

An Enigmatic Collective of Sound

Step into the depths of sound with NOCTURNIA, a captivating deep techno project that brings together the unique talents of Kenny Dahl, Lakey, Salvatore Foglia, and PWCCA. This diverse collective combines distinct influences and styles to create an unforgettable auditory journey.

Kenny Dahl is recognized for his intricate soundscapes that blend organic textures with hypnotic beats, crafting immersive experiences on the dancefloor. Lakey delivers dark and deep tracks that resonate with haunting atmospheres, drawing listeners into an emotional abyss with every pulse and rhythm.

Salvatore Foglia infuses a raw, underground edge into the mix, pushing the boundaries of sound with innovative production techniques that capture the essence of techno culture.

Lastly, PWCCA contributes an experimental touch, creating avant-garde sounds that challenge perceptions and invite exploration
of the unknown.

Together, these artists form NOCTURNIA, a space where night
meets sound, and every track unfolds a story. Whether through driving rhythms or atmospheric builds, their music invites you to lose yourself in the night, exploring the depths of your mind and the thrill of the dancefloor.

Rolando’s back in the game with Syncrophone Remixes Vol.2—flipping DJ Qu’s “Undescribed3,” Detect Audio’s “Synchronize,” and Anthony Shake Shakir’s “Arise.” Three exclusive remixes, pure underground techno for real heads. Detroit spirit, cop this 12” before it disappears!

DJ Feedbacks :


Honey Dijon : DJ Qu is the one for me. Will def support!
Raresh (ar:pi:ar) : super! thanks
Truncate : Thanks!
The Advent : Smooth bgrooves on here.. 3 - Anthony 'Shake' Shakir - Arise (Rolando Remix)
Anika Kunst (Symbolism / RSPX) : Cool release. Arise rmx is beautiful. Thanks!!
Harvey Sutherland (MCDE / PPU / Voltaire Records) : DJ Qu flip for me, thanks!
Scott Grooves : The Shake is the one
Satoshi Tomiie (Abstract Architecture) : Wooow hot hot hot
Roman Fluegel (Roman Fluegel, Dial, Cocoon, Playhouse, Robert Johnson) : The Remix for Shake is the one for me.
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Enrica Falqui (ERIS, Plexus 4) : I like it!
Daniel Avery (Phantasy / Fabric) : Awesome
Laurent Garnier : cool release
Elisa Bee : Only love for Rolando, thanks x
Slam (Soma) : Brilliant - thanx
San Proper (Perlon / Rush Hour / Proper's Cult) : Totally what i needed to hear, Rolando remixing Shake & Q, my heroes lined up. I will enjoy playing all 3 mixes. One Love.
Axel Boman (Studio Barnhus) : killer remixes!
Terry Farley : DJ Qu mix my fave - heads down LETS GURN
D'Julz (Bass Culture) : great work !
gilbr (Dj Gilb'R / Chateau Flight (Versatile)) : Like the Shakir remix thanks for sending
Ben Sims : Now downloading... will check asap!
Lea Lisa (Phonica Records / Folklor Club) : mental, really good one
Dj Deep (Deeply Rooted) : Super nice package! Dj Qu's Undescribed3 remix for me here! Thank you
Mike Shannon (Cynosure) : Rrrrreeeeemix!! Thx
Efdemin (Dial) : Wonderful remix package!
Inland (Inland) : Hellooo. These are great. Qu and Shake versions both killer! Thanks
Kai Alce (Real Soon) : DJ QU remix bangin
Uncertain (RSPX, WRKTRX, Suara) : remix 1 for me
Harri (Sub Club) : very nice all three will play and support
Blasha & Allatt (Meat Free) : Thank you!
Marcel Dettmann : thx
Richie Hawtin (M_Nus) : downloaded for r hawtin
Luke Solomon (Classic / Freaks / Music For Freaks) : all killer
Luke Slater : Thanks Ro!
Ame (Innervisions) : thanks
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : I like this
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Alienata (about blank) : Very nice remixes, all of them, thx!
Nat Wendell (Depth of My Soul, Courtesy of Balance, Love & Loops) : Dope remixes!
Dave Clarke (white noise radio) : Not my sound, but please keep them coming !

This is the debut release on Superflux — a label out of New York run by DJ Brisket and Tamahori. It’s a dubby, pad-driven, deep house EP from four artists who all lived in the Midwest before landing in Brooklyn.

A1 – “Slow String (original mix)” is a straight-ahead deep house groover from Daniel Chavez, who has releases on Deep Club, Muted Noise, and Sole Aspect. Floaty pads, intricate drums and smart bass programming make for a warm and chunky tune. For fans of Brawther, Alton Miller, Ron Trent

A2 – “Slow String (Adam Raphael Dub)” is a remix from Chavez’s longtime friend and collaborator, Adam Raphael. He injects a heavy dose of West Coast tech-house into the original, like a combination of Bluem, Grayhound, and Tweekin’ for a 2025 audience

B1 – “The Blue Line (fleet.dreams remix)” is from the Mansions resident who also helms his own vinyl label, Vinezza. He takes a really driving and lush focus on this remix which evokes styles of Dana Kelley, Eddie Richards and Terry Francis Jr. He secured the coveted Hardwax “tip” on his solo EP last year, and delivers that level of discerning taste and skill here.

B2 – “The Blue Line (original mix)” is the track from IT-XPO that has anchored the release since day one. A thoughtful way to start the night, or for a soft landing in the morning sun. Heavy Shinichi Atobe and DJ Sprinkles influence here.

Clear vinyl 2LP + insert. Volume 3. Personal Computer Music for the Third Millennium. A compilation of hits from 2018-2021 alongside upcoming, unreleased and unreleasable music.

If you like cold-wave music and you’re nostalgic of the 80s, “Lines & Parallels” by French Swiss trio Factice Factory clearly reveals multiple parallels with this golden decade of dark music. A delicious propulsive bass, cold synths and lots of atmosphere. A dark and at times even claustrophobic atmosphere.

On the release, two musical sides can be identified: two lines or parallels. An electronic and more hypnotic side with the Neue Deutsche Welle-like “Leuchtturm”, the minimal film noir tribute “Audran”, the eighties sounding “Sway” or the harsh industrial tainted “Extinguisher”. The other line is to be heard in tracks such as the desperate and goosebumping “Defeat”, the oriental sounding “Hatch End” or the melancholic end ballad “The Weeping Willow” These two parallel lines finally merge into one single and united sound pattern, a delight that will surely find its place in the ears of many dark music addicts.