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In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.

The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.

For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.

A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.

Im April 2026 bringt Eaves Wilder ihr heiß erwartetes Debütalbum ,Little Miss Sunshine" raus. Die Platte ist ein krasser Entwicklungssprung für die Singer-Songwriterin aus Nord-London, die 2020 mit 16 Jahren mit ihrem selbst aufgenommenen Lockdown-Release ,Won't You Be Happy" zum ersten Mal auf sich aufmerksam gemacht hat. Eaves begann mit der Arbeit an ,Little Miss Sunshine" nach einer Phase des Nachdenkens, in der sie sich fragte, ob sie der Musik in ihrem Kopf letztlich gerecht werden könnte. Wer sich mit dem Album beschäftigt, entdeckt zehn Songs, die sich an den Zyklen der Natur orientieren, um die emotionalen Stimmungen zu erklären und zu feiern, die uns zu Menschen machen. ,Als ich am Boden war", erinnert sich Eaves, die an einer Stelle sogar lacht, als sie sich daran erinnert, wie sie beschloss, die Musik ganz aufzugeben, um in ein Kloster einzutreten: ,Ich wollte einfach nur unmenschlich, gefühllos und unbewegt sein. Wie ein Berg oder ein Baum. Oder der Himmel. Das sind alles Dinge, die einen Zweck haben, aber ich wusste nicht, was mein Zweck war. Und so musste ich es herausfinden, Song für Song." Auf Little Miss Sunshine wird diese Geschichte in spannenden Episoden erzählt, angefangen mit den ersten Sekunden des Albums und der Lead-Single Hurricane Girl, einer sensationellen Synergie aus durchscheinenden Shoegaze-Harmonien und elementaren Rockgitarren, inspiriert durch Dokumentarfilme über Sturmjäger, wobei die Metapher verwendet wird, um ein Licht auf Freunde zu werfen, die gezwungen waren, stürmische Beziehungen zu suchen. ,Ich habe das Gefühl, dass dies mein Pearl-Jam-Song ist", erklärt sie. ,Das erste Mal, als ich Pearl Jam hörte, war ich auf einem riesigen Berg in Wales. In derselben Woche hörte ich auch zum ersten Mal Jagged Little Pill von Alanis Morissette." Von hier aus, bis hin zu seinem schmerzlich bewegenden Requiem an die Kindheit Summer Rolls fungiert jeder Song auf Little Miss Sunshine als leuchtender Koordinatenpunkt in einem Bogen der Selbstfindung. Da ist der hochfliegende Klangrausch Everybody Talks, mit seinem ansteigenden Crescendo aus aufdringlichen Stimmen, der auf beiden Seiten des Atlantiks große Unterstützung im Radio fand. Für Mountain Sized bezog sie sich auf Lily Allens Single The Fear aus dem Jahr 2009 - ,weil da diese eine Frau ist, die ganz beiläufig all die schlimmsten Dinge über sich selbst aufzählt, Dinge, die man sich eigentlich nicht trauen würde zuzugeben". In Eaves' Song wird diese aufkommende Angst jedoch durch einen panoramischen Refrain ausgelöscht, in dem sie die Grenzen ihrer realen Welt durchbricht, um zu verkünden: ,But in my mind/But in my mind/I am taller than the highest mountain sides." In dem schmerzlich melodiösen ,The Great Plains" hinterfragt Eaves ihre frühesten Erinnerungen, in denen sie ihre ältere Schwester Dora vergötterte. ,Sie war so zurückhaltend und wie eine Meerjungfrau", erinnert sich Eaves, ,und ich wurde von meinen Emotionen beherrscht - und je mehr ich versuchte, das nicht zu sein, desto mehr wurde mir klar, dass ich niemals wie sie sein könnte." In dem Song findet Eaves eine Art Selbstakzeptanz, indem sie auf die Natur schaut, um zu erfahren, dass es okay ist, so zu sein, wie sie ist: "As I erupt into a blaze / It's ok the sky will do the same/Let no-one bat an eye when / Every year I'll hibernate till May / Because no-one blames the clouds for rain / So take me as I am, tears down my face." Als die Sessions an Fahrt gewannen, fand Eaves Inspiration in zeitgenössischen Veröffentlichungen. Beispiele dafür waren Wolf Alice (,die einzige Band, die die Balance gefunden hat, die ich immer suche - die Kombination aus schweren Gitarren und hohen, ätherischen Vocals"), Mannequin Pussy (,sie gaben mir etwas von dem, was ich in der Ära von Riot Grrrl vermisst habe, als L7 und Babes In Toyland auf Tour waren") und CMATs ,geradlinig brillantes Songwriting". Weitere Highlights auf einem Album, das von ihnen geprägt ist, sind Daisy Chain Reaction, dessen glitzernder Power-Pop-Glanz einen Text über die Kultur des Wettbewerbs rund um Essstörungen verbirgt, und der unangenehme, mechanisierte Angriff von Just Say No, ein Song, der auf den brutalen Wahrheiten basiert, die Eaves und ihre Freundinnen in ihren Auseinandersetzungen mit missbräuchlichen Männern gesammelt haben. Zwei Jahre lang hat Eaves unermüdlich daran gearbeitet, jeden einzelnen Vers, Refrain, Pre-Chorus und Middle Eight auf Little Miss Sunshine zu verfeinern, bevor sie mit dem Co-Produzenten des Albums, Andy Savours (My Bloody Valentine, The Killers, The Horrors), ins Studio ging. Dies ist ein Album, auf dem jedes einzelne Detail seinen Platz verdient hat und das Zeugnis ablegt von der einzigartigen musikalischen Vision seiner Schöpferin.

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.

Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop.

At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.

In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far.

This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

Analog Tara’s Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.

Composed, recorded + mixed by Tara Rodgers. Mastered by Piper Payne, assisted by Colby Gustafson, at Neato Mastering in Nashville, TN. Art by Jackie Milad, She Goes Ancient, mixed media, 2019.

Reissue of the essential album by Granada's TNT. "Manifiesto Guernika" is an essential piece of Spanish punk & post-punk history, originally released in 1983 by the legendary DRO label. One of the pillars and most important records of Spanish punk, "Manifiesto Guernika" remains a fresh, powerful and intense classic of the genre. An exciting mix of '77 punk, post-punk and "Combat Rock"-era Clash with smart and profound lyrics that elevated them to cult status. Original artwork & insert and extra fold out insert.

To celebrate the year anniversary of its first release, Erin LeCount launches a limited edition transparent vinyl of her 2025 EP I Am Digital, I Am Divine. The tracklist includes viral hit Silver Spoon which amassed 300K Soundcloud streams before it had even been released, since amassing 21M streams in less than 12 months.
Available for pre-order on the 24th March and set for release on the 17th April 2026.
Erin LeCount is a 23-year-old self-taught artist and producer. A visionary sonic architect and the sole writer and producer of her music, her sound ranges from luscious baroque-pop arrangements to alluring gothic-pop. At the foreground of her music are diaristic lyrics and captivating synths which offer an enchanting interplay of vulnerability and power. The themes within her music explore everything from identity to relationships and the meaning of life. Erin’s influences include Fiona Apple, Kate Bush, Lorde, Imogen Heap, Charli xcx, and Sampha.
In May 2026, Erin LeCount will embark on her biggest run of shows to date with her new UK tour, entitled the ‘PAREIDOLIA Tour’, which will see her play dates in Manchester, Glasgow, Bristol, and London, the latter of which will take place at the Roundhouse in what is Erin’s largest headline show so far. This month, Erin was also announced on the line-up for Lorde’s All Points East date on Saturday 22nd August.

GENERATION RADIO return with "Take Two", the eagerly awaited follow-up to their acclaimed debut, delivering another masterclass in AOR/West Coast rock infused with just the right touch of the Nashville sound. Produced by founding members Jay DeMarcus (Rascal Flatts) and Jason Scheff (former Chicago), the band features an all-star lineup: Steve Ferrone (Tom Petty & the Heartbreakers, Average White Band) joins on drums, replacing the formidable Deen Castronovo (who returned to Journey as full-time member), while Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) round up the powerhouse ensemble. “Take Two” is rich with pristine harmonies, unforgettable hooks, and timeless songwriting—hallmarks of the genre delivered with class and authenticity.

Tracks like the widescreen, harmony-laden “Montana Sky,” the hook-filled “The Melody,” and the emotionally charged ballad “Hate This Heart” showcase the band’s signature blend of melodic precision and heartfelt performance. Adding depth to the album’s appeal, Generation Radio also offers reimagined versions of timeless classics that shine in their live sets: Whitesnake’s “Here I Go Again,” Chicago’s “You’re the Inspiration,” Kenny Loggins’ “I’m Alright,” and a rock version of Rascal Flatts’ classic “These Days.” With "Take Two," Generation Radio not only honors the legacy of AOR and West Coast rock—they elevate it, combining elite musicianship and genre-crossing influences into a record that’s as fresh as it is nostalgic.

A1 Dawn Razor x Electrosoul System - Hiper Dob. Progressive breaks in the best traditions of Layo & Bushwacka! Atmospheric, fiery, harmonious.

A2 Electrosoul System - #electrobidon. Powerful electro breaks with paranoid melodic harmonies and an original, memorable voice sample by the 46th President of the USA.

B1 DJ Brix - Under Attack (Electrosoul System Remix). Crisp breakbeat with an old-school touch, echoing early Chemical Brothers and Prodigy, acid house and the acid revolution.

B2 Dissident - Alter Samadhi (Eklektika Remix). Gloomy, mesmerizingly hypnotic future garage remix of a drum'n'bass classic by Dissident.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Sasha's collaborative hot streak continues with Manchester-based duo Cortese. The pair were last on Last Night On Earth in 2024.

A big 2025 saw electronic titan Sasha linking up with a mix of fellow pioneers and next-generation stars. He collaborated with the likes of Artche, Henry Saiz, and Joseph Ashworth, always pushing forward his signature sound, steeped in meticulous synth craft, built on transportive grooves, and packed with rare levels of universal emotion.

Cortese are new school artists with an emotionally rich mix of garage, breaks, and house. They head up their own Plaza Recordings and, as well as appearing on Sasha’s LUZoSCURA compilation, they dropped their 'All U Do' EP here in December 2024. Following gigs in support of mainstays like Bicep and Mike Skinner, they now hook up with one of dance music's most recognisable names.
The result is 'One', a deep and heavenly odyssey with warm, supple drums infused with subtle garage swing. Wordless vocals bleed into the mix, heightening the sensuality, as the majestic arps and shimmering chords light up the airwaves. It's an irresistible invitation for the dance floor to take off on a wave of cautious hope and optimism without ever losing sight of the grounding groove.

On the flip and the fantastic 'U Disappear' is an Ibiza anthem in the making - the synths are widescreen and sun-kissed, while the bass is dark and transportive. Balearic piano chords ripple through the mix alongside arching pads and soft, wordless vocals, lending a dreamy edge to what is a powerful track, both physically and spiritually.

4 Remixes from 4 tunes of Le Diable Au Corps !

! LIMITED 300 copies !

A1 - is a remix of La Vache Folle Guerit De Tout 2 by Sparks !
A2 is a remix of Dark Rabbit 14 by UZi !
B1 is a remix of La Vache Folle Guerit De Tout 8 by Protokick
B2 is a remix of BIONIK 09 (from Harry Potar) by Binary Asymetrix.

Enjoy !!

SELF-iSH is a quick but intensely dramatic concept album with dark psychedelic themes and nonstop experimental energy. Will Wood and the Tapeworms quickly grabbed attention in the punk scene following "Everything is a Lot" due to Wood's unique writing and refusal to break character even backstage and the band's dangerously high-energy shows. Face paint, confetti, and on-stage violence became the project's calling card, making SELF-iSH's dark and intense drama an inevitable direction for Wood. Mere months after the debut, producer Kevin Antreassian offered Wood a deal on his follow-up but only had a narrow time window, so Wood improvised. Bringing together a new lineup and with the help of guitarist Mike Bottiglieri, Wood wove scraps of discarded or unfinished songs together and created a tight yet abstract psychedelic concept album with the intent of taking every risk and trying every off-kilter idea he had. SELF-iSH began its highly conceptual production process during the holiday season in 2015, and the studio became littered with notepads, graphic charts, and teeth. The result was a manic little album featuring screaming, theremin, kazoo, power drills, the sound of breaking furniture, and an almost heavy-metal twist on Wood's off-kilter vision. By the time the album was finished, the piano was bloody, and the studio was wrecked. The album became what Wood described as the "bastard child" of his discography. Will Wood's early career can be primarily defined by his experimental vocal delivery, honky-tonk piano smashing, and darkly edgy songwriting. While his stylings have matured and taken on a more precise approach, his refusal to conform to expectations and constant shifts in the genre have continued to be hallmarks of his songwriting and production. In his "Will Wood and the Tapeworms" releases (Everything Is A Lot in 2015, SELF-iSH in 2016), audiences can see the first glimpses into what would eventually become his signature style, presented in a uniquely raw and chaotic state of potential.

Costas Music returns with its third release after a period of silence, delivering a timeless club-oriented EP from label head Costas, with remixes by Baldo and Youandewan.

It's Me Again sets the tone with rolling 90s-influenced drums, groovy basslines and subtle acid touches, driven by a raw dancefloor energy and atmospheric pads in the breakdowns. Barcelona’s Baldo steps in with a powerful remix, reshaping the track into a peak-time club weapon.

On the flip, Waterphone dives into hypnotic territory with evolving textures and stripped-back grooves built for late-night floors. UK underground favourite Youandewan delivers a distinctive reinterpretation, injecting his signature trippy swing and deep rhythmic flow.

Closing the EP, Drako drifts into cinematic soundscapes and immersive atmospheres, offering a deep and reflective ending to the record.

Deep, acid-tinged underground house with strong 90s influences — crafted for modern dancefloors.

THE RAPPER ANDPRODUCER"S NEW ALBUM
Palmier is producer and rapper Rocé"s new album. At the crossroads of Sade and Rakim, the album unfolds an impeccable flow over gentle melodies, the mellow sound of the saxophone softening the sharpness of the spoken truths. Rocé delivers a melody of hope, and appreciation of determination in the face of the impossible. "La Voie Lactée" features the captivating voice of Natacha Atlas and the sublime orchestrated violins of Samy Bishaï, the whole thing wrapped up in the style reminiscent of Isaac Hayes" soul and Portishead"s trip-hop. "Laisse les enfants courir" reveals a soulful hip-hop,between powerful groove and relentless flow, where Rocé blends political lucidity and poetic verse while Cisko"s subtle arrangements sculpt an organic, sensitive landscape, poised between tension and serenity. On "Lunaire", Rocé surprises us right away, with a sharp and melodic flow. Driven by powerful imagery and sharp lyrics, the track transforms anger into creative energy. It portrays an artist outsidethe mainstream, awareof the world"s failings but determined to create his own haven. Palmier embodies the melancholy of unfinished struggles, perseverance, and the promise of a brighter dawn.

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

AJATE from the East and STEPAK TAKRAW from the West. A historic encounter between Afro-groove bands from East and West!!!
A powerful split album born from the clash of diverse cultures.
The A-side features two tracks by AJATE, a group hugely popular not only domestically but also in Europe and America, who create a unique atmosphere using
Japanese festival music instruments, handmade bamboo guitars, and balafons.
The B-side features two tracks by STEPAK TAKRAW, whose hard-hitting technique rivals authentic Afrobeat bands, breakbeat-inspired approach, and original
sound effects will leave you spellbound.

Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immersive, the album navigates the dreamy boundaries between the tangible and the ethereal, where sound behaves as memory itself: unstable, layered, and quietly transformative. Known for his ability to weave soundscapes that evoke powerful emotions with minimalistic instrumentation, Taylor's newest project is a masterful exploration of mood, atmosphere, and texture.Throughout the ambient soundscapes is introspection, melancholy, and an almost hypnotic calm. The album resists forward motion, instead inviting the listener to linger inside its evolving textures, to sit with what's left behind rather than rush toward resolution. Central to Amulets' identity is Taylor's insistence on working, quite literally, outside the box. While many contemporary experimental artists rely heavily on software, Taylor's process remains rooted in physical interaction with sound. "This album differs from previous albums because it's a lot of found sounds, song fragments, and other samples that I have that I wanted to fuse together. I also heavily relied on a lot of ambient guitar and live guitar recording to marry all the sounds together." (Randall Taylor) FOR FANS OF Tim Hecker * Ben Frost * Lawrence English * Alessandro Cortini * This Will Destroy You * Mono * Windy & Carl

Die legendären Accion Mutante kehren mit einem neuen Album zurück! Sie kamen 1994 aus der Crust-Szene und prägten schon früh den Begriff "Metal Punk". "The Time Machine" verspricht erneut eine brutale, menschenunfreundliche Reise durch drei Jahrzehnte der Geschichte von Accion Mutante, darunter zehn brandneue Tracks plus zehn neu aufgenommene Songs, die von den Anfängen der Band bis zur Gegenwart reichen. Ehrliche Punk-Wut, gemischt mit rauem Metal-Sound und kombiniert mit einem unerbittlichen D-Beat sowie der kehligen Wut zweier Shouter. Auf "The Time Machine" thematisieren Accion Mutante textlich nach wie vor ihre Themen wie religiöser Blödsinn, Verbrechen gegen die Menschlichkeit oder Umweltzerstörung mit ihrem eigenen sarkastischen Ton und einer 100 % antifaschistischen Haltung. Das ist verdammt wütend und verdammt roh. Auch nach mehr als 30 Jahren sind ACCION MUTANTE noch immer Crustasfuck-Vertreter einer großartigen Mischung aus kaputtem Metal, Punk-Gestus, unerbittlichem D-Beat und den lauten Attacken beider Sänger. ACCION MUTANTE in ihrer ganzen Pracht, direkt ins Gesicht, für Fans von Britcore und Bands wie Extreme Noise Terror oder Ripcord.

The Lords of Altamont's 8th sacrifice to the rock n roll underworld. 10 tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded world wide, this album captures the evolution of the Lords sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded.

Neon yellow vinyl, limited to 400 copies. The Lords of Altamont's 8th sacrifice to the rock n roll underworld. 10 tracks to take you on a trip through vice enhanced heights and dive bar depths. Recorded world wide, this album captures the evolution of the Lords sound, while staying true to the grit and power of their 28 year history. Dope Forever, Forever Loaded.

The absolute definition of 80s US power metal, back on limited edition picture disc!

Mit bisher über 30 Millionen Streams ihres Katalogs und einer Tournee-Geschichte, die das Download Festival, Graspop, Resurrection sowie Tourneen als Support für Electric Callboy und Bury Tomorrow umfasst, sind As Everything Unfolds sicherlich keine Neulinge in der Szene. Die Band, angeführt von der Powerfrau Charlie Rolfe, ist bekannt für ihre emotionsgeladene Musik sowie ihre dynamischen Live-Auftritte. Nun veröffentlicht die Band ihr drittes Album "DID YOU ASK TO BE SET FREE?" über Century Media Records. Das Album, benannt nach den Lyrics der Single "SET IN FLOW", zeichnet sich durch die bekannte und beliebte musikalische Intensität der Band aus, gepaart mit emotionalen Texten, mit denen sich Fans und neue Hörer gleichermaßen verbunden fühlen werden. Charlie, die sich nicht scheut, über die Inspiration hinter den Tracks zu sprechen, wechselt mühelos zwischen heavy Growls und klarem Gesang und lässt die Musik wie eine Achterbahnfahrt zwischen verschiedenen Genres wirken. Mit einem Feature von Dani Winter-Bates von Bury Tomorrow auf "WHAT YOU WANTED" würdigt die Band ihre Freundschaft und Tournee-Geschichte mit der britischen Metalcore-Band - ein Track, der sicherlich zu einem Fan-Favoriten werden wird. Nach dem Erscheinen des Albums müssen die Fans nicht allzu lange warten, um die neue Musik auch live zu erleben, denn die erste Festivalankündigung für den Sommer steht bereits fest.
Mit "DID YOU ASK TO BE SET FREE?" definieren sich As Everything Unfolds erneut als Band ohne Grenzen und als eine Gruppe, die man in der alternativen Musikszene im Auge behalten sollte - ihre größten Momente liegen vielleicht noch vor ihnen. Das Album wird als Standard-CD-Jewelcase, als trasparent-petrolgrüne LP sowie als digitales Album erhältlich sein.

Tigercub are a UK alternative rock trio known for their dark, cinematic sound that blends heavy riffs with melodic depth. Fusing elements of grunge, alt-rock, and post-punk, the band delivers emotionally charged songwriting and powerful live performances. Praised for their balance of aggression and atmosphere, Tigercub have toured with acts like Royal Blood, Chevelle, and Highly Suspect, cementing their reputation as one of the most dynamic bands in modern rock.

Synopsis: Welcome to Hyakkaô Academy, a prestigious institution where gambling rules supreme and determines the students’ social hierarchy. Here, those most skilled at betting accumulate wealth and power, while the losers sink into humiliation and bullying. Yumeko Jabami, a new student as elegant as she is unpredictable, shakes up the established order and quickly becomes someone to watch. Unlike the others, she seeks neither fortune nor status—only the adrenaline of risk excites her… and beware to anyone who thinks they can manipulate her.



Featuring 31 thrilling tracks across 2 LPs, "Notes for Kakegurui" takes you on a wild ride through electrifying instrumentals, stylish remixes, and unforgettable vocal duets like "Koi no Russian Roulette.”

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

UILTY RAZORS, BONA FIDE PUNKS.



Writings on the topic that go off in all directions, mind-numbing lectures given by academics, and testimonies, most of them heavily doctored, from those who “lived through that era”: so many people today fantasize about the early days of punk in our country… This blessed moment when no one had yet thought of flaunting a ridiculous green mohawk, taking Sid Vicious as a hero, or – even worse – making the so-called alternative scene both festive and boorish. There was no such thing in 1976 or 1977, when it wasn’t easy to get hold of the first 45s by the Pistols or the Clash. Few people were aware of what was happening on the fringes of the fringes at the time. Malcolm McLaren was virtually unknown, and having short hair made you seem strange. Who knew then that rock music, which had taken a very bad turn since the early 1970s, would once again become an essential element of liberation? That, thanks to short and fast songs, it would once again rediscover that primitive, social side that was so hated by older generations? Who knew that, besides a few loners who read the music press (it was even better if they read it in English) and frequented the right record stores? Many of these formed bands, because it was impossible to do otherwise. We quickly went from listening to the Velvet Underground to trying to play the Stooges’ intros. It’s a somewhat collective story, even though there weren’t many people to start it.
The Guilty Razors were among those who took part in this initial upheaval in Paris. They were far from being the worst. They had something special and even released a single that was well above the national average. They also had enough songs to fill an album, the one you’re holding. In everyone’s opinion, they were definitely not among the punk impostors that followed in their wake. They were, at least, genuine and credible.

Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd.
And of course, we should remember this new wave, which was promoted by a few articles in the specialized press and some cutting-edge record stores, coming from New York or London, whose small but powerful influence could be felt in Paris and in a handful of isolated places in the provinces, lulled to sleep by so many appalling things, from Tangerine Dream to President Giscard d’Estaing...
In 1975-76, French music was, as almost always, in a sorry state ; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one.
In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their gruelling shifts at the factory. Here and there, on the outskirts of major cities, you still could find a few rockers with sideburns wearing black armbands since the death of Gene Vincent, but it wasn’t a proper mass movement, just a source of real danger to anyone they came across who wasn't like them. In August 1976, a festival unlike any other took place in Mont-de-Marsan – the First European Punk Festival as the poster said – with almost as many people on stage as in the audience. Yet, on that day, a quasi historical event happened, when, under the blazing afternoon sun, a band of unknowns called The Damned made an unprecedented noise in the arena, reminiscent of the chaotic Stooges in their early adolescence. They were the first genuine punk band to perform in our country: from then on, anything was possible, almost anything seemed permissible.

It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and – crucially – a very healthy sense of rebellion (the protesters of May 1968 proclaimed, and it was even a slogan, that they weren’t against old people, but against what had made them grow old. In the mid-1970s, it seemed normal and obvious that old people should now ALSO be targeted!!!).
At the time, the desire to fight back, and break down authority and apathy, was either red or black, often taking the form of leafleting, tumultuous general assemblies in the schoolyard, and massive or shabby demonstrations, most of the time overflowing with an exciting vitality that sometimes turned into fights with the riot police. Indeed, soon after the end of the Vietnam War and following Pinochet’s coup in Chile, all over France, Trotskyist and anarcho-libertarian fervour was firmly entrenched among parts of the educated youth population, who were equally rebellious and troublemakers whenever they had the chance. It should also be noted that when the single "Anarchy in the UK" was first heard, even though not many of us had access to it, both the title and its explosive sound immediately resonated with some of those troublemakers crying out for ANARCHY!!! Meanwhile, the left-wing majority still equated punks with reckless young neo-Nazis. Of course, the widely circulated photos in the mainstream press of Siouxsie Sioux with her swastikas didn’t necessarily help to win over the theorists of the Great Revolution. It took Joe Strummer to introduce The Clash as an anti-racist, anti-fascist and anti-ignorance band for the rejection of old-school revolutionaries to fade a little.

The Lycée Jean-Baptiste Say at Porte d’Auteuil, despite being located in the very posh and very exclusive 16th arrondissement of Paris, didn’t escape these "committed" upheavals, which doubled as the perfect outlet for the less timid members of this generation.
“Back then, politics were fun,” says Tristam Nada, who studied there and went on to become Guilty Razors’ frontman. “Jean-Baptiste was the leftist high-school in the neighbourhood. When the far right guys from the GUD came down there, the Communist League guys from elsewhere helped us fight them off.”
Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. “José steered my tastes towards solid acts such as The Who. Like most teenagers, I had previously absorbed just about everything that came my way, from Yes to Led Zeppelin to Genesis. I was exploring… And then one day, he told me that he and his brother Carlos wanted to start a rock band.” The Perez brothers already played guitar. “Of course, they were Spanish!”, jokes their singer. “Then, somewhat reluctantly, José took up the bass and we were soon joined by Jano – who called himself Jano Homicid – who took up the rhythm guitar.” Several drummers would later join this core of not easily intimidated young guys who didn’t let adversity get the better of them.

The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the three rookies tried to cover a few standards, songs that often were an integral part of their lives. During a first, short gig, in front of a bewildered audience of tough old-school rockers, they launched into a clunky version of the Velvet Underground's “Heroin”. Challenge or recklessness? A bit of both, probably… And then, step by step, their limited repertoire expanded as they decided to write their own songs, sung in a not always very accurate or academic English, but who cared about proper grammar or the right vocabulary, since what truly mattered was to make the words sound as good as possible while playing very, very fast music? And spitting out those words in a language that left no doubt as to what it conveyed mattered as well.
Trying their hand a the kind of rock music disliked by most of the neighbourhood, making noise, being fiercely provocative: they still belonged to a tiny clique who, at this very moment, had chosen to impose this difference. And there were very few places in France or elsewhere, where one could witness the first stirrings of something that wasn’t a trend yet, let alone a movement.

In the provinces, in late 1976 or early 1977, there couldn’t be more than thirty record stores that were a bit more discerning than average, where you could hear this new kind of short-haired rock music called “punk”. The old clientele, who previously had no problem coming in to buy the latest McCartney or Aerosmith LP, now felt a little less comfortable there…
In Paris, these enlightened places were quite rare and often located nex to what would become the Forum des Halles, a big shopping mall. Between three aging sex workers, a couple of second-hand clothes shops, sellers of hippie paraphernalia and small fashion designers, the good word was loudly spread in two pioneering places – propagators of what was still only a new underground movement. Historically, the first one was the Open Market, a kind of poorly, but tastefully stocked cave. Speakers blasted out the sound of sixties garage bands from the Nuggets compilation (a crucial reference for José Perez) or the badly dressed English kids of Eddie and the Hot Rods. This black-painted den was opened a few years earlier by Marc Zermati, a character who wasn’t always in a sunny disposition, but always quite radical in his (good) choices and his opinions. He founded the independent label Skydog and was one of the promoters of the Mont-de-Marsan punk festivals. Not far from there was Harry Cover, another store more in tune with the new New York scene, which was amply covered in the house fanzine, Rock News (even though it was in it that the photos of the Sex Pistols were first published in France).
It was a favorite hang-out of the Perez brothers and Tristam Nada, as the latter explained. “It’s at Harry Cover’s that we first heard the Pistols and Clash’s 45s, and after that, we decided to start writing our first songs. If they could do it, so could we!”
The sonic shocks that were “Anarchy in the UK”, “White Riot” or the Buzzcocks’s EP, “Spiral Scratch” – which Guilty Razors' sound is reminiscent of – were soon to be amplified by an unparalleled visual shock. In April 1977, right after the release of their first LP, The Clash performed at the Palais des Glaces in Paris, during a punk night organised by Marc Zermati. For many who were there, it was the gig of a lifetime…
Of course, Guilty Razors and Tristam were in the audience: “That concert was fabulous… We Parisian punks were almost all dressed in black and white, with white shirts, skinny leather ties, bikers jackets or light jackets, etc. The Clash, on the other hand, wore colourful clothes. Well, the next day, at the Gibus, you’d spot everyone who had been at this concert, but they weren’t wearing anything black, they were all wearing colours.”

It makes sense to mention the Gibus club, as Guilty Razors often played there (sometimes in front of a hostile audience). It was also the only place in Paris that regularly scheduled new Parisian or Anglo-Saxon acts, such as Generation X, Siouxsie and the Banshees, the Slits, and Johnny Thunders who would become a kind of messed-up mascot for the venue. A little later, in 1978, the Rose Bonbon – formerly the Nashville – also attracted nightly owls in search of electric thrills… In 1977, the iconic but not necessarily excellent Asphalt Jungle often played at the Gibus, sometimes sharing the bill with Metal Urbain, the only band whose aura would later transcend the French borders (“I saw them as the French Sex Pistols,” said Geoff Travis, head of their British label Rough Trade). Already established in this small scene, Metal Urbain helped the young and restless Guilty Razors who had just arrived. Guitarist for Metal Urbain Hermann Schwartz remembers it: “They were younger than us, we were a bit like their mentors even if it’s too strong a word… At least they were credible. We thought they were good, and they had good songs which reminded of the Buzzcocks that I liked a lot. But at some point, they started hanging out with the Hells Angels. That’s when we stopped following them.”

The break-up was mutual, since, Guilty Razors, for their part, were shocked when they saw a fringe element of the audience at Metal Urbain concerts who repeatedly shouted “Sieg Heil” and gave Nazi salutes. These provocations, even still minor (the bulk of the skinhead crowd would later make their presence felt during concerts), weren’t really to the liking of the Perez brothers, whose anti-fascist convictions were firmly rooted. Some things are non-negotiable.
A few months earlier (in July 1978), Guilty Razors had nevertheless opened very successfully for Metal Urbain at the Bus Palladium, a more traditonally old-school rock night-club. But, as was sometimes the case back then, the night turned into a mass brawl when suburban rockers came to “beat up punks”.

Back then, Parisian nights weren’t always sweet and serene.

So, after opening as best as they could for The Jam (their sound having been ruined by the PA system), our local heroes were – once again – met outside by a horde of greasers out to get them. “Thankfully,” says Tristam, “we were with our roadies, motorless bikers who acted as a protective barrier. We were chased in the neighbouring streets and the whole thing ended in front of a bar, with the owner coming out with a rifle…”
Although Tristam and the Perez brothers narrowly escaped various, potentially bloody, incidents, they weren’t completely innocent of wrongdoing either. They still find amusing their mugging of two strangers in the street for example (“We were broke and we simply wanted to buy tickets for the Heartbreakers concert that night,” says Tristam). It so happened that their victims were two key figures in the rock business at the time: radio presenter Alain Manneval and music publisher Philippe Constantin. They filed a complaint and sought monetary compensation, but somehow the band’s manager, the skilful but very controversial Alexis, managed to get the complaint withdrawn and Guilty Razors ended up signing with Constantin with a substantial advance.

They also signed with Polydor and the label released in 1978 their only three-track 45, featuring “I Don't Wanna be A Rich”, “Hurts and Noises” and “Provocate” (songs that exuded perpetual rebellion and an unquenchable desire for “class” confrontation). It was a very good record, but due to a lack of promotion (radio stations didn’t play French artists singing in English), it didn’t sell very well. Only 800 copies were allegedly sold and the rest of the stock was pulped… Initially, the three tracks were to be included on a LP that never came to be, since they were dropped by Polydor (“Let’s say we sometimes caused a ruckus in their offices!” laughs Tristam.) In order to perfect the long-awaited LP, the band recorded demos of other tracks. There was a cover of Pink Floyd's “Lucifer Sam” from the Syd Barrett era – proof of an enduring love for the sixties’ greats –, “Wake Up” a hangover tale and “Bad Heart” about the Baader-Meinhof gang, whose actions had a profound impact on the era and on a generation seeking extreme dissent... On the album you’re now discovering, you can also hear five previously unreleased tracks recorded a bit later during an extended and freezing stay in Madrid, in a makeshift studio with the invaluable help of a drummer also acting as sound engineer. He was both an enthusiastic old hippie and a proper whizz at sound engineering. Here too, certain influences from the fifties and sixties (Link Wray, the Troggs) are more than obvious in the band’s music.

Shortly after a final stormy and rather barbaric (on the audience’s side) “Punk night” at the Olympia in June 1978, Tristam left the band ; his bandmates continued without him for a short while.

But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years (besides once in Spain, they’d only played in Paris). The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one’s small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. The chances of recording an LP were virtually null, since major labels were only signing unoriginal but reassuring sub-Téléphone clones, and the smaller ones were only interested in progressive rock or French chanson for youth clubs. And what about self-production? No one in our small safety-pinned world had thought about it yet. There wasn’t enough money to embark on that sort of venture anyway.

So yes, the early days of punk in France were truly No Future!

,,Hologramm" is the new EP by Schwefelgelb.

Remix contributions by Nastia Reigel and Norbak make it a 5 track Techno heavyweight.

An intriguing combination of positive, joyful atmosphere and gritty, pushy sound aesthetic spans all over the record. "The Show" and its euphorigenic rising stabs appears like what could be transformed into an Euro Dance anthem easily.
Yet the aware and well curated production holds it firmly in the zone of Techno and House underground. Speaking House, here's "In Mein Glas" - a sportive track with an irresistible bounce foiled by a lackadaisical vocal line, which gives it a comic twist.
As "Fieber" keeps the bounce we're getting a little more aggressive again: a delicate distortion, a dominant bass and a groovy drive. In all these 3 original tracks it's the melange of melodic motives, vocal highlights, crispy production as well as versatile creative details, which creates this specific sound that gets you hooked. It is lightness however wrapped in an Industrial musical language.

That said, the remixes proof how a new energy can be revealed by more minimal re-interpretations. Nastia Reigel, getting hands on "The Show", pushes drums and a fresh rhythmic play of vocal chops into the foreground. A sparse break followed by a powerful drop adds a strong climax. Norbak's approach on "In Mein Glas" takes the melodic motive and embeds it into a dubby space, not giving up on the hard-hitting kick.

"Hologramm" will be released on 140 g colored vinyl and digitally, April 10th, on n-PLEX.

Sound Records proudly presents ‘Morpho’, the debut LP from UK-based producer Benyayer, formerly one-third of celebrated electronic trio Dark Sky. A deeply personal record and a symbolic transition, Morpho captures the emotional and sonic evolution of an artist in metamorphosis.

Having stepped into the solo spotlight following his successful Infiltrator EP, Benyayer (aka Matt) delivers a bold, vinyl release that combines seven previously digital-only tracks with a brand new cut, ‘The Return’, all meticulously curated and pressed for the first time on wax.

Bridging influences from techno, UK bass, Afrofuturism, and electronica, Morpho is a meticulous exploration of rhythm designed to excite, cause chaos, personal reflection and movement. Each track is a raw, rhythmic exploration that draws on his time spent busking on the streets of London with found objects, experimentation with modular synths and years of experience honing his craft as a performer at some of the finest establishments in the electronic music landscape.

This initial vinyl edition is limited to just 300 copies. Designed in collaboration with Harry Cresswell, each sleeve features a deconstructed butterfly motif, laser-cut on both sides of heavy matte stock, paired with a matte-printed inner sleeve and a transparent vinyl disc, making each copy a true collector’s item.

The LP arrives amid support from tastemakers like Gilles Peterson, Benji B, and Tom Ravenscroft (BBC 6 Music), as well as heavyweight artists including Ben UFO, Bicep, Laurent Garnier, Bonobo, and Modeselektor.

Benyayer's new live show, built around these very tools, has already been trailed to great acclaim across Europe, adding a powerful performative dimension to the record. With previous performances at Berghain, Fabric, Glastonbury, MUTEK, Dimensions and Melt Festival. Benyayer's solo trajectory continues to rise with intent, mystery, and a fierce sense of artistic purpose.

Return of the Blastromen! OEra marks the comeback of the Finnish Electro duo, 7 long years after their last album Cyberia. The new EP on German label Dominance Electricity features 4 powerful, polished productions, with melodic synths and Vocoder vocals somewhere between Kraftwerk, Anthony Rother, TRON soundtrack, a pinch of Psytrance and Jackal & Hyde / Dynamix II / Code Rising style Electrobass.

Introducing a brand‑new label:

DJ Arjuna Records


Kicking things off with the very first release by the man himself

House royalty unite. Ralphi Rosario’s Chicago pedigree meets Bob Sinclar’s global dancefloor finesse on this uplifting, piano-charged vocal house weapon. A driving 4/4 groove underpins soaring chords and a powerful lead vocal from Donna Blakely, while Lego’s production keeps the low-end tight and club-focused. A great Chicago-classic where Bob Sinclar transformed it into a club weapon with energy, poise, breakdown drama and hands-in-the-air moments.

Big-room soulful house with crossover appeal.

Grady Steele (Formant Soundsystem) debuts on FELT with the tender spectre of Nausea, poignant patterns captured through the dusk-hued window pane.

Co-founder of the Formant Soundsystem, a travelling rig that’s powered forward-thinking dances in London and Paris, Grady Steele has championed both experimental and club music at the cutting edge. Concurrently to this, he debuted his own productions back in 2024 for Archaic Vaults. Uniquely intimate, his music shone lowkey and warm with an assured glow. It’s no surprise then to find his inimitable sounds land neatly on Fergus Jones’ FELT imprint.

Nausea extends across seven movements, narrating sentimental parallels of familiarity. Grady posits concentrated pangs of post-rave nostalgia with rich melodic sustenance, a vivid introspection tempered with field recordings and live instrumentation. Strummed guitars and aching pads move purposefully with the suspended pace, an immersive beatless vista from its opening quiet moments through to the guttural noise-laden finale. It’s a brief, beautiful collection from Grady Steele and another string to FELT’s unpredictable bow.

Written, recorded and produced by Grady Steele

Mastered by Miles Whittaker

Cover photo by Alex Kurunis

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Uni Boys waltz back into our lives spinning thundering playful songs full of ideas on a self titled power-pop LP recorded all analogue across two weeks with Paul D. Millar in Brooklyn and once again with cameos from friends The Lemon Twigs. The raw power of Uni Boys undeniable pop has marked them for rock’n’roll greatness from the start. With a unique feel for classic melodies — worn proudly on their sleeves, delivered tongue in cheek, and charged with the swagger of restless youth — they’ve won the hearts of their young generation’s music scene and earned the respect of their legendary predecessors.

Power Pop saviors recorded in all their analog glory on their third Curation Records long player UNI BOYS. Returning to NYC under the sonic thumb of Paul D. Millar (Lemon Twigs/Tchotchke) Noah Nash and Lemon Twigs drummer/guitarist Reza Matin have crafted 12 new songs of introspection, heartbreak and young love - the follow-up to their success with‘BUY THIS NOW!’. The resulting ‘UNI BOYS’ album is their most listenable, radio-ready (if this was 1979) record to date, it's so super catchy you’ll not get away easily.

Salix is a bold new departure for modular synthesist Loula Yorke, seen here using an antique reed organ to explore the ancient roots of willow trees in magic, myth and medicine, as well as inviting another musician into her recording studio for the first time, clarinettist Charlotte Jolly.

The EP forms a sonic archive of a singular instrument: an antique free reed organ left behind by a previous encumbent of Asylum Studios, (the artists' co-operative in Suffolk where Yorke's Truxalis labelmate and life collaborator, Seiche, has a studio space). The organ is in poor condition and fascinatingly, painfully detuned. Yorke's recordings bring out its host of unusual quirks exacerbated by age and neglect: the powerful rhythmic creaking of the wooden treadles; the bone-shaking resonance emanating from its body at specific pitches; unexpected exclamations of harmonic collision from within the carcass redolent of a human voice; the piercing, shrieking whistles of broken reeds, and the powerful timbres unlocked via Yorke's experiments with various combinations of stops.

The three tracks that form Salix are inspired by a local weeping willow tree, a constant companion photographed over the course of a year. Boughs caught in a gyre. A maiden in mourning. Branches that gesture in the wrong direction. A tree turned upside down. A hand-woven willow basket, an old technology to gather and store. The journey of a lovelorn bard through the underworld, a bundle of willow under one arm for protection.

For the opening track, The Carrier Bag Theory of Fiction, Yorke recorded herself playing a simple unaccompanied improvisation on the organ, the only ornamentation being the processed sounds of the keys being struck and returning to their positions.

For Bundle of Styx, a spell of protection is cast and then broken. Yorke invited virtuoso clarinettist Charlotte Jolly into the studio to test combining the breathy textures of both brass and natural reeds, the instruments uniting and obsuring each other in turn during this one-take improvisation. The organ's unpredictable sharpened tunings take centre stage here, with Jolly using them as a point of departure to conjure a set of peerless harmonic improvisations live in the moment. Throughout the improvisation, Yorke, a self-taught musician, unpracticed on the organ, supports and challenges, freely admitting that she's not always sure what effect her decisions to move up and down the keyboard or pull out certain stops will have. Jolly's genius lies in her ability to meet and build on every uncertain pitch thrown her way, saying of the experience, "I love that Loula isn't classically trained, I can't predict at all what she's about to do."

For the final track, With the Red Dawn, Yorke has come up with another unique combination of textures, this time bringing her own specialism in modular synthesis to the fore. A ten-minute reed organ drone characterised with ever-shifting bass swells and overtones is layered with tuned sines, often shudderingly wave-folded, that ebb and flow both in intensity and harmonic colour according to the duty cycles of eight interrelated LFOs. These recordings are collaged with Yorke's singing voice and a langorous, ascending sequence across two octaves on Jolly's clarinet, all arranged to form a cohesive whole far greater than the sum of its parts. Smatterings of untuned percussion and a fragment of a conversation between the duo left in the final mix cements Yorke's unprecious DIY aesthetic into the release.

At its heart, Salix is like watching the wind in the willows; hundreds of thousands of identical tiny leaves moving in confluence on its branches; at once one thing and many things; moment-to-moment our perception makes out different individuals parts within this expanse of texture, before sinking back into the whole.