Suche:b tracks

Die Folk-Pagan-Metal-Instanz ARKONA kehrt zurück und präsentiert ihr neuntes Album Kob‘, das am 16. Juni 2023 via Napalm Records erscheint. Ein weiteres Mal tauchen die Musiker in die Philosophien
und Zukunftsansichten von Sängerin Masha ab und rücken die moderne Gesellschaft in den thematischen Fokus.

Seit der Veröffentlichung ihres letzten Albums Khram (2018) haben ARKONA aufmerksam das Weltgeschehen verfolgt und spiegeln auf den acht neuen Tracks jeweils ein Problem der modernen Gesellschaft
als auch den Abstieg in die Hölle wider.

„Kob‘“ (DE: Die Zauberei) gräbt die längst vergessene Vergangenheit aus. Melodische Synthie-Einstreuungen und bedrohliche Gitarrenspiele untermalen die Aussage des Songs, dass die Menschheit nicht aus den Fehlern der Geschichte gelernt hat sondern in einem Teufelskreis steckt und besagte Fehler immer wieder erneut
begeht. Auf ”Razryvaya plot’ ot bezyskhodnosti bytiya” (was im Deutschen so viel heißt wie: Einer hoffnungslosen Existenz das Fleisch vom Knochen reißen) gibt sich Sängerin Masha einem emotionale Keyboard-Solo hin, das Bände spricht. Kriege, religiöse Überzeugungen und Umweltprobleme läuten die letzten Stunden ein während nachdenkliche Flöten- und akustische Gitarreneinlagen das letzte bisschen Vernunft ausdiskutieren. Obgleich Kob’ tief im Pagan Metal der frühen Tage verwurzelt ist, richtet es sich durch seine moderne Produktion und Diversität nicht nur an langjährige Fans, sondern gleichermaßen an neue Zielgruppen.

Marco Vella and Anth Wendt step up to International Feel with a five-track EP of Balearic-tinged bliss for their first collaborative release as Other Mother.

There’s definitely something in the air round the Adelaide Hills. Longtime friends Marco (aka Body Corp) and Anth (aka Oisima) finally got together in Anth’s studio after the pandemic and the result is Numero Uno an EP of laidback synth guitar and drum machine workouts mixing 303 riffs and sunsets for a supremely low-slung vibe.

After cruising around the Hills in the day the pair worked on tracks by night and their carefree days soaking up the sun shines through. Opening track About Time sets a steady pace with its lush delayed guitars slow-rising acid melody and hefty sub perfect for Sunday pub garden appreciation. A side closer Zwang! drops the tempo but brings the percussion into focus for another masterclass in tension and release with interwoven 303s and dub feedback.

Side B keeps the beach-side atmos flowing with guitar licks working around sumptuous synth chords for Anyway Music - a song that’s the ultimate soundtrack understated parts fitting together seamlessly in service to the feeling and belying the technique required. Lost In The Forest makes use of expansive ambient pads synth riffs and shakers to evoke a sense of wonder sunlight coming through the trees.

The EP concludes with Where’s The Fifty a dreamy piece of drum synth phrases and 303 interplay that perfectly characterizes Marco and Anth’s collaboration - two musicians and producers playing to serve the song. They write elements that combine for a harmonious whole greater than the sum of its parts. This is the underlying feel of Other Mother and Numero Uno - we’re all in this together - and by working collaboratively a brighter future might just be around the corner.

Percy Sledge’s 1966 worldwide smash “When A Man Loves A Woman” did more to internationally establish southern soul than any record up to that time. The man from Leighton, Alabama subsequently became one of Atlantic’s biggest artists, charting 11 R&B/Pop hits in three years.
Nevertheless, as the 60s drew to a close, Atlantic’s interest in Percy inexplicably dwindled. Very few masters that his producer Quin Ivy sent from Sheffield, Alabama to New York saw contemporaneous release, although some eventually appeared in countries like South Africa, where Percy was revered.
The tracks on this exceptional ‘maxi single’ waited till 2010 to debut digitally. Percy’s terrific take on Aretha’s “Baby, Baby, Baby” dates from August 1969, the others from his penultimate session for Atlantic. Great songs too from Swamp Dogg and the late Gordon Lightfoot; either of which could have given Percy a hit in 1972.
We’ll never know why they weren’t issued then – but let’s be grateful to Soul4Real for making them available on vinyl now…

Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!

Die Power Metal-Szene braucht einen Einlauf - und dieses Album ist einer!
Das neue Album "Out Of The Dark" von FROZEN LAND ist Power Metal der alten Schule - Punkt.
Es ist ein feuchter Traum für alle, die in den 90er Jahren angefangen haben, Power Metal zu hören. Es gibt keine Füllstücke. Es gibt keine nicht-eingängigen Refrains. Es gibt keine langweiligen Gitarrensolos.
Nach der letzten Veröffentlichung machte die Band eine 4-jährige Pause.
Und warum? Weil sie in dieser Zeit ihre Depressionen überwanden - laut augenzwinkernder, eigener Aussage, half LSD dabei - daher auch der Name des Albums, "Out Of The Dark".
Das Album ist im Grunde ein 7 Songs umfassendes Gesamtkunstwerk im traditionellen Power Metal-Sinne.
Aber bei den letzten 2 Tracks wird spannend! Tuomas hat eine perverse Vorliebe für Eurodance der 90er Jahre, was bereits durch das Cover von E-Types "Angels Crying" auf dem Debütalbum der Band durchschimmerte.
Auf diesem Album dachten FROZEN LAND nun, sie nehmen das Hedt selbst in die Hand und mischen Eurodance mit Metal. Nehmt es nicht zu ernst... FROZEN LAND tun das auch nicht!

Frisch nach ihrem Vertrag mit From The Vaults kündigen die epischen Doom-Metaller ALTAR OF OBLIVION die Veröffentlichung der EP "Burning Memories" an. Die fünf Tracks wurden 2016 aufgenommen, kurz nach der Fertigstellung der dritten Full-Length der Band. Nun, sieben Jahre später, ist die EP endlich bereit, das Licht der Welt zu erblicken. Auf ihr beschwört die Band klassischen, zeitlosen Epic Doom Metal herauf, während sie gleichzeitig unter der düsteren Ägide dieses nordischen Kollektivs Neuland erkundet. "Epic Doom ist kein Subgenre, an dem sich viele Bands auch nur versuchen, geschweige denn darin brillieren, geschweige denn es ausbauen, daher verdient der Fünfer aus Aalborg ein großes Lob dafür, dass er diesem tiefgründigen Außenseitersound neues Leben einhaucht.

Mit der frostigen Melancholie von Candlemass, der mystischen Dramatik von Solitude Aeturnus und der barbarischen Kraft von Solstice mischen AOO neue Ebenen emotionaler Verletzlichkeit durch den Robert Smith-ähnlichen Gesang von Mik Mentor und verlieren sich nie in schleppender Düsternis, sondern bewahren die traditionellen Metal-Grundlagen mit einer starken, klaren Gesangslinie, einem kräftigen Galopp und einer packenden Melodie" Chris Shantler (Metal Hammer UK).

After spending countless days and weeks in the studio tysher is coming up with another 3 track ep on his own imprint. All tracks are accentuating his signature sound which you would define as melodic, moody, vibey & forward pushing melodic techno.

This EP is showing up Tysher’s progress of developing his productions constantly. 3 tracks with different moods to be played in the right moment. Create a memorable atmosphere on the dancefloors worldwide with Tysher 02.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.

*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.

*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.

*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.

*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

After the acclaimed ΠΟΛΙΣ, Subheim returns with RAEON; a collection of eight new tracks for lonely evenings and long night drives. With RAEON, Subheim continues to expand into the sonic territory he has steadily been exploring since 2015’s Foray, the album that marked the project’s shift towards moodier, highly textured, lofi compositions through the use of sampling and heavy audio manipulation. While this EP feels like a natural continuation of the producer’s most recent work, it is intentionally stripped of any percussive elements, with the focus being entirely placed on space and melody.

Each composition feels like a distant, fading memory that unfolds faster than you expect it to and dissolves into an echoing nothingness before you’re able to hold on to it for more than a few seconds. Much like a long-distance train passing by or perhaps like a song you might hear in your sleep.

Every piece serves as a different chapter of the same open-ended narrative; one where stillness, grief and hope simultaneously coexist in perfect harmony. Intentionally imperfect, naturally gritty, spacious as ever, this new record balances between fragility and conviction, and once more illustrates the deeply human side of its creator.

In contrast to some of the producer’s darker work, RAEON is filled with an undertone of bittersweet hopefulness and a strong desire for new life. With the juxtaposition of nostalgic, synthesized, analog sounds and neoclassical elements, Subheim strikes the perfect balance between past and future, between melancholy and hope. And while the closing track is almost ironically called “Forget”, its ending will leave you longing for more and wondering what else is there.

Clear Vinyl

Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.

Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.

While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.

Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.

Kusōzu : Nine Death Stages is the second album by the Tokyo trio Archeus, which consists of Keiko Higuchi (voice, percussion, trombone, shamisen), Shizuo Uchida (bass strings), and TOMO (hurdy gurdy, voice). It follows their debut, self-titled and self-released CD and cassette from 2021 and is further proof – if any were needed – that these musicians, who’ve known each other for some time, but only started playing together relatively recently, share a telepathic communication, improvising together, fully in the moment, and as one. Where their debut album featured four extended improvisations, Kusōzu is an object lesson in economy and clarity – nine tracks, thirty-three minutes, everything that needs be said and nothing more.

All three musicians are incredibly active in the Japanese underground. Higuchi currently plays with Sachiko in Albedo Fantastica, adding Uchida for Albedo Gravitas; Uchida and Higuchi team up with Masami Kawaguchi (guitar) in vDBG. She’s also recorded with improvisers such as Naoto Yamagishi, Yasumune Morishige, and Shin-Ichiro Kanda. Uchida is also a member of MAI MAO, Kito-Mizukumi Rouber, Hasegawa-Shizuo, UH, and TERROR SHIT, and he’s recently recorded with improvising guitarist Takashi Masubuchi; TOMO has previously been a member of Tetragrammaton and Pouring High Water, and has recently performed live with Mick of Kousokuya, Mitsuru Tabata, Keiji Haino, and Daisuke Takaoka.

While Higuchi and Uchida have been making music together for some time now, they appear careful not to impose their previously articulated lexicon to bear on Archeus. There are trace elements of their playerly voices still present – the stretchy, plastic scrabbling on bass strings from Uchida; Higuchi’s murmurations of tone, and sudden plunges back down to earth, vertiginous and woozy – but there are other things going on here, particularly with TOMO joining in the action. His hurdy gurdy is a wild card in a group of wild cards, here cranking out burred, purring drones, there fidgeting through floods of notes, cranked up really high, ducking and weaving between Higuchi and Uchida as the three pursue the eternal now that is core to the best improvised music.

Archeus seem to work alchemically, transmuting their base matter into gold. Named after the Buddhist art practice of kusōzu, the graphic painting of nine stages of a decaying corpse in the open air, “to demonstrate the effects of impermanence,” as scholar Gail Chin once wrote.

Kusōzu : Nine Death Stages is Archeus at their most rigorously attentive to each other’s playing, and by the end, the music is itself thinking and feeling.

»Nifbin Circle« is the fourth release by Detlef Funder, aka Konrad Kraft, on the Cologne label aufabwegen. Sounds generated with two apps on the iPad,provided the basic structures and the sound space. The strangely enraptured textures created in this way, with a subtle percussive touch, were partly combined with supporting beats in the course of further processing. Thus, after more than 30 years, tracks with rudimentary melodies and rhythms were created again.

»Nifbin Circle« is the fourth release by Detlef Funder, aka Konrad Kraft, on the Cologne label aufabwegen. Sounds generated with two apps on the iPad,provided the basic structures and the sound space. The strangely enraptured textures created in this way, with a subtle percussive touch, were partly combined with supporting beats in the course of further processing. Thus, after more than 30 years, tracks with rudimentary melodies and rhythms were created again.

Die Blue Flames 7"-Singles sind unter Sammlern und werden von Liebhabern des frühen R&B und des Proto-Mod-Sounds sowie von denen, die ihre Freude am Ska-Beat gesucht. Obwohl sie vor fast einem halben Jahrhundert veröffentlicht wurden, wurden sie tatsächlich bis heute nie wieder auf Vinyl neu aufgelegt. Für Ace schien es eine Selbstverständlichkeit zu sein, sie auf dieser Blue Flames-EP zu kombinieren. Für das Sleeve hat Ace das Titelfoto von Georgie Fame direkt vom original Fotograf Val Wilmer lizenziert. Auch Dean Rudland würdigt in den Liner Notes die Story dieser Georgie Fame-Band. Zu sagen, dass diese vier Tracks großartig klingen, ist untertrieben - diese Blue Flames kochen auf Gas.

Tapestry is a work born from collaboration, homage and the best sound.

“La Collaboración” is created when Arturo Bambini, a producer, jazz bassist and full-time musician, meets a young Lynx 196.9 on the other side of the world, a poet and rapper from Philadelphia who captivates him with his rhymes. And its deep and melancholic tone.

From this understanding arises this work, “El Homenaje” by Lynx to Carole King's Tapestry album, whose sound accompanied him throughout his childhood.

“Tapestry” lives up to its name and like a good “Tapiz” it was built with scraps in the form of collaborations such as Dirty Winters, Simón Taibi or the masterful Kool Keith (AKA Dr. Octagon / Dr. Dooom!)

All this sewn with the mastery of Arturo Bambini, the Italian musician based in Barcelona, ​​who with his red tracksuit and rat head wraps us through hip hop and jazz with an urban cadence taken from the very heart of the "best sound".

Past Inside The Present has really gone to town with the re-release of this 36 album The Lower Lights: it comes in several different formats and vinyl versions with this one being a limited, numbered and opaque red vinyl including a download code. Musically it is just as essential as a collection of tracks from a year-long 'Audio Diary' project undertaken by 36 between April 2018 and April 2019. It first came back in May 2019 and soon sold out, such is the quality of the vibrant and eclectic ambient sounds within. This is not sleep-inducing background material, but rather emotionally charged soundscaping with a mix of dark, futuristic and urgent pieces all making the cut.

The 4th Pumpkin Witch album released by Deathbomb Arc, and their first non-reissue for the label. Nothing can keep the Pumpkin Witch dead for long. The Witch is back! And her web of evil is larger than ever, her vile plans call for nothing short of world domination... The Three Dark Figures have conjured up 11 new tracks of creepy cackles and crazed cacophony that create an audiological kaleidoscope of terror. An emphasis on percussion and an evident influence from goth club music blends with the horror soundtrack-fueled dark ambience of albums past, making this perfect listening for any unholy ritual or cemetery soiree. You can lock your doors, board up your windows, and say your prayers but nothing can protect you from "The Return of the Pumpkin Witch"!

‘Y Dydd Olaf’, which is sung entirely in Welsh,
apart from one song penned in Cornish, draws
inspiration from Owain Owain’s 1976 novel of the
same name. The book is set in a dystopian future
where robots enslave the human race through the
use of medication, while Gwenno’s album covers
such themes as patriarchal society, governmentfunded media propaganda, cultural control,
technology, isolation and the importance of
minority languages.
 ‘Y Dydd Olaf’ was initially released by Peski
Records in October 2014, before being released
worldwide in 2015 by Heavenly Recordings.
 Now available on crystal clear vinyl. Includes
digital download of ‘Y Dydd Olad’ plus nine bonus
tracks of remixes and rarities.
 “This record demands what’s left of your time.” - Q
(★★★★)
 “Blissful, dreamy psychedelia, full of twinkling
electronics and metronomic drums.” - Evening
Standard (★★★★)
 “Language as a metaphor for political defiance…
floats beautifully over the krautrock/space-rock
soundscape, a Goldfrappian album you should
hear.” - The Sunday Times (★★★★)

Dry Tears is the latest release from the Bruto Industries label and their first release in 12" format. On this occasion, xKukum, one of the founding members of the label, presents his first EP.

The record, which was recorded in late 2020, traces an emotional journey from the distortion of reality caused by melancholy to the determination to move away from it. The EP consists of four original tracks that guide the listener through this journey, with influences from EBM, Dark Wave, Techno, and more. On side A, we find more introspective and melodic tracks, while side B offers sounds more focused on the dance floor. As a special addition, Colombian artist Filmmaker contributes a remix of the track "No More Dramas," complementing the atmosphere of the album with his characteristic powerful sound.

Like previous releases from the label, this work has been mastered by Dan Böhler, who has provided the EP with a sound quality that will not disappoint genre lovers. The artwork is done by Marcos Abella, who completes the concept with an imagery influenced by manga and cyberpunk aesthetics.

Formerly known as James Lascelles’ Quartet, Talking Spirits present a unique blend of world jazz. These highly respected London based session musicians - with a very mixed repertoire - have touched audiences wherever they play. The quartet mixes up world music, folk, jazz and Anglo/Caribbean grooves, inspired by influences from all over the world.

They have honed their skills over the decades working with some of the biggest names in music, including Frank Zappa, Joan Armatrading, Lee ‘Scratch’ Perry, L Shankar, Ginger Baker, Jeff Beck, Steve Winwood, Incognito, Van Morrison, Billy Ocean, Mick Taylor and Steve Harley & Cockney Rebel.

The new Talking Spirits album ‘Hands’ will be released on Zephyrus Records early June. Tracks feature regular band members James Lascelles (various keys and percussion), Tim Herniman and former bandmates from the legendary Breakfast Band Richard Bailey (drums and percussion) and Kuma Harada (bass and guitar). Guests appearances by Tony Maronie on congas, Didier Malherbe (once of “Gong”) on duduk and sax, and the wonderful Mongolian group Andaunion, for whom James specially wrote Grasslands to feature the haunting morinhuur (horse-hair fiddle) and hoomei or overtone singing.

‘Crossing the Red Line’ is the eleventh release on First Cut and the second part of the label’s public transport-related trilogy.

As anyone who has used Dublin’s light rail knows, crossing the red line is an unforgettable experience.

Soundtracking the ups and downs of daily life on the tracks is Tr-One. ‘VCO Friday’ is a fist-pumping affair, as a flurry of razor-sharp percussion collides with rousing melodic builds and drops.

On ‘Uncle Bulgaria’, Giles Armstrong drops a pulsating, throbbing groove and swirling hooks, with this combination hitting harder than city centre gridlock.

Rounding off the release is the inimitable Reflection Port Assembly – the distinctive, shuffling drums and dusty synths of ‘Tranquilo’ the perfect, calming antidote to rush hour.

The long-awaited debut LP from Romanian duo Khidja is finally coming via Malka Tuti Records.

The album ‘Transmission’ will be divided into two separate releases - Part 1 & Part 2. Part 1, presented here, will be released on June 16th, while Part 2 will be released in the 2nd half of September 2023. The album, which contains 10 new tracks from the duo (5 on each part) was written and produced by Khidja over the last several years.It was mastered by Enrico Mercaldi and distributed world wide by One Eye Witness, with a fresh fresh artwork by Angus Plunkett & Morey Talmor @ &talmor Part 1 consisted of 5 gems showcasing the diversity in the Romanian duo’s production - from shuffle to slow-mow, through chugging disco-not-disco to 4th world and beyond.

On June 16th, 2023, Steven Julien and Kyle Hall return with their first EP together in ten years, CROWN. The record follows earlier EPs the duo created under their former alias Funkinevil, 2013's Ignorant and 2012's Night/Dusk. The record once again brings together two artists from opposite sides of the pond—Julien hailing from London and Hall representing Detroit—with a shared love for soul in its purest essence.

Opening "Page 1", a pitched-down vocal by James Massiah pronounces, "My plan—won't let you take it from hand." That alone could be considered the nut graph of a record about taking ownership, created by two vanguards in the electronic music scene that, a decade ago, insisted on infusing their music with soul in a commercial club circuit lacking in it.

Assembled from a few years-worth of studio jams in Julien's studio, Crown dials up the staticky warmth present on earlier Funkinevil tracks like "Dusk" and "In The Grid." Across seven songs, Funkinevil shaves off some of their tougher elements, instead shooting for pastoral melodies and funky basslines, like on "Page 2", where Vicky Flint's flute flutters sleepily over breaks and a groovy Korg synthesizer. But the atmosphere on the EP is also grander than ever—on "Page 5," Cloud's wistful melisma soars over Flint's bleating saxophone and wandering sci-fi synths.

With all this attention to funky musicality, it's only fitting that two legends specializing in the craft would land on the B-side—Däm Funk revs up "Page 3" with a slamming kick and his unmistakable coolness, and Reggie B turns "Page 5" into a sludgy, jazzy dance party.

In the words of Julien, "I think a lot of people have forgotten about what this whole thing is about. Musically, artistry and everything. So I'm happy this is what we represent on this project."

Mixed Coloured Vinyl

The duo of Parisian DJs and producers, Cléon & Jazzy Pidjay, are back under the name Last Bongo In Paris, with a new 7 inch full of Latin Funk & Jazz Funk atmosphere... With raw drums, heavy breaks and a jazzy flavor, these 3 tracks should quickly become a hit for all groovers and dancefloors!!

Cléon & Jazzy Pidjay have long been united by their love of hip-hop music and culture. DJ Cleon is one of the best French producers of breakdance fight music, also respected as a fine wax seeker, mixing all kinds of music, like disco, funk, soul, jazz, breakbeat, hip -hop and older and newer. recordings.

Alongside his pal Jazzy Pidjay and his great production and mixing skills, they give new dancefloor life to hidden and forgotten musical treasures, through funky uptempo tracks.

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

REPRESSED !

Calibre & Marcus Intalex team up with Fox for Signature Recordings number 20. Manchester born, Jamaican bred, Fox is a stalwart of the Mancunian music scene. Known as much for his Yardie inflected Mancunian accented Mcing as his sweet melodic singing. It is fair to say both tracks Run Away & Somethin Heavy are massive.

More than four years after his previous EP and after having released some remixes and collaborations with Agar Agar, Black Devil Disco Club or the Italian design studio Burro Studio, LeonxLeon comes back with a new EP, passing to the electronic shaker the styles of music listened since the last release.

4 tracks all as different as each other with first Itanewa, where the Parisian producer tries for the first time to give voice, without vocoder, well aware that on a track inspired by South African productions of the 80s, an instrumental version only would not be enough to do justice. It is thus in a kind of invented Esperanto that the lyrics, a call to lightness and simplicity according to the artist, are distilled between synthetic bass, keyboards and other percussions.

On Piano Mondo, we leave rather in the direction of South America with pianos of Bossa inspiration on a bass italo-disco, rises and descents as if we were in Val d'Isere and breaks just long enough to catch its breath.
The idea of Solid Dose is completely different since it was a question of taking the post new-beat dance sound of the beginning of the 90s, with a big blow, hence the title, of the synthetic bass sound "Solid Bass" which will be used in a lot of ways at this period and which is coming back in force nowadays, and to mix it with the Nordic touch of dance music for a soaring, evolving track, with arpegios which cross each other and an acid line which finally makes its appearance here.

The last track is a wink to the well-known movie that gave its name to the whole project: it is indeed Luc Besson's Léon that we are talking about, re-cut on the dialogues of Nathalie Portman and Jean Reno, supported by a simple rhythmic, analogical bass and electronic kick at the service of a dark atmosphere, closing the record at the antipodes of the first track, without ever having left the universe of melodies and percussions that already characterized the previous releases of LeonxLeon.

Underground Resistance member James Pennington aka Suburban Knight has his first night strike on EPM with Winds of Fear.

Pennington is known for being one of the producers behind the Inner City hit single "Big Fun", as well as his own solo productions for Transmat with "The Art of Stalking" and numerous tracks on U.R, most notably the 'Nocturbulous Behavior' & 'By Night' EPs.

Fellow past U.R members and Detroit legends in their own right Robert Hood & Eddie Fowlkes step up to edit this masterpiece.

Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.

This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!

Intrinsic Rhythm is proud to present a new EP by John Heckle entitled "Return To Titan" and the first on the the label from a different artist other than label owner Tr One.

This will be John's first release under his own name for a number of years and also includes a remix by Michigan techno visionary John Beltran.

The EP kicks off with "A" where energetic skillful production combines with Chicago and Detroit influences to concoct a brilliant mix of styles very much focused on the floor.

Next up is 7C where melodic bass and chords merge together to offer a brilliant whimsical approach towards analogue music that only John has mastered over previous releases.

Following this is the brief and one of the most beautiful tracks on the EP entitled "DSI" where building strings engage with soft percussion and kickdrum interplay to pull the listener in to the musicality on show.

On the B side we kick off with the beatless and ambient driven "CII" where 8 minutes of melodic density and synth interplay swirl between crescendo and musical culmination.

Finally John Beltran steps up and delivers a beautifully hypnotic club ready version of "A" where the Michigan artist teases between Detroit techno elegance and organic flair to show why he is one of electronic music's all time great producers.

Das selbstbetitelte Debüt von ENVY OF NONE, der bunten Zusammenrottung von Gitarrist/Keyboarder Alf Annibalini, Rush-Gitarrist Alex Lifeson, Bassist Andy Curran (Coney Hatch) und Singer/Songwriterin Maiah Wynne war eine der spannendsten Grenzgänger-Platten des Jahres 2022 und hat sich bis heute nicht abgenutzt. Die Band schreibt schlicht verdammt gute, emotional greifbare und musikalisch fesselnde Lieder in einem Spannungsfeld aus State-of-the-Art-Elektronik und Rock/Pop-Tradition.

Die nun nachgeschobene EP "That Was Then, This Is Now" dient ihrem Titel entsprechend als Standortbestimmung und enthält zwei Tracks aus den Debüt-Sessions, zwei Remixe und das erste nach "Envy of None" komponierte ´That Was Then´. Stilistisch war das Quartett von Beginn an so vielseitig, dass man nun nicht von einer zusätzlichen Erweiterung ihres Repertoires sprechen kann - doch das famose Songwriting bleibt erhalten, und für Rush-Fans noch besser: Lifesons Spiel schimmert noch einen Tick präsenter durch.

´Lethe River´ ist dem Album-Opener ´Never Said I Love You´ relativ ähnlich, aber insgesamt doch ruhiger. Darauf folgt mit ´You´ll Be Sorry´ sachte brodelnder und zischender Industrial light, der ebenfalls auf "Envy of None" hätte stehen können - was ja auch plausibel erscheint, weil beide Stücke im gleichen Rutsch entstanden sind.

Since we've known him, Robert Lloyd has made quite clear his enormous affection for the songs and sounds of Freakwater, the duo of Janet Beveridge-Bean and Catherine Irwin who've been wrongly denied their place as rightful and willful progenitors of alt-country's 'movement', which (frankly) is to their credit. Their genius in offering absolute authentic to the sound old-time Appalachian folk music with a modern façade that in no way negates tradition (one of their albums is titled Feels Like The Third Time) is unparalleled within the genre, and Freakwater remain under-appreciated. After the start of Covid, Robert dared approach Janet with the idea of recording together. Over the course of the long pandemic, songs were bandied about for months, and when recording was finally practical, a band was assembled with dates set up for a recording session in Valencia, Spain. Robert and Janet were joined by Robert's long-time ally, Pete Byrchmore, the musical foil for Robert's solo album on Virgin and a former Nightingale, Mark Bedford, the bassist for Madness and Terry Edwards' Near Jazz Experience, and Pablo Roda, Spanish mystery drummer, couldn't have worked out more perfectly. Tracks were selected without regard for collective presentation, just the goal of walking out of the studio with an album of perfect gems. Forget Lee & Nancy or George & Tammy, Rob and Janet have an immediate chemistry that only sounds long-lived - and too uniquely them to merit any comparison. The title track, Black Cat, Dark Horse is the sole Lloyd / Bean / Byrchmore composition and one of the record 's highlights. Jim Elkington, collaborator with Jeff Tweedy and Richard Thompson, contributes Heavy Reckonings and a song written with Janet, The True Lovers' Knot And The Lie, while Robert adds reworkings from past releases - Sweet Georgia Black and Black Country (with Pete) - not to mention the unreleased Eggs And Bacon. Janet brought One Shot and the unheard Freakwater song Arc Of A Smile. Covers of tunes from Dion and The Monkees and a magnificent Jon Langford song, "Tears Like Stars" round out the album. We daresay the album is among the finest you'll hear in 2023. That it doesn't fit perfectly into any preconceived genre is a testament to its quality. "Songcraft" is a word used infrequently today, yet Black Cat, Dark Horse will show that good songs endure. We're proud that Robert and Janet will find some new admirers through this album's release. The Michael Cumming / Stewart Lee film King Rocker made a case for Robert Lloyd-as-losthero; this album furthers that idea and shows a compelling side of Janet's talent and abilities which will be a surprise to her fans and serve as an entry point to exploring her many other compelling projects.

French electronic post-punk/krautrock trio Veik recruit Sonic Boom and Vanishing Twin to reimagine tracks from their 2021 debut album, 'Surrounding Structures'. Both remixes have been pressed to wax by Fuzz Club, due out June 9 2023 on a heavy clear-blue 7" limited to 250 copies. On the A-side Sonic Boom (aka Pete Kember of Spacemen 3 and Spectrum) takes album-opener 'Difficult Machinery' and deconstructs it into a spaced-out, oscillating drone. Shifting gear on the B-side, 'Honesty (I Don't Wanna Know)' was already a piece of throbbing and discordant proto-punk and on this remix London psych-pop experimentalists Vanishing Twin turn it into an even more abrasive and unpredictable beast. Now being revisited via these remixes, Veik's 'Surrounding Structures' album was rooted in avant-garde krautrock and 70s no wave and inspired by brutalist and modernist architecture. It came highly praised by the likes of Loud & Quiet, Line of Best Fit, Louder Than War, BBC 6 Music, KEXP, France24, France Inter and more.

Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the band members had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” STIMELA.



Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.



Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.



Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.



On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!



These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

Audio Soul Project is back with their latest vinyl-only EP, Simurgh. With a title inspired by the mythical Persian bird, these four tracks fuse elements of house, R&B, dub, and drum & bass to create an ecstatic and hypnotic experience.

The EP kicks off with "Deliver Me," a dreamy house track with warm filtered chords and bouncing synth bass. R&B female vocal ad libs pepper the groove and the refrain "Deliver Me" adds a sense of yearning. The percussion, including morphing 4x4 and breakbeat drums, piano and synth stabs, nod to the cerebral Detroit and Chicago house compositions of the mid 90s.

"Azizam Dub" takes a more stripped-down approach with a subsonic bass line bump and Juno 106 stabs. Frantic percussion and deftly cut vocal samples accent the ebbs and flows of the arrangement, making for a dynamic and engaging dance.

The B-side of the record starts with "Internal Vybrations," a bass-heavy drum & bass track that winds and jumps with multiple layers of deep, fluttering bass and ambient pads and strings. Percussion layers like hi-hats, shakers, and maracas lift and relax the rhythm in parallel to the rest of the composition, making for a hypnotic and trance-inducing vibe.

The B2 track on the EP, "Celebration Dub," is a bass-heavy swinging house track with ecstatic diva "Whooo" samples that punctuate the ups and downs of the groove's energy. Classic reggae and dub-influenced vocal samples and heavy tape delay on certain key instruments add to the joyful and uplifting vibe of the track. The keyboard

and string section can transport a dancer to other realms of consciousness if they let themselves go to the groove.

Simurgh is a masterful fusion of various genres that showcases Audio Soul Project's production prowess and ability to create an entrancing sonic journey.

TL;DR: Audio Soul Project's Simurgh EP features 4 tracks of dub-infused house music. Deliver Me has dreamy chords and female R&B adlibs, Azizam Dub is stripped down with subsonic bass and vocal samples, Internal Vybrations is a bass-heavy drum & bass track, and Celebration Dub is a swinging house track with reggae and dub vocal samples.

Following on from the well-received release of Toc De Breaks earlier this year, Spanish duo JP Sunshine and Guim return with a full collaborative EP, Toc De Jaume, released on Steel City Dance Discs.

Coordinating a masterful blend of funk-infused instrumentals, melodic breakbeats and acid-tinged basslines, Toc De Jaume is unique in its character, which bears its defining traits from its two creators, JP Sunshine and Guim, whose partnership is nothing newfound, yet, in light of this EP, feels as fresh as ever.

Toc De Jaime contains a vast variation of sounds within its entirety, from the funky, acid dripped breakbeat of La Fiesta, which was released earlier this year, to tracks like JP Sunshine’s I Want To Stay, released in 2020, which offer a more melodic, feelgood aspect to this EP, and the sound of both artists as a whole.

Through Toc De Jaime, JP Sunshine and Guim present an EP that feels like an ode to the sounds of their shared native homeland; sounds which the duo manipulate and rework within the confines of an electronic dance music context, resulting in a perfect marriage of diverse sounds.

A double 12" album with brand new music produced in collaboration between DJ Fett Burger and Dama. All produced between April to October 2021.

An explosive creative collaboration between the two artists.
Unfinished sketches by Dama have been reproduced, reworked and remixed in various ways, and new tracks have been created. There have already been released three digital singles on DJFB's Digitalised Planet B, now the double album on vinyl, Emotional Tripper.

A tripped out left field house and techno record, with experimental and ambient elements. Early Italian dance music meets UK and Norwegian percussive house. Techno, electro and minimal elements all in their place. A pure mix of influences mixed and reworked together in a creative, fun and surprising way. Staying true to their original influences and moving towards something new and original.

White Vinyl

Greyscale #10 is here for the masses! To make things even more exciting, the long awaited is a double vinyl edition! Submersion has been on many top deep and dub techno labels in the past 15 years such as Silent Season, Space of Variants, Milieu Music, Deep Electronics, diametric, Rohs! and more. A landing at Greyscale makes complete sense for the quality Submersion is known for. 'Entrainment' is for those deep dub techno fans that like extended atmospheric tracks surrounded by a heavy ambience. 3 of the 4 sides have 1 track to its entire side making the fidelity of these top notch! 'Transversal, Planetary, Capsule' fills up side A with an amazing and gentle intro that has ominous clouds on the horizon. The beat is distance, while the nuances of the airspace is fully dedicated to submerging you deep within. A truly magical and enveloping sound. The next track to uncover is 'Filter, Gradation, Centrifuge'. Imagine that the earth is a ever-evolving dub techno track and you were viewing or listening to it from the distance of the moon. This would be it! There is a tremendous distance that is created in this track where chords flow and move like clouds over large areas of distance. Sometimes, the best description is a visual one if it helps. Breathtaking! 'Stimulant, Perspective, Sensory' starts the next piece of vinyl with another epic one. It morphs like a planet is being formed before your eyes. Basslines move like mountains while chords strike like distance thunder. The last side has 2 tracks sharing the side. 'Reflectance, Reverberant, Cortisol' and 'Predawn'. The first is a grandious ambient number that sounds heavenly while the last featured song is equally stunning as almost a reprise of a previous. Entrainment will be available on white 180-gram double vinyl as well as CD digipak and digital. These are all supersonic soundscapes to immerse yourself in! Masterpieces!

ITWVA002 it is the second various-artist vinyl record released on the newborn Italian Weapons Records.
The second release dives through different genres without forgetting the main core of the label which is Italian House Music.
This collection was entirely produced by young and talented Italian artists. Italian Weapons are always looking for sounds from the Italian house scene, allowing their artists to travel back to these golden age sounds.

ITWVA002 Includes 4 tracks carefully selected by the Italian Weapons label. Owned by Niccolo Turini and Gunther Mian. These tracks were mastered by Michele Mucci of Nachtkerzestudio Berlin. And designed by Matteo Mangano. The second various artist ranges through all the nuances of Italian house music including Balearic sounds produced by artists located throughout the country and beyond.

The second round of artists includes Derek & DJLo, Heat Alliance, Niccolo Turini aka; Funksonik, TMM aka; The Mechanical Man, and Sandro Sainati aka; Tai gong.

Vinyl Only

We are happy to announce another quality release from Polish label Kooky Records. This time you get a really diverse 4-tracker, with tunes from 2 legendary producers Jurek Przezdziecki (Poland) and Iuly B (Romania), as well as 2 tracks from label's founders, Schrill and Gogan. Side A is definitely more house-oriented, whereas side B sounds more like a deep insight into minimal trends, but always with a forward-thinking approach, where old meets new and experience of producers goes well with what is currently fresh in minimal/house vibes. To cut it short, a record not to be overlooked!

Vinyl Only

Lorbour of Arbour, a four tracks EP produced by V.I.C.A.R.I. on High Contact Records.

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

“Are we having fun yet? Living in the grey zone”? The Toads ask the question and already know the answer. There’s many a wry smile, often packed with gallows humour, shared on the Melbourne groups’ debut album “In the Wilderness” (out June 9th on Anti Fade and Upset The Rhythm). Navigating the dross of modern life, whilst keeping one foot in a dream is the key to their nervy post-punk scuffle. Featuring members of The Shifters, The Living Eyes and Parsnip you’d be forgiven for guessing what The Toads sound like, but their mordant step and minor-key enchantment makes for an intriguing parry.
The Toads hatched after a short period of domestic readjustment mid-2021. Billy Gardner (guitar) found himself in need of a roof after his home was consumed by fire, and was kindly hosted by friend Stella Rennex (bass). Elsie Retter (drums) was a regular visitor to the house and after seeing Miles Jansen (vocals) tear it up with his other band at the local bowls club, they invited him along to sprinkle his deadpan musings across their fledgling sound. Pretty quickly they hit on their direction; a savvy, snappy lo-fi pop as openhearted as it is brooding.
After playing some formative shows, including a debut at Jerkfest in 2022, The Toads set about recording five songs mid-year for a tentative EP. Realising the songs were too long to fit on a 7”, they booked in another recording session the following September to extend the EP to 12”. Two tracks’ chords structures were fleshed out with new melodies and arrangements, and by this point The Toads were surprised to find they had an album’s worth of material. ‘In The Wilderness’ is a beguiling record, full of twists and turns. It’s arch, resilient, thoughtful and straight-at-your-head catchy to boot.

It’s fitting that the title track “In The Wilderness” draws this record to a close, being the peak of their invention so far. Drums pound and tumbling bass-lines sprint among the crisply stabbing guitar phrases and soaring horns outro. It’s a survivalist epic of hard-worn wisdom, ambling and restless. “I open up the door trying to get all of us through” sings Miles, becoming progressively more dizzy and despondent. There is a sense of toughing it out that never falters though and this is the essence of what The Toads do best. They push onwards into the darkness and keep their appetite, pulling us all into the light.

Laura Poitras’ Oscar-nominated film »All the Beauty and the Bloodshed« is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin. Told through intimate interviews, photography, and footage, central to the story is her personal fight to hold the Sackler family accountable for the opioid crisis. The film cuts to the bone with its incandescent celebration of life and condemnation of those who threaten it. Art and activism are one and the same.

Helping to interweave Goldin’s past and present, multi-disciplinary duo Soundwalk Collective soundtrack her personal and political struggles to sublime effect. The contemporary sonic arts platform of founder and artist Stephan Crasneanscki and producer Simone Merli, the pair work with a rotating constellation of artists and musicians, developing site-and-context-specific sound projects through which to examine conceptual, literary, or artistic themes. And for all the beauty and the bloodshed on show here, the duo strike the balance just right; their compositions in collaboration with Zacharias Falkenberg and Johannes Malfatti producing a trance that oscillates between grace and madness.

Within the score, Crasneanscki draws connections with the life and work of German poet Friedrich Hölderlin, who was removed from society through confinement in institutions. In his last poems, written as fragments while he was plagued by mental illness, Hölderlin renders nature, in all its fragility and ephemerality. Similar themes merge in Laura's portrait of Goldin and serve as an inspiration for the composition of the choral songs and cantus within the soundtrack. Through the repetition of words and the layering of voices, the lyric scansion operates like a language possessed, echoing various styles from sacred music to modern minimalist techniques. The music is characterised by quivering strings and swells, de-tuning and lingering, shifting around the surreal, and creating a spectrum of musical experience. Exerts of Nan’s narration are featured in two of the tracks, her powerful narration offering a more direct approach to the storytelling.

In »All the Beauty and the Bloodshed,« Poitras shows protest is really Goldin’s great artwork: Her entire life had been leading to this moment of passionate expression, an inspired situationist gesture which fused the personal and the political. Art can change the world, which Poitras and Goldin tell us with powerful results. While there are multiple threads in this remarkable portrait which could have carried entire films, the soundtrack provides a sonic identity that helps keep track of proceedings. Utterly unique in their approach, Soundwalk Collective have delivered a gripping and thoughtful score, helping turn Goldin’s personal pain into culture-rattling impact.

UK artist Jayson Wynters debuts on Pulp with four tracks of atmospheric house and funk that come complete with remixes by Jarren and Mogwaa.

Kung fu master Wynters hails from Birmingham and has been a key player on his local scene for years. More recently he has broken out with impressive EPs on mighty Dutch label Delsin and Adam Shelton's EON. He has a real love of hazy house and always brings his own unique take on that to his timeless analogue grooves. This latest EP was written during lockdown, which provided Jayson a chance to explore different sounds and delve into different styles.

Opener 'Solitude' proves that with its misty-eyed melodies and dreamy pads. The drums tumble loosely, the percussion has a frayed edge and the whole thing is coated in warmth and soul. Half Moon's Jarren is based in LA and brings plenty of that city's musical charm to his remix. It has far-sighted chords, soft-focus harmonics and well swung claps and drums that are simply irresistible.

Wynters then offers 'Corns Funk,' which pairs another dusty drum line with pinging kicks and woodpecker-like percussive hits. A superb twanging bass riff brings some real funk and retro-future feels as the groove builds and bright synths shine through the haze to enrich your soul.

'Night Drive' is a lush downbeat tune for sunset cruises. It has heart-melting chords that prompt deep inward reflection and features an aching guitar riff full of melancholy. The remixer for the one is Seoul musician and master beatmaker Mogwaa who layers in squelchy synth bass and dreamy, loved-up pads. Last of all, 'Uncle's Jam' is Dam Funk-style electro bliss doused in lo-fi chords and languid late-night funk and packed with romance.

Jayson Wynters shows off another superb side to his sound with his expansive Solitude EP.

Adam Pits is back with his second album on Leeds based On Rotation ‘Synthetic Serenity’ represents the next evolutionary step of Adam’s sound design and direction. In stark contrast to his first album, ‘A Recurring Nature’, this new release moves out of the forest and into the digital landscape, capturing the sound of a future world over 8 varied tracks.

Adam Pits talks about the inspiration behind the new album:

“It’s hard to put into words how much of an impact 2022 had on my life. I could talk for hours about the highs and lows, the journeys, both inside and out of my body. Or I could just make an album.

Having delved into the deeper reaches of techno and ambient, I wanted to show my appreciation for these genres on the record. Atmosphere, clarity and warmth became the pillars of my new sonic exploration, with stress falling on my signature ‘journeying’ style. The album describes the idea of being at peace with machines and being open to the idea that in the future we will find ourselves more and more involved with one another.

‘Synthetic Serenity’ is a product of a big energy release. It’s a testament to my acceptance of change in life and I believe it’s a true sign of my sonic evolution”

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

We are delighted to welcome from the Finnish electronic music underground the artists MESAK to the n s y d e family. Mesak's dedication to experimentation and sonic exploration always excited us. With an extraordinary sense of futuristic sound designs, these tracks are a perfect example of finding the sweet spots between established and new techniques. The First track "Katosi" shows impressively how a contemporary dertroitish sound design is still able to transport ancient human feelings like hope and melancholia at the same time.

The acidic grounded "Narina" creates a dungeon space constantly hitting the whiplash snare drum, while "Post Sweat" is pouring golden Larry Heard-like warm Deep House neutrons upon you.


For the Remix, he has invited one of the most interesting artists in the field of electronic experimentation coming out of France, Poborsk, also known under his Bill Vortex moniker.


Mesak's music invites listeners to explore a range of emotions and moods, from the contemplative to the ecstatic, with a sense of sincerity and authenticity that is extraordinarily rare.

House Nation is still under one Groove.

The 12th release on Tooman Records comes from Quadrakey and contains 4 beautiful tracks. House music with a deep passion.


We are very delighted to collaborate with talented collage artist Niels Kalk, whose artwork adorns the a-side.

Gacha Bakradze releases his third album on Lapsus entitled "Pancakes", and while the name may appear conventional at first glance, it actually contains esoteric philosophical concepts.

The Georgian producer perceives the making of pancakes -a transformative and healing parental activity that he loves to partake in with his son- as a metaphor for alteration, metamorphosis and change. A reflection that also accentuates the importance of balance during each process of preparing a simple recipe, which in turn highlights key human attributes such as patience, attention to detail and willingness to adapt to shifting circumstances.

On a sonic level, Gacha’s new album embodies precisely that: the contextual reworking of his music, while maintaining the essence of his previous work. "Pancakes" provides the typically melancholic yet vibrant genetics already recognisable in his music, but also embraces new genres, including his unique and personal take on hyper-pop and trance. It is an album of contrasting elements, where bucolic interludes make way for heavier tracks that are more suited to a club environment, an aural universe that hybridises IDM, electro, bass music and cutting edge techno, and once again demonstrates that trying to pigeonhole Gacha Bakradze's sound is a somewhat fruitless task.

Jan Kincl, a Croatian artist with music released on BBE, Far Out, and Sonar Kollektiv, is launching his own label Cycle Records with an EP titled "For A Minute". Written and produced at Jan's Cycle Studio in Zagreb, the EP features two original tracks riding a thin line between techno and house, and a remix from Gene Hunt, one of the pioneering artists responsible for shaping the early sound of Chicago - "I loved the way the original had such an old school feel to it, jazzy vibes with a 70's touch. When I was asked to do a remix I was like yesssir! It reminds me of something that Moodymann would make. It contained a '94 vibe, Detroit and Chicago combo. Not to mention it was a totally different vibe for me, and I'm honored to be a part of something new and different." - said Gene about this collaboration.

Tenderly propelling and full of haunting melodies: Studio Mule re-issues Sakura Tsuruta’s so far digital only, self-released debut album “c / o” from november 2022.

An evocative first long player by Tokyo based artist, who was trained in classical piano during childhood, played with brass instruments, studied music production, and is today active as a composer, live performer, and versatile dj.

With “c / o” she expressed her personal history in a fluid, around 43-minute long light flooded, yet dark-ish musical vision. eight profoundly composed tracks, melding complex rhythms with emotional airs, tripping arpeggios, and ghostly sounds, slightly influenced by some of her fa-vorite artist like björk, holly herndon, or kaitlyn aurelia smith.

“c / o is a love letter for the experiences, people, and memories i had in the last two years that i spent producing this album. i also like that the letter “c” looks like an incomplete circle, whereas the letter “o” is a full circle.

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

Infernal Sounds dish out the 3rd and final instalment in their IFSDIGIV series, loading up 4 more of their digital tracks onto a jam-packed 12". Mungk & Ego Death kick off proceedings with the beautifully oriental and melodic 'Crestmoon', before Drumterror takes charge in magical fashion on 'Likeness', incorporating a weighty and spacious mainframe to wrap around the saxophone wizardry of Ed Hodge. The B side takes a slightly more subterranean vibe with 'Memento' by Metafloor, dropping in on a heavy and bass-loaded swinger, before Grawinkel rounds off the EP with militant and wonky 'The Future', a tune that'll be battering the speakers with mid-range punches and flurry of low-end jabs. It's a release that has everything you need - four very different selections but packing variety and substance.

Recieved heavy support from the likes of Truth, N-Type, Deep Tempo, Bukez Finezt, Enada, Sicaria Sound, BunZer0 and many more.

In 2003, Belgian composer, percussionist and multi-instrumentalist Chris Joris released his Magnus Opus "Out of the Night" on the Belgian jazz label W.E.R.F. records. The album - an emotionally infused tribute to his late wife - became a commercial success and received several reprints over the years. Meanwhile, the release has been out of print for some time. On the occasion of the 20th anniversary of one of Belgium's most important jazz records of the past three decades and on the occasion of the 30th anniversary of W.E.R.F. records, this gem is being reissued, for the first time ever on vinyl.
Especially for this reissue, the album has been enriched with some never before released tracks and alternative takes from the original recording sessions.

The horses are out of the barn…and it’s time to trot. Introducing Mortar & Pestle: a union between two of Canada’s dance bandits at large. D. Tiffany & Maara come together to bring you pure delicious magic. These tracks are fresh out the skillet and piping hot on your plates. Dip us in maple syrup and throw us to the lezzies!

What do you get when you stir the pot…or grind the pestle? Wet, bubbling, sticky, throbbing bangers that make you lose your mind. Two’s company, but three’s a party. Sweetheart Hannah Karpinski hops in with her provocative Polish vocals, ready to ignite the freak fire and desire in this world and beyond. Unhinged, raw, and chaotic, burning the whole barn down. Enjoy this 4-track offering of hypnotic indulgence. Mortar & Pestle: Pound or be Pounded? Whatever you fancy, you’re in for a treat.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Higher Octave is a pairing of two guys intrinsic to the UK rave and hardcore scene. David Salvi, owner of Pro-One Records, the label to originally release this record along with a slew of other artists such as Law & Auder, Bay B Kane, Submania, Utomica and DJ Hopa, who is the other half of Higher Octave. David was also half of the group Utomica, whose Rok A Bye track was repressed by Vinyl Fanitiks in 2020 and has long since sold out.

David always credits Hopa as the guy with the ideas… he was out at all the raves and was always on point with how tracks should sound and any new trends that were incoming were hot on his radar. David was the guy with the studio, ready to help make Hopa’s ideas into reality.

A sought after release, originally released in 1992, with ‘Raise The Bones’ being the track that had the most rotations in the clubs and on the pirates back in the day.

Limited pressing on 180g heavyweight black vinyl, presented in a black inner sleeve with a Vinyl Fanatiks 3mm spined housebag.

Dynamic British pop trio Flawes are set to release their second album ‘One Step Back, Two Steps Forward’ On June 9, 2022. With its taut production, skittering percussion and effortlessly woven textures, ‘One Step Back, Two Steps Forward’ offers a sense of euphoria to its listeners. Featuring 10 brand new tracks, it’s a driving-with-the-top-down record, one that has propulsive rhythms, yearning guitars and choruses that soar.

"If you’ve ever wondered what Catharsis covering The 13th Floor Elevators might sound like, wonder no longer—and that’s only the start!" - Decibel Magazine GELD make their Relapse Records debut with their third full length, Currency // Castration! The Australian band distills a despairingly hellish vision of the world into a thundering crack to the temple through an unsparing fusion of hardcore’s bleakest violence with metal’s ruthless strength-through-conviction. GELD's abrasive take on the genre is distorted through a lense of fuzzed out psych soundscapes; vocals truly sound like unhinged barks, while guitars, bass, and drums crash against one another frenetically, each track burning brighter and brighter. Every moment of Currency // Castration is urgent. Tracks such as “Chained to a Gate” edge and scratch at a relief that is ultimately denied, toying with the nightmarish promise of a breakdown that never comes. Elsewhere, "Cut You Down" pulses with frantically itching riffs that stream forth. "Fog of War" snaps and snarls; while "Secret Prison" evinces the honed physique of Japanese hardcore fed through the broken brain of someone on a years-long Rrröööaaarrr-era Voivod spin-out. Despite the band's innovative approach to the genre, GELD makes no pretensions at being “interesting” for interesting’s sake - As vocalist Al Smith puts it, “One of the most boring things people can do is try to dress up what someone else has already contributed to a genre and make it ‘clever’… We’re more interested in finding our own position.” With Currency // Castration, GELD offers no promise of a higher purpose or resolve. Rather, they lean into dissociation, finding truth and meaning in the transcendental joy of simply escaping, surviving, existing.

Hard Rock/Melodic Metal pioneers Y&T have always been a LIVE metal machine and "Yesterday & Today Live" is the bedrock Y&T's legendary live shows are built upon. Recorded during what-was-then billed as the final date from Y&T's emotional farewell tour before the home town crowd in San Francisco, the inspired and energetic live set is a high octane set of the very best from the band's early catalog. The track listing is back-loaded with the classics fronted by the mighty Dave Meniketti. The majority of the songs are pulled from a powerful trio of early-eighties Y&T albums, the ground-pounding Earthshaker LP, plus the prowling Black Tiger and the hardened Mean Streak. Opening with a blinding version of the keepin'-up-with-the-Jones' "Meanstreak", and the fully-blown assault of "Hurricane", the spirited thirteen song performance adds "Struck Down", the sobering "Winds of Change", the growling "Black Tiger", the inspired "Midnight in Tokyo", the down 'n' out "Hard Times", the Bic-flickin' "I Believe in You" and set closer/fan favorite "Forever". New for 2023 is two additional bonus tracks not included on the original release in 1990; "Earthshaker" and "Rescue Me", making for a 15 track live concert experience from the legendary Bay Area sons; Y&T.

“Come, Sweet Death” alternates between brutality and winding single string melodies that brings you back to the golden age of Swedish Death Metal! They say that the more things change the more they stay the same. If there’s one thing that has remained stable despite living in 2023 is that we love Swedish Death Metal. The style has become a favorite of ours over the past 35 years. Something about the guitar tone just makes you want to devour any release that can be described as “Inspired by early Entombed and Dismember”. The good thing is that there’s an incredible wealth of bands that draw from that well. The bad thing is that said wealth leads to a lot of bands becoming indistinguishable due to how same they are. Thankfully, Imperishable’s “Come, Sweet Death” manages to stand out from the pack, in no small part due to breaking away from the genre’s usual trappings. And in a way this is no surprise since the band members were or are involved in Vampire, Portrait, Nominon and Dr. Living Dead! As you might have already gathered, the band draws a lot from the Stockholm scene, more specifically Dismember, that is undeniable. What’s really interesting though is that they draw from their later, and more melodic influenced era as much as from the early days. Imperishable, like their peers effortlessly blends the aggressive buzzsaw riffing with leads brimming with melody, which most modern bands in the style avoid in favor of pure aggression. Said blend can be seen throughout their debut album, though it can be felt more on the longer tracks, like “Teeth of the Hydra” and “Fangs”, where the band has more room to develop their ideas and mix grinding Death Metal with NWOBHM-inspired leads and riffs. In short: Imperishable has great songs, great melodies, well-arranged structures and still is brutal, just like the great old bands were. And the production is spot on for this release. It is good to hear a band experiment beyond the confines of the original old school Swedish Death Metal sound. “Come, Sweet Death” is an extremely promising release, and a small breath of fresh air in an otherwise stale scene. Imperishable’s love for the more melodic aspects of the style make them worth keeping an eye on now and in future.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

The 69 Eyes kickstarted the new millennium with this era-defining gothic rock statement of an album. With the band's blessings, Svart Records present an extended edition of the classic. Originally released in 2000 on Gaga Goodies, Blessed Be is a cornerstone of The 69 Eyes' career and contains songs like Gothic Girl and Brandon Lee. This expanded and thoroughly remastered 23rd Anniversary Edition features a bonus disc with three demo versions and two radio live tracks.

The 69 Eyes kickstarted the new millennium with this era-defining gothic rock statement of an album. With the band's blessings, Svart Records present an extended edition of the classic. Originally released in 2000 on Gaga Goodies, Blessed Be is a cornerstone of The 69 Eyes' career and contains songs like Gothic Girl and Brandon Lee. This expanded and thoroughly remastered 23rd Anniversary Edition features a bonus disc with three demo versions and two radio live tracks.

Rob Grant präsentiert sein atemberaubendes Debütalbum ”Lost At Sea”.
Grant hatte nie den Plan, Musiker zu werden. Er hat keinerlei musikalische Ausbildung genossen. Noten lesen kann er nicht. Aber wenn er sich an ein Klavier setzt, geschieht etwas Magisches. Die Noten strömen aus ihm heraus und es entsteht eine Komposition nach der anderen.

Als Vater der internationalen Ikone Lana Del Rey hat er eine ganze Reihe von Talenten eingeladen, an der Entstehung des Albums mitzuwirken.

Seine Tochter Lana Del Rey ist als Autorin und Produzentin tätig, während Jack Antonoff, Luke Howard, Laura Sisk und Zach Dawes an der Produktion beteiligt sind.
Sein Album inklusive der Tracks ”Hollywood Bowl” und ”Lost At Sea”, mit Vocals seiner Tochter Lana Del Rey, erscheint am 09. Juni und ist vorbestellbar auf CD und Vinyl.

Spandau’s Dajusch debuts on Dance Trax with 3 tracks of high octane techno-jak-trax - road tested in clubs worldwide to full effekt!

Fredfades is finally ready with his second album as a solo artist. The producer and DJ and has remained active as a musician ever since his debut single in 2008. Since he released his debut solo album 'Warmth' six years ago he's ben diving into a bunch of different genres and cross-ing musical landscapes such as ambient, hip-hop and house, which has led to releases and productions across labels like his own Mutual Inten-tions imprint, as well as bigger labels like Stones Throw, Fresh Selects and Jakarta Records. This sonic voyage has resulted in ‘Caviar’ - an album that tells the story of a producer who's ready to let go of his youthful love and indulge himself to electronic music.

Fredfades name is more often seen on foreign club posters than back home in Norway. This has colored the musical expression of the Oslo-born multi-artist, and on ‘Caviar’ he is gathering inspiration from every corner of the world where he has traveled. You can clearly hear the inspi-rations from the sounds of Rome, Manchester, South-Africa, Detroit, New York, Berlin, Paris and the Balearic ocean, which are all well repre-sented throughout the album's eight tracks. If you close your eyes and put your ears close to the speakers you will hear loons, running water, African percussion instruments, roaring saxophones, bit-crushed samples, moaning women, TB 303’s, bottom-heavy basslines and recordings of whales communicating at the bottom of the ocean. Everything seamlessly put together for Fredfades’ own sonic world view. The album features a bunch of talented friends of Fred, such as Telephones or the vocalists MoRuf and Kristian Hamilton.

Despite being known as more of a progressive and edgy DJ that haunts down a lot of indie and private press electronic music, Fredfades has cultivated a more elegant and controversial output in his own music. His progressions often consist of dwelling jazz chords from electric pianos or mellow sub-filtered synth patches that creates space where he can unleash rowdy basslines, rhythm sections and leads just as confident and captivating as the man himself. On the jazzy ‘Tenerife 1994’ you can hear a tribute to one of Fred’s greatest heroes in music: Pharoah Sanders, while on ‘My Heart Is On The Edge’ and ‘Summer of Love’ the energy and euphoria is boiling over and directs your mind towards the summer raves which Fredfades is known to throw down in Oslo.

On the LP covers backside Fredfades is posing with a Korg Wavestation in front of the block where he grew up in the suburbs outside Oslo, while the front cover is showing an airbrushed illustration of Caviar from sturgeon - ‘From block to Beluga’. The black vinyl contains magic grooves created by an electronic musical convertite, with the power to transport the listener from a perpetual winter to the 90s warm dance floors and the 'Second Summer of Love’.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

EXTREME return in 2023 with their brand new studio album “SIX”. The multi-million selling hard rockers present 12 tracks ranging from funk-tinged bangers to soaring ballads as only EXTREME can deliver. Spearheaded by the songwriting team of vocalist Gary Cherone and guitarist Nuno Bettencourt (who blessed the world with chart toppers like “More Than Words” and “Hole Hearted”), “SIX“ is an essential addition to EXTREME’s discography. The album opener and first single “RISE” will immediately fire up legions of anxious fans with its signature riff. Elsewhere, “OTHER SIDE OF THE RAINBOW” showcases EXTREME’s gift for passionate acoustic magic. EXTREME are back with “SIX“ – everything the fans have been waiting for. Formats; CD, 2LP Black, 2LP Ltd Transparent, 2LP Ltd Red & Black Marble.

Matt Berry’s second album for Acid Jazz was the astounding ‘Kill The Wolf’. Building on and expanding on the sound of his label debut, it mixed baroque folk with psychedelia.
Containing the well-received single ‘Medicine’, the ruralistic ‘Gather Up’, as featured in ‘What We Do In The Shadows’, and the nine minute ‘Solstice’, as championed by BBC Radio 6 Music.
Zuerst veröffentlicht im Jahr 2013 feiert 'Kill The Wolf' seinen 10. Geburstag. Auf seinem zweiten Album führt Matt Berry seine progressive Musik mit 70-Jahre-Pop und psychedelischen Experimente fort und etabliert sich mit einem von der Kritik gefeierten Werk weiter als Musiker.

Anlässlich des zehnjährigen Jubiläums des Albums sind Deluxeversionen von Tracks erhältlich - in einigen Formaten zum allerersten Mal. Die Doppel-LP im Gatefold-Format enthält das Originalalbum auf der LP und das gesamte exklusive Material auf einer zweiten LP.

ZEKE, die legendären Punkrocker aus Seattle, melden sich mit ihren ersten neuen Aufnahmen seit über 4 Jahren zurück. "Ride Hard Ride Free" enthält zwei Tracks, die mit ZEKEs charakteristischer Mischung aus turbogeladenem Thrash-Punk und Motörhead-besessenem Rock'n'Roll gespickt sind und bietet einen ersten Vorgeschmack auf ZEKEs neues Album, das im Laufe des Jahres erscheinen soll. Im Jahr 2022 fanden ZEKE unerwartet wieder zusammen. Die Gründungsmitglieder Blind Marky Felchtone (Gesang/Gitarre) und Donny Paycheck (Schlagzeug), der nach 18 Jahren ans Schlagzeug zurückkehrt, steckten die Köpfe zusammen und arbeiteten an neuen Songs. Auch Jason Freeman (Bass) und Jeff Hiatt (Gitarre), die schon einmal bei ZEKE dabei waren, konnten von einem Wiedereinstieg überzeugt werden. Die erste Single "Ride Hard Ride Free" ist alles, was man von ZEKE erwartet - oder hören will.

The 2022 DreamWorks Animation film Puss In Boots: The Last Wish is the sequel to the spin-off film Puss In Boots (2011) and the sixth installment in the Shrek franchise. Directed by Joel Crawford, the film features a voice star cast including Antonio Banderas, Salma Hayek Pinault, Florence Pugh, Olivia Coleman, and John Mulaney amongst others. It received an Academy Award-nomination for Best Animated Feature Film. The story follows the daring Puss In Boots, who discovers that his passion for peril and disregard for safety have taken their toll. Puss has burned through eight of his nine lives, though he lost count along the way. Getting those lives back will send Puss in Boots on his grandest quest yet.

Heitor Pereira composed the film's score, who is best known for scoring the Despicable Me franchise. For this specific release, Pereira selected his favourite pieces to be featured. Together with his team, these pieces were mastered to sound as best as possible on vinyl. It features the additional tracks "Fearless Hero (Hero Version)" with Antonio Banderas, "Por Qué te Vas" by Gaby Moreno, "This Is the End" by Dan Navarro & "La Vida Es Una" by KAROL G.

Puss In Boots: The Last Wish is available as a limited edition of 750 individually numbered copies on orange "Puss" marbled vinyl. This vinyl package includes the map to the "Wishing Star" and a 4-page booklet with liner notes by director Joel Crawford.

Nachdem die dänische Melodic-Death/Thrash-Metal-Band AVARICE in den örtlichen Clubs Feuer und Flamme war, ist sie nun endlich bereit, ihr mit Spannung erwartetes selbstbetiteltes Debütalbum im Jahr 2023 zu veröffentlichen. Das Album enthält zehn knallharte Tracks, die sich um die mythologischen Geschichten der Antike über Bestrafung und extreme Gier drehen - daher der Band- und Albumname "Avarice". Für die Aufnahme und Produktion des Albums hat sich die Band mit dem erfolgreichen dänischen Produzenten Chris Kreutzfeldt (CABAL, Ghost Iris und Møl - um nur einige zu nennen) zusammengetan. Das Album unterstreicht in perfekter Weise den Status von Avarice als Vorreiter des Old-School-Death/Thrash-Sounds der 2000er Jahre - allerdings mit einer neuen und kraftvollen Interpretation des Genres.

Das Album fängt die brutale, intensive und rohe Live-Energie von Avarice ein und lässt sich von Pionieren wie Slayer, Sepultura, HateSphere und Power Trip inspirieren.
Avarice wurde 2007 von ein paar Teenagern gegründet, im selben Jahr, in dem das Kollektiv auch den Aarhus Metal Contest gewann und Shows und Festivals mit Bands wie Kreator, Soilwork, Volbeat, Mnemic, Dawn of Demise und Mercenary spielte. Nach einer mehrjährigen Pause wurde Avarice 2021 wieder ins Leben gerufen, und in diesem Jahr wurde die EP "Reborn in Blood" veröffentlicht. Die EP wurde sowohl von den Fans als auch von den Kritikern erstaunlich gut aufgenommen, was sie auf ihren Weg zu UPRISING! Records führte.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

On this second vinyl from the new label of Barcelona’s club Les Enfants Brillants, Mannheim-born producer Fabe has taken control of this new release delivering 'Hyped By Light', an EP consisting of four deep club-ready deep house tracks with heavy-bass sound and sparkling groovy notes.