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LIMITED 500 ONLY (WORLDWIDE) FIRST PRESS ON CRYSTAL CLEAR VINYL WITH GREEN SMOKE SWIRLS. HOUSED IN GLOSS FINISHED FULL COLOUR SLEEVE WITH POLYLINED INNER BAG. NON-RETURNABLE.
Japanese psych rockers Hibushibire return with album number four ‘Flashback Stonehenge’ and a UK/European tour to coincide.
‘Flashback Stonehenge’ is the bands first studio album as a four piece, with live guest Kohei Katsuma now joining as a full time member on percussion/congas (an absolute must see live) alongside Changchang (Guitar/Vocal), Tetsuji Toyoda (Bass/Vocal) and Aoi Hama (Drums/Vocals).
Like the band's previous three albums, this one continues with the three shorter songs on side one, and one epic long song filling out side two mantra that has served them so well thus far.
Opening track ‘Snow Sniffing Matador’ is already a firm live favourite, with it’s heavy riffage and 70’s rock swagger. Things then cool down with a more laid back ‘In Heaven’, featuring Aoi Hama’s dreamlike vocal whispers, and a fuzzed out take on traditional English folk song ‘The Cuckoo’ with Changchang & Aoi trading verses.
Flip it over, and you have the epic title track, which sees the band take a slightly different approach recalling the likes of Steve Reich, Terry Riley, Faust, CAN, Eno etc over its extraordinary 22 minutes.
The band return for their fourth UK tour in October, and also play their first mainland European dates to coincide.

On H008 Len Faki goes back to his crate for a unique journey through synth-led landscapes, carefully selected and bolstered up for the dancefloor.
Starting with 2000 And One - Edge Of No Return from the mid 2000s, when it was just a standout synth-line - no beats. The Hardspace Mix takes this masterclass in building tension, adds a driving beat and searing percussion while keeping the iconic synth-play intact -layered with big, booming bass for that full-bodied, dancefloor-ready energy.
The flip boasts two of longtime Figure-collaborator Viers' productions. Re-L, released almost 10 years ago, it delivered that unmistakable pulse of deep, dubby, shimmering synths. Hardspace picks up these potent elements and injects them with a new low-end, dramatic rises and tight rhythms, creating a high-energy yet hypnotic flow.
Equally energetic but much more brooding in atmosphere is the Hardspace version of Free Your Mind. An elusive original, this mix builds on dense percussion, subdued vocals and droning horns while carrying some seriously spaced-out acid synth textures. One for the wee hours and those special memorable moments in a set.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Einem US-Metalfan die Band Griffin zu erklären hieße Eulen nach Athen tragen. Während das Debüt noch traditionellen Heavy Metal in Reinkultur bietet, tendierte die Gruppe um den außergewöhnlichen Sänger William McKay in Richtung Speed- und Thrash Metal, aber ohne dabei ihre Trademarks einzubüßen. „Protectors Of The Lair“ erschien 1986 bei Steamhammer/SPV. Musikalisch war man am Puls der Zeit, doch der Stil kann auch ebenso als kauzig und individuell bezeichnet werden. Das größte Manko war allerdings immer der dünne Sound, der sich fast nur in den Mitten und Höhen abspielte. Dies wurde nun gleich doppelt behoben!

Es ergab sich das seltene Glück, dass die originalen 24-Spur-Bänder noch vorlagen und nach einigen Reparaturen überspielt werden konnten. Somit war nicht nur ein Remaster möglich, sondern ein Remix, der von Neudi 2020 angefertigt wurde und nun die LP 1 füllt. Die zweite Scheibe beinhaltet den Original Mix von 1986, allerdings remastert von Patrick Engel (Metal Blade, High Roller, etc.).

Hammers Rule gelten als Kultgruppe des US-Metal, deren LP „Show No Mercy“ und EP „After The Bomb“ (1984/1985) heute gesuchte Sammlerobjekte sind. Man wollte sich vom Härtegrad nicht festlegen und decken dadurch ein enorm breites Spektrum des US-Metal ab. Während die ersten vier Tracks zwischen Epic-, Heavy- und Speed Metal liegen (ebenso die beiden EP-Tracks „Kamikaze“ und „Stop The World“), war die B-Seite der Original-LP etwas zugänglicher und passt auch gut zum hohen Haarsprayverbrauch der Achtziger. Doch auch diese Stücke stecken voller Energie und Spielwitz. Einer der Gründe ist die unfassbar gute Rhythmussektion aus Drummer Chuck Hohn und Bassist Shaun Henley.

Die beiden Musiker operierten auf einem Niveau wie Steve Harris und Nicko McBrain (Iron Maiden). Zudem ersetzt der Bass durch das kräftige Spiel und die Präsenz im Mix auf beeindruckende Weise eine zweite Gitarre. Das Album und auch die EP wurden weitestgehend live im Studio aufgenommen. Golden Core war das erste Label, bei dem die verbleibenden Bandmitglieder einer Wiederveröffentlichung zugestimmt haben. Die Golden Core LP enthält die EP-Tracks als 7“ Single.

Legendry haben 2020 eine spannende EP mit drei Coverversionen (u.a. „Metal“ von Manilla Road) und einem neuen, eigenen Song (das titelgebende „Heavy Metal Adventure“) eingespielt, die auch optisch ins Konzept der drei Vorgänger passt. Wer auf Epic Metal steht kommt um „Heavy Metal Adventure“ nicht herum!

Born in the sewers of Montreal in 2018, it all started with a simple goal : blending old fashioned death metal and modern hardcore together in a city where technical death metal reigns supreme. It didn't take long for the band to make a name in the underground tho. Fast, old school riffs, pummeling mosh parts mixed with energetic stage presence quickly earned ST attraction, especially in the hardcore scene. Initially formed by tattoo artist Vincent PL on vocals and axeman Philippe Leblanc, ST has now its hardest lineup to date by adding Miguel Lepage (ex- Blind Witness, ex- Obey the Brave) on bass and Émile Savard (Profane Order, ex- Malebranche) on drums, turning the band from another local act into an absolute fucking weapon. The time has come to follow the path of Cryptopsy, Quo Vadis and Despised Icon and show the world that Montreal is still to this day a reckless, unrelenting force of death metal.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Originally released on Mon 22 August 2005, the Furries’ third and final album to be recorded by Epic Records, Love Kraft is to be reissued on double vinyl, 2CDs, including the 22-track bonus CD, Kiss Me With Apocalypse and digital formats on Fri 24 October 2025 via the Cardiff-based independent label, Strangetown Records. Four previously unheard tracks are drawn from the vaults, including the squidgy ELO-stomp of drummer, Daf Ieuan-led Rock ‘N’ Roll Flu, plus the distorted space-jam of Cae Marw, the band’s deep-bass sketch of Palo Alto and ghostly, percussive morsel of Bedw Arian.

The album followed six previous albums by the band, including their statement debut album, Fuzzy Logic in 1996, melding an attention-demanding mix of literary, narcotic and musical influences. Maintaining a shape that was ill-fitting in the jigsaw of other 90’s guitar bands, their follow-up, UK Top Ten album, Radiator brought the hooky squelch of the bona fide indie dancefloor classic, The International Language of Screaming. The next decade saw the release of the first Top 20-charting, Welsh language album, Mwng (2000), followed by further experimentation and commercial success with Rings Around The World (2001) and Phantom Power (2003).

Love Kraft’s sense of cohesion, collaboration and free-flow of rich harmony has been credited to the five-piece escaping Wales to record in the shimmering heat of Figueres, Catalunya. Bringing famed Beastie Boys producer, Mario Caldato Jr along with them for the ride, the travelling band’s stay in the Catalonian hometown of Salvador Dali included found sounds, boozy petrol stations, gastronomic revelations and, finally, a rich album of strings, synths and opulent vocal harmonies.

While eventually finding their way to Baha, near to Rio di Janeiro to mix the album Love Kraft’s story began in Wales and Pleasure Foxxx Studios, where the band began to craft the album’s songs. Embracing the landmark of a seventh album, notably coming after the 2004 release of their first ‘best of…’ package, Songbook: The Singles, Vol. 1, Super Furry Animals pooled ideas and affected further democracy in their songwriting, taking a load off traditional lead-writer and front man, Gruff Rhys, and sharing in lead vocal duties (aside from the microphone-averse bassist, Guto Pryce).

Love Kraft was the first Super Furry Animals album recorded to hard disc instead of multi-track tape, and found the band typically explorative and open to happenstance. Zoom’s opening splash into the recording studio’s swimming pool is accompanied by the on-location, pool table samples found elsewhere on the album.

Updated packaging features the original, meticulously built diorama design by long-time collaborator Pete Fowler. Constructed by hand in his studio, complete with bulb-lit illumination, then photographed, the sleeve’s depiction of a monolith-rich desert landscape reflects the sense of other space and time depicted by Love Kraft’s woozy songs. The final sleeve design again comes courtesy of Mark James.

With Michaela Melián's LP "music for a while", a-Musik is releasing the first album by the visual artist, co-founder of F.S.K., and solo musician since "Monaco", which appeared on Monika Enterprise in 2013. While her last releases, Electric Ladyland (2016), Music from a Frontier Town (2018), and Tania (2022) were created as part of exhibitions and sound installations, "music for a while" is Melián's fourth autonomous LP, characterized on the one hand by her unmistakable dreamlike sound along the interfaces between dark chamber music, solemn ambient techno, and cinematic sound art.

As with her previous albums, there is also a wonderful avant-pop cover version—this time of the track “My Other Voice” (1979) by the Sparks. On the other hand, music for while, whose cover is adorned with Melián's photographs of the clouds above her new home of Marseille, spreads a comparatively ominous mood – one that is nevertheless appropriate given the circumstances in 2025 – thanks in part to the sedate, almost ticking drum sounds of co-producer Felix Raethel. Once again, the multi-instrumentalist, supported by Ruth May on violin and Elen Harutyunyan on viola, weaves her recordings of various string instruments — cello, guitar, bass, and zither — into fascinating, lurching, looping, and almost hypnotic soundscapes, but atonal synthesizer sounds in tracks such as “traverse benjamin” and “märchenwald” open up the music to electroacoustic and experimental music. The concluding cover version of Irving Berlin's “they say it's wonderful” (1946) rounds off one of this year's most impressive releases in an incomparably groovy and melancholic way.

Innitial pressing soul out at once, now repress in neon green vinyl colour available! Ride bassist Steve Queralt's debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, MEMORIALS).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created. Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album's dark intensity. This is most notable on the closing track, `Motor Boats', where he overlays words from Julie Sheldon's polemic poem The Same Boat ("We're all in the same boat they say, but I would disagree"). According to Steve, these simple words of rejection "capture the reality of our times perfectly". However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. "After a few false starts, I had started to doubt the project altogether. It was going nowhere," says Steve. "Then, out of the darkness, Emma got in touch to tell me that she'd found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had `Lonely Town' and `Swiss Air'."In the meantime, Verity from Electrelane had added vocals to the song `Messengers' and transformed the track. Matthew Simms, now her bandmate in MEMORIALS, would go on to mix the finished album."Swallow has turned out so much better than I had hoped," enthuses Steve. "I'd fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn't be the whole story...

Der erste Longplayer des Trios aus Avilés in Asturien. Energiegeladener Streetpunk mit melodischen Bassarrangements, einem treibenden Schlagzeug und einer rotzenden Rock'n'Roll-Gitarre. Bei Ihrem Song ,Streetpunk" könnte man meinen Motörhead und Cock Sparrer hätten mal was zusammen ausgeheckt. Dieser Sound zieht sich durchs ganze Album, keine Pause, kein Luftholen - einfach Druck ins Gesicht des Publikums blasen - keine langen Intros, gleich drauflos! ,Get Ready!" beinhaltet 10 Krachersongs, mal in Englisch, mal in Spanisch, einfach aus Ihrem Leben gegriffen. Ein gelungenes Debüt des spanischen Trios, ein echter Tyger im Tank, einfach gut, einfach Rock'n'Roll! Get ready!

Seine Musik war immer spontan, mitreißend und voller Energie, trotzdem hat Blue-Note-Legende Horace
Silver zu Lebzeiten nur ein einziges Livealbum veröffentlicht. Das ändert sich jetzt dank eines bislang
unveröffentlichten Konzertmitschnittes!
Im August 1965 glänzte der Pianist mit einer innovativen Besetzung im Penthouse-Jazzclub in Seattle,
mit Woody Shaw an der Trompete, Joe Henderson am Tenorsaxofon, Teddy Smith am Bass und Roger
Humphries am Schlagzeug. Der erst jetzt entdeckte Mitschnitt erlebt seine Weltpremiere unter dem Titel
”Silver In Seattle: Live At The Penthouse”. Darauf feuert die Band unter anderem kochende Interpretationen von Silver-Klassikern wie ”Song For My Father”, ”Cape Verdean Blues” und ”The Kicker” ab.
Die 180g-LP im Gatefold-Sleeve und die CD im Digipak enthalten beide ein ausführliches Booklet mit
seltenen Fotos von Francis Wolff, Burt Goldblatt, Jean-Pierre Leloir und anderen plus Linernotes des
renommierten Jazz-Experten Bob Blumenthal sowie Interviews mit und Statements von Schlagzeuger Roger
Humphries, den Silver-Band-Alumni Randy Brecker und Alvin Queen, dem aufstrebenden Pianisten Sullivan
Fortner und weiteren.

Das Debütalbum des Jazz-Multiinstrumentalisten Yusef Lateef, Jazz Mood, wurde ursprünglich 1957 auf
dem Label Savoy aus New Jersey veröffentlicht. Das Album enthält fünf Originalkompositionen von Lateef
und wurde von Curtis Fuller (Posaune), Hugh Lawson (Klavier), Ernie Farrow (Bass) und Louis Hayes
(Schlagzeug) eingespielt. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series
auf 180-Gramm-Vinyl, gepresst bei RTI, mit vollständig analogem Mastering von den Originalbändern bei
Cohearent Audio und einem Stoughton Tip-On-Cover.

Mit der neuen Ausgabe der Rare Groove Collection tauchen wir ein in die pulsierende Klangwelt Nordafrikas. Diese Doppel-LP vereint seltene Tracks aus Algerien, Marokko, Libyen und Tunesien, die zwischen den späten 70ern und frühen 80ern entstanden sind - eine Zeit, in der traditionelle Rhythmen auf Soul, Funk und Disco trafen. Die Compilation präsentiert eine elektrisierende Mischung aus hypnotischen Grooves, treibenden Basslines und souligen Gesangslinien, inspiriert von den Sounds jenseits des Atlantiks. Künstler wie Faboul, Freh Khodja, Vigon, Abranis, Faraji, Raina Raï, Malik Adouane und Najib Alhous stehen für eine Ära musikalischer Grenzüberschreitungen, in der kulturelle Identität und globale Einflüsse auf faszinierende Weise verschmolzen. Jeder Track ist ein Stück Musikgeschichte - tanzbar, psychedelisch, politisch und voller Energie.

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

PinkPantheress’ debut mixtape to hell with it marked the anti-popstars seismic arrival.

Released in 2021, the project fused bedroom pop, jungle, drum & bass and UKG, introducing these sounds to a new generation through her saccharine vocals and diaristic lyrics about obsession, hopelessness, friendship, and loneliness.

The debut mixtape has received 2.5 billion streams to date with all five singles; Just for me (No. 27), Pain(No. 35), Passion (No. 73), Break it off (No. 74), and I must apologise (No. 85) charting in the UK Top 100.

The following year saw the rising star win BBC Music’s Sound of 2022, grace the cover of The Face whilst catching the attention of British Vogue where she was the only musician featured on the prestigious Vogue 25 list. to hell with it has since received Gold certification and cemented PinkPantheress as one of the most important new voices in British music.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

"In Your Eyes" ist einer der hypnotischsten Songs des Sängers Johnny Osbourne, ein Ohrwurm den er 1982 mit den Roots Radics im Channel One Studio aufnahm und durch vielfachen Einsatz als Sample von Drum & Bass / Jungle Künstlern auch außerhalb der Reggae Szene bekannt wurde. Hier ist die Originalversion, erstmalig als authorisierte 7-Inch Single mit der "Wins The World Cup" Dub Version auf der B-Seite, abgemischt von Overton "Scientist" Brown in King Tubbys Studio.

OK EG turn inwards on Silent Green, their new release on Kia's ambient label Cirrus. Written for a live performance in Berlin, Silent Green finds balance between intimate post club dream states and low tempo rhythmic workouts. Fragmented voices harmonise with delicate synths and organic textures on open sky. Wooden machinery clicks and whirs on veil, opening into an inner expanse. Optimistic warmth and melancholy blend on spirit, knitted with resonant hi hats, scrolling wavetables and dubbed claves. Sequenced hand drums and piccolo snares create structure for rising pads and analog bass on death adder, as subtle grooves unfurl under the watchful gaze of digital crows. The artwork, created by the Amsterdam based digital artist Tharim Cornelisse, finds the cycle of life and death in the artificial environment of a greenhouse, digitally blended with patch notes from the first time the music was performed.