Cerca:black fire

As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds is proud to present Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more.

The Meth Lab returns for its third instalment with “Meth Lab Season 3: The Rehab,” a sharp, hard-hitting chapter that cements Method Man’s place as one of hip-hop’s most consistent and enduring voices. Executive produced by longtime collaborator Handz On, this project finds the Wu-Tang legend in rare form—polished, precise, and laser-focused.

“The Rehab” pulls listeners back into the world Meth has been building since the first Meth Lab sessions: a mixtape-style showcase blending razor-sharp lyricism with streetwise storytelling, packed with energy and attitude. Method Man’s flow remains timeless, weaving between gritty boom-bap, polished modern production, and the unmistakable Wu-Tang aesthetic. A strong lineup of guests brings extra fire to the set—Cappadonna, RJ Payne, Redman, KRS-One, JoJo Pellegrino, Jadakiss, Carlton Fisk, Hanz On, Intell, Iron Mic, 5th Pxwer, Chunk Bizza, Eddie I, Cortez, and more—each stepping into Meth’s world with their own hard-edged energy. Behind the boards, producers like P. Version, Rockwilder, Eric Sermon, Adam McLeer, Daniel C. Wells, Darnell Norman McConnell, and Joshua D. Zimmerman craft a gritty yet refined sonic framework that elevates every performance.

More than just another chapter, Season 3: The Rehab feels like a victory lap: a culmination of decades of craft, a celebration of the Staten Island movement, and a reminder that Method Man still out-rhymes rappers half his age. It’s a must-own for Wu-Tang fans, East Coast purists, and anyone who appreciates sharp writing and decades-deep mastery.

BLACK SWAN Return with Third Album “Paralyzed” — A Masterclass in Melodic Hard Rock Robin McAuley (McAuley Schenker Group), Reb Beach (Winger, Whitesnake), Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and Matt Starr (Ace Frehley, Mr. Big) — collectively known as BLACK SWAN — are back with their explosive third album, Paralyzed. Following the critical acclaim of their previous releases, the supergroup once again delivers a powerful statement in modern hard rock. With all songs written and composed by McAuley, Pilson, and Beach, and expertly produced by Pilson, Paralyzed showcases Black Swan at their peak performance — offering a dynamic mix of towering vocals, razor-sharp riffs, and hook-laden melodies. The band’s chemistry continues to shine, elevating their songwriting and musical delivery to new heights.

Tracked at Pilson’s Los Angeles studio, the album reflects the tight-knit synergy among its members. McAuley’s commanding vocals remain as ageless, while the instrumentalists deliver with precision and fire. Much like its predecessors, the new record is a testament to the individual and collective talents of these seasoned musicians. Far from being a patchwork of their previous bands, BLACK SWAN has firmly carved out its own identity. Paralyzed is fresh, heavy, and melodically rich — a cohesive and compelling album that feels both classic and contemporary. Building upon the blueprint laid by their debut, Shake the World, the band expands their sonic universe. The result is a record that not only meets but surpasses expectations, cementing BLACK SWAN as a formidable force in the modern hard rock scene. Whether you’ve followed these legendary musicians since the heyday of '80s rock or you’re just now discovering their magic, Paralyzed is essential listening — a masterclass in melodic hard rock delivered by artists who continue to defy time and expectations.

Banda Black Rio is a Brazilian musical group from Rio de Janeiro that was formed in 1976. They were one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. The songs are based on funk but also including samba, jazz and Brazilian rhythms. Compared to other soul-funk groups, such as Kool & the Gang and Earth, Wind and Fire, Banda Black Rio developed a particular style of instrumental soul music fusing together elements from a number of genres. With saxophonist Oberdan Magalhães, trumpet player Barrosinho, Cristovão Bastos on keyboards, Claudio Stevenson on guitars, Jamil Joanes on bass and Lucio Silva on trombone. Arrangements are from Cristovão Bastos and Claudio Stevenson. The album “Saci Pererê” was originally released in 1980.

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

US sax player Stanley J. Zappa and Finnish drummer Simo Laihonen come together on the new album "Muster Point" on We Jazz Records, August 7. The two students of Milford Graves add bassist Ville Rauhala on a couple of tracks to make a bold and adventurous album captured both live and in the studio while Zappa was touring in Finland with the Black Motor musicians. This is a set full of fire and thunder, but also features some more meditative spiritual jazz. RIYL: Milford Graves, ESP-Disk', spiritual jazz

"Muster Point" consists of short trio bursts ("Muster Point I-IV"), deep duo cuts such as "Pleasant Avenue" and the inspired material linking the stylistic bookends. The music herein comes from the long standing tradition of independent improvised jazz music, and moves forward in the now, relying in the natural communication and the chemistry between the musicians. At its core, the album is a testament to the importance personal connections between like-minded creative musicians in creating something new.

Stanley J. Zappa, originally from New Jersey, now based in Oliver, BC (Canada) is a highly expressive musician whose career has so far progressed largely under the radar. Part of the lineage of a musical family (his uncle Frank should need no introduction), Zappa's story is that of a true craftsman, now coming into fruition with a like-minded collaborator, Simo Laihonen. Laihonen is best known from his long-standing trio formation Black Motor, also featuring bassist Ville Rauhala featured on the trio tracks on this recording.

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

DJ Support: Mousse T, Mr V, Quentin Harris, Mark Knight, Claptone, Severino, Roger Sanchez, Moplen, David Morales, Kenny Carpenter and Terry Farley

So Sure presents – Tedd Patterson: Pieces Of Me EP
A1. “Let The Music Set You Free” (feat. Manchild Black & Monster Black)
Tedd Patterson joins forces with Manchild Black and Monster Black to deliver a vibrant, uplifting slice of NYC dancefloor energy. “Let The Music Set You Free” puts a fresh spin on The Illustrious Blacks’ signature message of joy and empowerment.
Patterson’s trademark production—tight, driving beats, bright synths, and peak-time club pressure—creates the perfect foundation for The Illustrious Blacks’ playful, feel-good, and exuberant vocals. Their dynamic presence shines throughout, bringing color and vitality to a track crafted for uplifting moments and late-night release.
A standout A-side full of personality, positivity, and true NYC spirit.

B1. “Piece Of Me” (feat. Inaya Day)
“Piece Of Me” is a high-energy, funk-infused dancefloor bomb featuring a sublime, hook-laden vocal from the legendary Inaya Day. Expertly produced and perfectly executed, this track hits that sweet spot between soulful house and classic club firepower, with Inaya’s unmistakable presence elevating it into instant-favourite territory.

B2. “Do It Again” (feat. Joi Cardwell)
Fresh from collaborations with Inaya Day and The Illustrious Blacks, Tedd Patterson returns with another heartfelt slice of soulful NYC house. “Do It Again,” featuring the unmistakable voice of Joi Cardwell, is vocal house at its purest—authentic, emotive, and stamped with Patterson’s bonafide New York pedigree.
If you like your house music infused with feeling, warmth, and groove, “Do It Again” delivers in full.

Tashi"s latest punk anthems: electric guitar improvisations to brutally impact us with... gentle lyricism and introspective depth! In a time of extraordinary institutional inhumanity, seeing the faces of the many deprived, what is there to feel but exhaustion? What to want but silence? Tashi seeks it all out actively, with intention. Hard truths absorbed, he enjoins power to reconstitute as spirit, to disseminate to everyone outside the walls.

"Deep Purple's Greatest Hits, released in 2009, is a comprehensive compilation showcasing the legendary band's most iconic tracks. Spanning their groundbreaking career, the album features classic live versions of hits like ""Smoke on the Water,"" ""Highway Star,"" ""Child in Time,"" and ""Black Night,"" offering a perfect introduction to Deep Purple's influential sound. Known as pioneers of hard rock and heavy metal, the band’s virtuosic guitar solos, soaring vocals, and dynamic keyboard riffs shine throughout this collection. Greatest Hits captures the essence of Deep Purple's heyday while celebrating their timeless appeal. It highlights the band’s ability to blend powerful rock energy with intricate musicianship, making them a cornerstone of the genre. For longtime fans and newcomers alike, this compilation is an essential addition to any rock music collection, solidifying Deep Purple’s legacy as one of the most influential bands in rock history. Greatest Hits is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl."

Neon Yellow Vinyl

High Roller Records, neongelbes Vinyl, limitiert auf 450 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, Textblatt, 8-seitiges Booklet, Poster. Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im April 2025. Schnitt durch SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage!

Die hochgeschätzten Euro-Metal-Pioniere OZ wurden 1977 in der kleinen finnischen Stadt Nakilla ursprünglich als Cover-Band gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape DeMartine (Tapani Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Nachdem man in jedem Winkel des Heimatlandes Finnland live gespielt hatte, zogen OZ 1983 nach Stockholm um und unterschrieben einen Vertrag bei Börje Forsbergs Label Tyfon Grammofon AB Börje Forsberg, auch als The Boss bekannt, war der Sohn von Bathorys Quorthon.

In der Folge avancierten OZ zu einer der wichtigsten Heavy-Metal-Bands Skandinaviens und nahmen insgesamt fünf Studioalben auf, eher im Winter 1991/92 das Ende kam.

Nach »OZ« (1982), »Fire In The Brain« (1983) sowie »III Warning« (1984) war »Decibel Storm« 1985 das vierte Album der finnischen Schweden.

Introducing Luka Lickshot aka Luke Palmer aka the Wolverhampton Wolverine, prolific reggae DJ and genre warping producer of all things low end inclined.

In previous incarnations Luke has released hypnagogic house for labels such as Workshop and Third Ear, but with his debut LP release ‘Shots Fired’ he takes a sharp turn into the leftfield.

Sonically triangulating early 80s Manc post punk existentialism, 90s darkside trip hop and UK (On-U) sound system culture, the result is something like a more ruffneck Massive Attack jamming with Dome in the Black Ark.

‘Shots Fired’ was forged in an underground Peckham hideout, under strict parameters of time and space, fusing conventional instrumentation with digi know-how, improvised vocals, one take licks and dub fx. Pretty much impossible to pigeonhole the ten tracks but adjacent to / resonant with Giulio Erasmus, DJ Marcelle, Tricky, ‘Hex’….