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For several years now, Young Kulcha has been establishing himself as the favourite of European sound systems. The young German-Congolese artist sets dub and reggae parties alight with his sharp lyrics and voice reminiscent of some of the most admired reggae artists such as Hugh Mundell, Dennis Brown and Garnett Silk.

With ‘More Work To Be Done’, Young Kulcha presents a track that encourages younger generations to remain optimistic and resilient despite the difficult times our societies are going through. Accompanied by the exceptional Swiss studio band The 18th Parallel, ‘More Work To Be Done’ plunges us straight into a Jamaican sound system party from the early 1980s, where the combination of Roots Radics and Scientist would have shaken the neighbourhood with their unparalleled heavy sound. With a dub B-side by Westfinga, the new European generation pays tribute to Jamaican legends with this musical bombshell!

The much-missed Vaughn Benjamin reminds us why his approach to reggae lyricism remains peerless with “Charges,” a standout track from the Polarities LP released on 7” vinyl for the first time. Arriving amidst an era of global economic shifts, the release feels forcefully timely. Genius metaphorical wordplay and wide-ranging subjects are distilled into a cohesive whole as the global economy and its entrapping neo-colonial rules come under the microscope. Produced by Zion I Kings with Tippy I at the helm, the track is anchored by the rock-solid drumming of Lloyd “Junior” Richards and the propulsive bass of David “JAH David” Goldfine. This release features a previously unheard B-side dub, giving space to the celestial synth work of the late Andrew “Drew Keys” Stoch. This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin.

When Soulox sent me a bunch of tracks he had been working on last year, there were some really good bits in there, but I noticed that there also seemed to be a lot of remixes that him & Xtra Spice Mikey (previously known as Phineus II) had been doing of each other's music.

I felt like even though I had no clue what the originals of the tunes were or what they sounded like (or if they even really existed!), that it could make sense to put this all of this together into an 8 track joint release of original productions & each other's remixes. It also gave me the opportunity to include in some older bits from XSM which had never seen the light of day.

Big up to both of them for being up for putting this release together & thanks to Skr0nz for the illustrations used on the artwork.

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

Carlo Troja, aka Don Carlos, from the Italian province of Varese, has been active as a DJ since the late 1970s. He
debuted as a producer in the late 1980s with the single "Alone" on Calypso Records (IRMA), which immediately became a cult hit on the global Deep House scene. His productions have always fused house rhythms with the sounds of
African-American jazz, sometimes bordering on disco, progressive, and electronic soul.
In 1992, his first album, "Mediterraneo," was released in the United States on IRMA USA, followed in 1993 by his
second, "Aqua," and several hit singles with the Montego Bay project with Stefano Tirone (Stone Inc.), all on IRMA
Records.
He reached the UK charts with Byron Stingley's production of the hit "You Make Me Feel," a remake of the classic
Sylvester song. He has performed in various European and American countries, as well as at the Ministry of Sound
and Turnmills in London.
In 2001, he released his third album, "Music in My Mind," featuring Kim Mazelle, Michelle Weeks, Taka Boom, and
Kevin Bryant.
A new album of re-edits of '90s-style songs, titled Livin' a Dream, was released in 2020, along with two compilation
volumes of Paradise House, both on IRMA Records.
With this new single, he continues to showcase his distinctive Soulful Paradise House sound, rooted in the
Mediterranean sound, as specified in the title.

TrioRox is a project born from the encounter between three leading figures on the Italian music scene (and beyond):
pianist Giovanni Guidi, bassist Joe Rehmer, and electronic musician DJ Rocca (Luca Roccatagliati).
Three individuals boast eclectic and impressive resumes. Guidi, a child prodigy of jazz piano, has released several
albums for the prestigious ECM label and has collaborated with top jazz and electronic musicians, from Enrico Rava
to Matthew Herbert, Joe Lovano, and Ricardo Villalobos. Joe Rehmer, an American living in Italy, is one of the most
sought-after bassists, sharing stages and recording studios with such luminaries as Bob Mintzer, James Moody, and
Danny Gottlieb. DJ Rocca has been a DJ and musician since the 1990s, boasting numerous albums, singles, and
remixes with and for key figures in the alternative dance scene (Andrew Weatherall, Dimitri From Paris, and Howie
B), as well as a stint in the jazz scene, releasing several albums with Franco D’Andrea.
The trio's music is a blend of electronic, dance, jazz, and pop, with hints of groove in house and techno, as well as
blends of electro, classical, and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig. The album
will be released on IRMA Records in September 2024, featuring guests Luigi Di Nunzio, Gianluca Petrella, Dan
Kinzelman, and Jacopo Fagioli.
This EP of remixes is by:
Zed Bias: Manchester-based electronic musician, producer, and DJ in the Garage/2-step, Broken, and Funky
Breakbeat genres.
Alexander Robotnick: Italian record producer, DJ, and composer considered a cult figure in the New Wave and Italo
Disco scene.
Daniele Bladelli: One of the first and most important Italian DJs, famous for pioneering Afro and Cosmic music.
Bjorn Torske: Norwegian house and breakbeat producer. He has collaborated extensively with Röyksopp.

Somewhere between heaven and hell…there is Fallen Angel. Dark Entries continues its mission of shining light on a generation of composers and musicians lost to AIDS with Brandy Dalton’s Fallen Angel, his soundtrack work for the award-winning Fallen Angel series. Brandy was known for many years in the LA underground for his performances with his boyfriend, Robert Woods, who was the resident DJ at Club Fuck. Eventually, they recruited John Munt to form the band Drance, becoming infamous for their high-energy performances and songs that tackled taboo topics like sadomasochism. While Drance explored the aggressive sounds of industrial and EBM, Dalton continued to produce a wide range of electronica, from abstract sonic textures to techno bangers. The Fallen Angel album collects 16 sweaty, sticky cuts composed for the pornographic series Fallen Angel, a trio of leather-focused films released by Titan Studios. The sounds here span from the fractured cyberpunk-rave of “Swelled” to the tabla-laced trance of “FA2,” taking listeners on a journey through hedonistic recesses chock full of crunchy digital drum machines and wailing FM synths.

This album was originally released on CD in 1999 by Titan Studios, capitalizing on the success of the film franchise. It will be reissued on LP as well as CD, featuring 6 bonus tracks. Artwork for the album, designed by Eloise Shir-Juen Leigh, features stills from the Fallen Angel film. Also included is an insert with liner notes and photographs. This album is dedicated to Brandy, who passed away from AIDS-related illness in 2006, after battling with the disease for 17 years. Brandy’s passing was preceded by his best friend and Drance co-founder Robert’s death in 1995. Documenting a sonic shift in the 90s bathhouse music, Fallen Angel provides a hardcore BDSM ride, building upon the analogue archival soundtracks that Dark Entries has previously released.

C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes.

Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries. Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP.

Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair.

In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

Shall Not Fade welcomes Pugilist for SNF140 "Maternal".

If you don't already know (and love!) Pugilist's prolific output, you need to get to know! The Naarm/Melbourne based DJ, producer and Rinse resident has released on Martyn's 3024, Melbourne's killer Modern Hypnosis, Silent Era's Of Paradise, Samurai, Rupture, ZamZam, J:Kenzo's Artikal, Sub Basics' Temple of Sound, Whities/AD93, Al Wooton's Trule, Banoffee Pies, Best Intentions and now his own buy on sight Ruff Kutz imprint.

'Maternal' is four blissey dubwise house blurring cuts. Embracing, medicinal, lush & corrective. Vibrations for heads and feet.

'Title track 'Maternal' is deep grooving infectious and honeyed house. Hypnotic, pulsating with head-meltingly warm padwork. 'Bona Fide' sees Pugilist team up with UK duo Mystic State. Drums sidestep with jazz swing while graceful piano and an ensemble of pads are topped with an introspective vocal sample dialing for your subconscious. The B1 'Anomaly' is a stepper - FWD charging drums backed with sub low pulses all brought together by trumpet echoes and woozy melodics. Finally comes 'Marigold', a soulful jungle excursion > early hours business, caressed nostalgic percussion, brushed rhythms, fleeting guitar licks and undulating vibes.

Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
















p SEEMED FUNNY THE FIRST TIME BONUS TRACK
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
















[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]

Toronto, ON – Celebrated Canadian filmmaker and composer Chris Alexander joins Library of the Occult records with his album 'Body Double' arriving January 17th

A sinister fusion of 80s horror aesthetics and cinematic electronic soundscapes, Body Double immerses listeners in a shadowy world of pulsating synths, eerie melodies, and haunting atmospheres. Alexander's signature approach to sound design captures the spirit of classic genre film scores while pushing into uncharted sonic territory.

In the words of Shawn Macomber from Decibel: "Chris Alexander is easily one of the most fearless, imaginative, and iconoclastic world-builders currently operating in the worlds of cinema, and music. And when it comes to conjuring the magic and menace just beyond the veil, the man is damn near peerless."

With Body Double, Alexander channels the sonic legacy of icons like John Carpenter and Goblin, weaving a tapestry of sound that feels both familiar and otherworldly.

Reissue of the classic debut of Billy Bond & La Pesada del Rock & Roll, a legendary and historic Argentinian Rock & Hard Rock masterpiece from 1971. Recorded with an absolutely impressive list of musicians that includes legends such as Pappo, Luis Alberto Spinetta, Héctor "Pomo" Lorenzo, Vitico, David Lebón or Javier Martínez, and led by acclaimed singer Billy Bond, the band creates an amazing album fed by Hard Rock, Blues, Rock'n`Roll and a nice touch of Psychedelia that absolutely justify the cult status this album carries. A monster of a record and an absolute milestone in South American rock music. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Includes classic heavy weight hits such as "Salgan Al Sol", "El Parque" or "Divertido Reventado". Gatefold cover, includes insert with extensive notes and rare photos.

Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm Travis
gegründet.
Ihr letztes Album „Beaster“ erschien vor der Auflösung der Band im Jahr 1995.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger MalcolmTravis gegründet. Ihr Debütalbum Copper Blue wurde als eines der besten Alben der 90er Jahre gefeiert
und vereinte eingängige Melodien mit roher Gitarrenpower.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm
Travis gegründet. Ihr Nachfolgealbum „Beaster“ festigte ihren Ruf.

Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm Travis
gegründet.
Ihr letztes Album „Beaster“ erschien vor der Auflösung der Band im Jahr 1995.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger MalcolmTravis gegründet. Ihr Debütalbum Copper Blue wurde als eines der besten Alben der 90er Jahre gefeiert
und vereinte eingängige Melodien mit roher Gitarrenpower.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm
Travis gegründet. Ihr Nachfolgealbum „Beaster“ festigte ihren Ruf.

Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm Travis
gegründet.
Ihr letztes Album „Beaster“ erschien vor der Auflösung der Band im Jahr 1995.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger MalcolmTravis gegründet. Ihr Debütalbum Copper Blue wurde als eines der besten Alben der 90er Jahre gefeiert
und vereinte eingängige Melodien mit roher Gitarrenpower.
Sugar wurde 1992 von Bob Mould (Hüsker Dü) mit Bassist David Barbe und Schlagzeuger Malcolm
Travis gegründet. Ihr Nachfolgealbum „Beaster“ festigte ihren Ruf.

Danish bassist and composer Jesper Thorn has become one of Scandinavia s most distinctive musical voices, known for blending introspective storytelling with the understated lyricism of Nordic jazz. His award award-winning albums Boy and Dragor earned international praise for their emotional honesty and cinematic depth, establishing a sound world where fragility, melancholy, and quiet beauty intertwine. A deeply personal meditation on the search for calm, connection, and meaning in a world that often feels overwhelming, the album continues his exploration of sound as refuge, a place to pause, reflect, and breathe. Joined by long long-term collaborators Marc Méan (piano), Andreas Bernitt (violin), Cecilie Strange (saxophone), and Maj Berit Guassora (trumpet), Thorn reunites with producer Mette Damm and engineer August Wanngren to craft an atmosphere both intimate and expansive. Where 2023" s Dragor confronted the ghosts of Thorn s past, STILLE (meaning quiet " or silent " in Danish) looks outward - and inward - toward reflection. For me, music has always been a refuge, Thorn writes. It s a place where I can reflect and immerse myself - both as a listener and, maybe even more, as a composer. Each composition functions as a kind of musical still image : fragments of emotion captured in time, responding to both the chaos and fragile beauty of the modern world. From the flickering calm of Fragmentarium , to the urgent, primal fear of Run (written as wildfires swept through California) to the tender domestic peace of Stilleben , these pieces balance melancholy and hope in equal measure. Thorn s writing continues to thrive on collaboration and trust. Such is Fate emerged from a discarded melodic fragment, reimagined through the expressive playing of Bernitt on violin. Recover and Rebuild form a quiet hymn to resilience, with Guassora and Strange lending understated, breath breath-like power to the ensemble. The closing track, Shimmering (for MM) MM), is dedicated to pianist Marc Méan, a constant presence in Thorn s projects since 2014 and, as Thorn puts it, the touch and sound I hear in my head when I compose ". I wanted to create a space that feels like silence, peace and quiet in a noisy world that often moves faster than it feels possible to keep up with. says Thorn.

2026 Repress

As electronic music pioneers and co-founders of Soma Records, Slam have continually shaped the landscape of underground techno. With their forthcoming album, Dark Channel, they present a raw, club-focused record that stands as both a reflection of our turbulent times and a celebration of the dance floor's enduring power.

In 2025, the world feels fractured, dominated by division and extremism. Amidst this chaos, the dance floor remains a rare sanctuary-one of unity, self-expression, and collective escape. Dark Channel is an unapologetic tribute to this sacred space, where rhythm dissolves barriers and music serves as a universal language. Through relentless energy, deep textures, and hypnotic grooves, the album embodies the essence of club culture: a place where we reconnect with ourselves and each other.

Slam make no mistake when it comes to the sonic tone of the album as it opens with the tribalistic Use It, Lose It before the discordant sounds of title track Dark Channel hints at the relentless nature of things to come. The intensity continues with Parametric Factor & Glide - both pushing a pulsating, synth driven trip; the later leading on a more traditional Slam percussive workout. The dance floor warping Morganatic pursues dark territory while Infinit Spaces adds trippy FX to an already animated synth hook. The beautifully crafted Kuture Version delves into a more immersive sound as more direct, chord driven elements take the lead. The pace quickens yet again with Ghost Dancer highlighting sub tones whilst still crafting ominous intonations with its modulating FX. Approaching the conclusion, the ferocious Beat On The Drum delivers a lesson in rhythm and energy before the contorted Irregular Object completes proceedings in a suitably hypnotic fashion.

Mastered By Conor Dalton @ Glowcast Mastering

In February 2025, more than 1,000 musicians came together to release a silent album protesting the UK government’s planned changes to copyright law, which would make it easier to train AI models on copyrighted work without a licence. The album, titled Is This What We Want?, featured recordings of empty studios and performance spaces, representing the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.

The digital release in February 2025 reached no. 38 in the UK album charts. Now, it is being released on vinyl, with a bonus track - a recording of an empty studio - from Paul McCartney. The vinyl is being released by state51.

Under the heavily criticised proposals, UK copyright law would be upended to benefit global tech giants. AI companies would be free to use an artist’s work to train their AI models without permission or remuneration. The government’s proposed changes would require artists to proactively ‘opt-out’ from the theft of their work – reversing the very principle of copyright law. ‘Opt-out’ models are near impossible to enforce, have yet to be proven effective anywhere else in the world, and place enormous burdens on artists, particularly emerging talent.

Facing major backlash from the creative sector and beyond, the government has said its previous proposal is no longer its preferred option. However, it has not proposed an alternative, simply recommitting to its plan to “modernise the copyright legislation”. In the meantime, it has sent creatives a worrying signal, five times rejecting House of Lords amendments to the data bill that would have given rights holders visibility over when their work was being used against their wishes by AI companies.

The album’s track listing spells out a simple message: “The British government must not legalise music theft to benefit AI companies.”

Ed Newton-Rex, the organiser of the album, said:
“The government must commit to not handing the life’s work of the country’s musicians to AI companies for free. Doing so would be hugely damaging to our world-leading creative industries, and is totally unnecessary, only benefiting overseas."

Paul Sanders, founder of The state51 Conspiracy, said:
"When tech companies lobby governments to give them songs for free, it’s not so they can cure diseases, feed the hungry, or provide clean water where it is needed. It’s simply so they can make millions of fake songs and keep all the profits for themselves. As a company with a lifelong commitment to musicians The state51 Conspiracy was honoured to be asked to help get this message out on vinyl. All profits go to Help Musicians, which is what our politicians should be doing instead of sucking up to tech bros."

Bryan Senti’s La Marea, out on 10th October, is a poignant new work for string orchestra that moves like the ocean. Written as a tribute to his father’s journey from Cuba to the United States, the music carries the listener across waters filled with memory, loss, and hope. Performed by the Czech National Symphony, La Marea is both intimate and cinematic, guiding the listener through a story that transports us from the mountain to the sea.

“The image that repeatedly came to mind was that of the proverbial raft, of being alone and adrift at sea. I can imagine the internal struggle: anchoring oneself to memories of the past while hoping, desperately so, to be reborn in a foreign land. That singular combination of grief and faith that brings someone to surrender to inevitable change”

The album brings together collaborators including bassist Spencer Zahn, cellist Noah Hoffeld, and Grammy-winning baritone Edward Parks, whose moving performance of Saloma (Tierra en Movimiento), set to the words of Chilean poet Antonia Torres Aguëro, is paired with a moving short film by Jared Malik Royal.

Co-produced with Grammy winner Justin Moshkevich and mixed by Francesco Donadello (Chernobyl, Tàr, The Joker).

La Marea is both a personal reflection and a universal meditation on migration and transformation.

Don Leisure has cemented his name as one of the most forward-thinking and experimental beatmakers & producers within the current musical ecosystem. As well as being 50% of Darkhouse Family (alongside Earl Jeffers) he has collaborated with the likes of Angel Bat Dawid, Gruff Rhys, DJ Spinna and First Word label-mates Amanda Whiting & Tyler Daley (Children of Zeus). Garnering serious support from Lauren Laverne, Tom Ravenscroft, Huw Stephens, Gilles Peterson, Huey Morgan, The Vinyl Factory, Clash, Uncut and many more. Following the release of ‘Cynnau Tân (feat. Carywyn Ellis)’ (which gained support across BBC Radio from Tom Ravenscroft, Zakia & Huw Stephens) Welsh beatmaker Don Leisure announces the release of a new album ‘Tyrchu Sain’) as he returns with a new single ‘Tyrchu’ due for release on 22nd January 2025. ‘Tyrchu’ features the soft-spoken vocal stylings of Gruff Rhys over a gently rolling, tape saturated and expertly chopped instrumental, creating (in Gruff’s own words) ‘Shiny new beat-treasures with ghostly reflections of Welsh pop’s past - skillfully dug from Sain Records’ deepest veins’

A dedicated student of music, over the years, Don has amassed a vast encyclopaedic knowledge of music genres and subcultures, including a fascination with Welsh psychedelic folk music from the mid-20th century. This introduction was made by respected musician, producer & selector Andy Votel’s 2005 two-part compilation series ‘Welsh Rare Beat’ (in collaboration with Gruff Rhys and Don Thomas), comprising twenty-five tracks from Sain Records’ back catalogue. Now the oldest independent record label in Wales, Sain is a wildly influential bastion of home-grown Welsh talent, co-founded by Welsh-language folk singer Dafydd Iwan, whose music has seen a cultural resurgence in recent years with his 1983 song Yma o Hyd (We’re Still Here) becoming a huge anthem for Wales football fans. Set up in the Welsh capital, many of Sain’s early releases were recorded at Rockfield Studios in Monmouthshire, but in the early 1970s the record company moved to the Caernarfon area and opened their first recording studio in 1974 near Llandwrog. Announcing a huge digitisation project throughout 2024, Sain Records took on the mammoth task of painstakingly digitising their entire back catalogue spanning 55 years, working in partnership with the National Library of Wales the resulting archive then be submitted for to the National Library of Wales in Aberystwyth, preserving them for future generations to enjoy. Taking this period of rediscovery as an opportunity to reimagine their impressive inventory, Sain invited Don Leisure to dig into their musical treasure chest, creating a sprawling sonic tapestry from the dusty gems within. On this exhilarating excursion, Sain Records founder Dafydd Iwan explains: ‘Imagine someone gave you access to over 50 years of Welsh popular music – almost all of it unknown to you before. It would be a strange experience of discovery, an unknown territory which could baffle and excite. This happened to Jamal (Don Leisure) – and he was captivated by a world of music he barely knew existed, and when he was asked to distill the experience into one album, he immediately warmed to the idea. And this is the result – a kaleidoscope of sounds to encapsulate a half century of Welsh music. To call it unique would be superfluous: no-one could ever recreate this album. Listen, and enjoy.’.

The resulting product is ‘Tyrchu Sain' (translating to ‘Digging Sain’), a fearless and exploratory album, which sees Don put his signature unparalleled and unpredictable skills to work, weaving together moments of forgotten beauty into celestial and otherworldly compositions. The record features appearances by artists from Wales who have a similar obsession as Don Leisure in these classic Welsh rarities including Gruff Rhys, Carwyn Ellis, Earl Jeffers Amanda Whiting and Boy Azooga. A shimmering patchwork quilt of sound, ‘Tychru Sain’ traverses a shifting landscape of acid folk, eerie vocal melodies and interstellar soundscapes, propelled forth by crisp, head nod-inducing drums and grainy textures. Breathing new life into compositions lost to time, and paving a path for new listeners to discover the magic that lies within.

The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days - The End Is High. Recorded and mixed by Satanic Audio @ Sound of Records, this new chapter drags you deeper into your doom - where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death

Neon green vinyl, limited to 350 copies. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days - The End Is High. Recorded and mixed by Satanic Audio @ Sound of Records, this new chapter drags you deeper into your doom - where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and
togetherness.
Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

Kommt in einer auf 2.500 Exemplare limitierten und nummerierten, farbigen Edition auf rotem 180g-Vinyl -inklusive dem Bonustrack 'Don't hold your breath' und eingefasst ein einer Deluxe-Hülle mit Leder-Laminat-Oberfläche sowie plus Lyric-Insert!

Mit ihrem einzigartigen Stil, der vom Klang der Hammond-Orgel, markanten Gitarrenriffs, Improvisation und treibender Rhythmusarbeit geprägt ist, zählen Deep Purple zu den ersten und einflussreichsten Vertretern des Hard Rock und Heavy Metal. In ihrer bislang 45-jährigen Bandgeschichte schrieben sie zahllose Hits wie "Highway Star", "Child In Time" und "Smoke On The Water". Nun erscheint die Wiederveröffentlichung des Deep Purple-Klassikers "Purpendicular" aus dem Jahr 1996. Die damalige Bandbesetzung bestand aus Jon Lord, Ian Paice, Ian Gillan, Roger Glover und Steve Morse. Inklusive der Hits "Vavoom: Ted The Mechanic", "Sometimes I Feel Like Screaming" und zwei zusätzlicher Bonus Tracks. Ein Muss für alle Deep Purple-Fans!

Peter Tosh war ein Reggae-Multi-Instrumentalist aus Jamaika, der zusammen mit Bunny Wailer und natürlich Bob Marley zu den Gründern der legendären Band The Wailers gehörte. »Equal Rights« ist sein zweites Studioalbum und dasjenige, das ihn an die Spitze des Reggae katapultierte und ihn als potenziellen Rivalen von Marley etablierte. Das ist zwar nicht ganz gelungen, aber »Equal Rights« ist immer noch eines der einflussreichsten Reggae-Alben aller Zeiten.

Tosh war ein großer Verfechter der Menschenrechte und das spiegelt sich auch in der Tracklist wider. Natürlich gibt es eine Version von »Get Up, Stand Up«, die zusammen mit Bob Marley geschrieben wurde, aber »I Am That I Am«, »Downpressor Man« (eine Version von Sinnerman, die durch Nina Simone berühmt wurde), »Stepping Razor« und »Apartheid« wurden alle zu eigenständigen Menschenrechtshymnen. 1987 wurde Tosh bei einem Raubüberfall getötet und ließ Reggae-Fans auf der ganzen Welt mit der Frage zurück, was hätte sein können.

»Equal Rights« ist als erweiterte 2LP-Edition mit einer Bonus-Disc erhältlich, die seltene und unveröffentlichte Songs enthält, die bisher nur auf »Dubplates« erhältlich waren. Diese definitive Version eines Reggae-Evergreens ist in einer Deluxe-Hülle mit Leinenfinish und einem 4-seitigen Booklet verpackt und in einer limitierten Auflage von 3000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl erhältlich.

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history

Peter Tosh war ein Reggae-Multi-Instrumentalist aus Jamaika, der zusammen mit Bunny Wailer und natürlich Bob Marley zu den Gründern der legendären Band The Wailers gehörte. »Equal Rights« ist sein zweites Studioalbum und dasjenige, das ihn an die Spitze des Reggae katapultierte und ihn als potenziellen Rivalen von Marley etablierte. Das ist zwar nicht ganz gelungen, aber »Equal Rights« ist immer noch eines der einflussreichsten Reggae-Alben aller Zeiten.

Tosh war ein großer Verfechter der Menschenrechte und das spiegelt sich auch in der Tracklist wider. Natürlich gibt es eine Version von »Get Up, Stand Up«, die zusammen mit Bob Marley geschrieben wurde, aber »I Am That I Am«, »Downpressor Man« (eine Version von Sinnerman, die durch Nina Simone berühmt wurde), »Stepping Razor« und »Apartheid« wurden alle zu eigenständigen Menschenrechtshymnen. 1987 wurde Tosh bei einem Raubüberfall getötet und ließ Reggae-Fans auf der ganzen Welt mit der Frage zurück, was hätte sein können.

»Equal Rights« ist als erweiterte 2LP-Edition mit einer Bonus-Disc erhältlich, die seltene und unveröffentlichte Songs enthält, die bisher nur auf »Dubplates« erhältlich waren. Diese definitive Version eines Reggae-Evergreens ist in einer Deluxe-Hülle mit Leinenfinish und einem 4-seitigen Booklet verpackt und in einer limitierten Auflage von 3000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl erhältlich.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

Tori thanks: Mark & Tash, Mom, Dad & all the family, Irene. Mollie & Dave Ward & Arminda & Beene. Johnnie & Chelsea, Ahmet, Val, Ron, Craig. Vicky, Patti, Linda, Sharon, Laura, Andrea, Kris, Bonnie, Lee Anne, Danny, Jason, Rick, Steve, Andi, Bob, Nikke, Fran and all at Atlantic, Christian. Elyse, Matthew, Peter, Carla, Stella, Nisha & all at East West, Carol Kinzel at CAA, Mike Dewdney at ITB, Dave Brock at Rima Travel UK, Mog at Warners UK, Richard Bates, Tim Shaxon at HHB, Tony Larkin at TI. Audio, Steve Trim at Stirling Syco, John & Heather & all at SSE, Jason Ogarro at Macwarehouse, Neil at Neve, Su & Bruce at Digidesign US. John Philip Shenale - vintage keyboard finder, James Naylor at Corney & Barrow and a special thanks to David Slade. Hugs to Lesley Chilkes, Cim Mahoney & Bernice Brobbery - The Glam Squad. The Bude Contingent: Cliff "The Fish' Bowden, Super Debs & Adam at Martian, Thea & Dana, Hayley & Emily, Ros, The Falcon Hotel, Mick & Pearl and Phil and Jody, Stolichnaya & Van Nelle. And finally to all the musicians.

Do You Want More?!!!??! Is the second studio album and the major-label debut from The Legendary Roots Crew. The album, recorded with the original crew, including Scott Storch, was released January 17th, 1995, and was immediately welcomed with open arms by critics, the Chicago Tribune wrote, “This is an impressive display of skills, intelligently arranged and performed.” Do You Want More?!!!??! prepped fans for what The Roots were capable of, and would later show on their magnum opus, Things Fall Apart.

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

Blue Curacao Vinyl. Das experimentelle Berliner Trio ZAHN kehrt mit seinem bislang elektrisierendsten Werk zurück. Eine üppige Fusion aus Schwere, Elektronik und halluzinatorischen Farben. Monolithische Grooves treffen auf synthetischen Schimmer. PURPUR strahlt Spannung und Gefahr aus und pulsiert mit Tiefe und Dichte. Bekannt für ihren intensiven, treibenden Sound, der den unerbittlichen Marsch einer Welt am Abgrund widerspiegelt, vertieft das Trio ZAHN - Chris Breuer, Nic Stockmann und Felix Gebhard - seine klangliche Erkundung mit einem Album, das gleichzeitig elektronischer und rockiger ist als seine gefeierten Vorgänger. Purpur orientiert sich am lebhaften Cover des Albums - einer Explosion aus Trauben und Beeren, die seinen üppigen, farbenfrohen Sound widerspiegelt. Das Album verbindet kraftvolle Genres zu etwas Frischem und Elektrisierendem: schwere Fundamente treffen auf reichhaltige elektronische Texturen und schaffen Schichten aus Farbe, Komplexität und einem Hauch von halluzinatorischer Süße. Erneut in Gyhum mit dem Toningenieur Peter Voigtmann (ex-The Ocean, Death By Gong, Heads.) aufgenommen, tritt Purpur in die Fußstapfen der bisherigen Werke der Band, markiert aber auch einen mutigen Sprung nach vorne. Gastbeiträge von Fabian Bremer (Radare, AUA) und Kjetil Nernes (Årabrot) vertiefen das Gefühl der Unruhe und Faszination des Albums, während Magnus Lindberg (Cult of Luna) mit seinem Mix und Mastering dem Album die Tiefe eines unterirdischen Pulses verleiht - knackig, schwer und lebendig mit mikroskopischen Details. Während ,Adria" eine lebhafte Flucht durch Krautrock, Dark Jazz, Noise Rock und Post-Punk bot, zieht ,Purpur" die Zuhörer in eine dichtere, komplexere und eng verwobene Klanglandschaft. Das dritte Album der Band ist ein berauschender Wirbel aus synthetischem Puls und physischer Schwere - ein Album, das sich eher wie fermentiert als wie komponiert anfühlt.

In der Welt von MX LONELY sind Monster echt vielschichtige Dinger. Das sind die Wesen, die wir uns als Kinder vorgestellt haben und die im Dunkeln lauern; die allzu realen Bösewichte, die ihre Macht missbrauchen oder sich mit dem Leid anderer die Taschen füllen; die Laster und Fehler, mit denen wir unser ganzes Leben lang kämpfen, und das, was wir werden können, wenn wir in ihrem Griff sind. Auf ihrem ersten Album ALL MONSTERS sucht die in Brooklyn ansässige Band in dunklen Ecken, bricht Türen auf und exhumiert diese Monster mit einem schweren, düsteren Alternative-Rock-Sound, der gleichzeitig von Schönheit durchzogen ist. Als ihre erste komplett selbst aufgenommene Veröffentlichung zeigt ALL MONSTERS die Band - Synthesizer/Sänger Rae Haas, Gitarrist Jake Harms, Bassist Gabriel Garman und Schlagzeuger Andy Rapp - wie sie einen lebendigen, unmittelbaren, analogen Sound einfangen, der das Gefühl ihrer Live-Show verkörpert und gleichzeitig ein längeres und nuancierteres Erlebnis schafft als je zuvor. Für die Zukunft wollen sie weiter auf Tour gehen und eine Community aufbauen, die auf gegenseitiger Katharsis basiert. ,Ich denke, das ist sozusagen die Manifestation oder das Gebet darin, dass jeder den Raum und die Werkzeuge hat, um seine eigenen Monster zu bewältigen", sagt Haas. Obwohl sie sich der Selbstreflexion verschrieben haben, wollen MX LONELY letztendlich andere in ihre Welt einbeziehen.

In der Welt von MX LONELY sind Monster echt vielschichtige Dinger. Das sind die Wesen, die wir uns als Kinder vorgestellt haben und die im Dunkeln lauern; die allzu realen Bösewichte, die ihre Macht missbrauchen oder sich mit dem Leid anderer die Taschen füllen; die Laster und Fehler, mit denen wir unser ganzes Leben lang kämpfen, und das, was wir werden können, wenn wir in ihrem Griff sind. Auf ihrem ersten Album ALL MONSTERS sucht die in Brooklyn ansässige Band in dunklen Ecken, bricht Türen auf und exhumiert diese Monster mit einem schweren, düsteren Alternative-Rock-Sound, der gleichzeitig von Schönheit durchzogen ist. Als ihre erste komplett selbst aufgenommene Veröffentlichung zeigt ALL MONSTERS die Band - Synthesizer/Sänger Rae Haas, Gitarrist Jake Harms, Bassist Gabriel Garman und Schlagzeuger Andy Rapp - wie sie einen lebendigen, unmittelbaren, analogen Sound einfangen, der das Gefühl ihrer Live-Show verkörpert und gleichzeitig ein längeres und nuancierteres Erlebnis schafft als je zuvor. Für die Zukunft wollen sie weiter auf Tour gehen und eine Community aufbauen, die auf gegenseitiger Katharsis basiert. ,Ich denke, das ist sozusagen die Manifestation oder das Gebet darin, dass jeder den Raum und die Werkzeuge hat, um seine eigenen Monster zu bewältigen", sagt Haas. Obwohl sie sich der Selbstreflexion verschrieben haben, wollen MX LONELY letztendlich andere in ihre Welt einbeziehen.

In der Welt von MX LONELY sind Monster echt vielschichtige Dinger. Das sind die Wesen, die wir uns als Kinder vorgestellt haben und die im Dunkeln lauern; die allzu realen Bösewichte, die ihre Macht missbrauchen oder sich mit dem Leid anderer die Taschen füllen; die Laster und Fehler, mit denen wir unser ganzes Leben lang kämpfen, und das, was wir werden können, wenn wir in ihrem Griff sind. Auf ihrem ersten Album ALL MONSTERS sucht die in Brooklyn ansässige Band in dunklen Ecken, bricht Türen auf und exhumiert diese Monster mit einem schweren, düsteren Alternative-Rock-Sound, der gleichzeitig von Schönheit durchzogen ist. Als ihre erste komplett selbst aufgenommene Veröffentlichung zeigt ALL MONSTERS die Band - Synthesizer/Sänger Rae Haas, Gitarrist Jake Harms, Bassist Gabriel Garman und Schlagzeuger Andy Rapp - wie sie einen lebendigen, unmittelbaren, analogen Sound einfangen, der das Gefühl ihrer Live-Show verkörpert und gleichzeitig ein längeres und nuancierteres Erlebnis schafft als je zuvor. Für die Zukunft wollen sie weiter auf Tour gehen und eine Community aufbauen, die auf gegenseitiger Katharsis basiert. ,Ich denke, das ist sozusagen die Manifestation oder das Gebet darin, dass jeder den Raum und die Werkzeuge hat, um seine eigenen Monster zu bewältigen", sagt Haas. Obwohl sie sich der Selbstreflexion verschrieben haben, wollen MX LONELY letztendlich andere in ihre Welt einbeziehen.