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At last, another chance to get a classic soul masterpiece on 7” vinyl, even if you can score an original copy for about £800.

Timeless Legend were Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio. Their music is among the most elusive on the rare funk/soul scene with the 7” of “I Was Born To Love You” a huge crossover club. Few have actually ever set eyes on this album either, and those who own one have paid £2,000 for the privilege.

2022 Repress

Tapper Zukie's 'Black Man' album originally came out in 1978 as a Jamaican only release on Tapper's' Stars imprint. Long deleted it has become a classic in Mr Zukie's vast cannon of musical biscuits and is well overdue this worldwide release for the first time.
Tapper Zukie (b1956. David Sinclair, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica, between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, the youths including the young Tapper had no choice but to fall into the hands of the Political Parties that controlled various ghetto areas of the town. Music seemed like the only way out of a life of crime and gang culture. A path that Tapper Zukie found by the mid 1970's was establishing himself as a named star on the DJ Roots circuit. Back home in Jamaica he was also getting a name for his production work for other local singers such as Prince Allah and the group Knowledge. To release these productions and his own material in Jamaica, Tapper started up his own label called Stars. It's this label that saw the initial release of this album 'Black Man'. A great collection of Tapper tunes such as his biblical cut 'My God Is Real', 'Revolution' and the tile track of this collection 'Black Man' and some work overs of some of his felloe Jamaican Artists like 'Poor Man Problem' a work over of Johnny Clarke's ' Blood Dunza' and also Mr Clarke's Leggo Violence'. 'Yaga Yaga' re working Horace Andy's and Tapper's big hit 'Natty Dread ah She Want'. 'Gather Them' a reworking of Knowledge's tune of the same name with the help from bands like Jah Wisdom and Delroy Fielding. A great collection of tunes and reworkings that we hope will find a wider audience with this release.
For the CD issue of this release we had added Tapper's 'Liberation Struggle', 'Get Ready', 'Prophesy' and 'Fire Bun' tracks from Tapper Zukie's back catalogue that seem to sit well and follow the theme and meanings of the 'Black Man' album.

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

Carrying the torch of psychedelic cumbia, with a healthy dose
of surf guitar and Amazonian dancefloor flourishes from Peru
and Brazil alike, Fiesta en la Jungla by Los Dexter’s de Uchiza
is the first release from the newly formed London-label Ritmo
del Barrio. Originally released in 1982, it captures the finest
cumbia being made in Peru at the time, decked out with
frenetic surf-rock guitar riffs, rhythms floating on crisp
cumbia percussion and occasionally punctuated by carimbó
breakdowns native to the Pará region of north-eastern Brazil.
The album is filled with energy, a gem that was always
intended to animate any dancefloor. Peruvian cumbia came to national attention in the late 60s
through the recordings of Juaneco y su Combo, Los Destellos
and Los Wembler’s de Iquitos, but it’s had many revivals, and
Fiesta en la Jungla arrived when the style was going through a
major transition. In 1977, a passenger plane carrying most of
the members of Juaneco y su Combo crashed, killing everyone
on board. In 1980, Los Destellos retired, and Los Wembler’s
released their tenth and final record, they were ready for a
break. This left a big void in Peruvian music. Wasting no time,
Los Dexter’s Emerson Ruiz Mosquera took the opportunity and
gave his band new life, filling the band’s ranks with young and
energetic musicians who were hungry for success. He built the
new band around a solid base of dexterous guitars, a dynamite
rhythm section, and added oodles of percussion and an electric
organ, giving them a powerful psychedelic sound that called
back to the sounds of the original chichamasters, but added a
new sheen. Along with bands like Los Shapis and Los Walkers
de Huánuco, Peruvian cumbia was reborn as chicha in the
1980s, and was now the sound of Peru’s barrios up and down
the country.
Based in the city of Uchiza, on the edges of the Amazon basin,
Los Dexter’s were uniquely located in central Peru, closer to the
largest urban centres of the country than Amazonian outposts
like Pucallpa or Iquitos, and therefore better positioned to
travel to the furthest reaches of the country with ease. In a
sense, Los Dexter’s were a bridge between the Amazon and the
rest of Peru, a bridge over which the sounds of Amazonian
cumbia could travel to the rest of the country on their way to
becoming one of the most ubiquitous elements of Peru’s musical
identity. Fiesta en la Jungla represents Los Dexter’s in their third
iteration. Led by Emerson Ruiz Mosquera, who was just a
young boy in 1970 when his older brother founded the group
with four of his friends, the ensemble by the time of Fiesta en la
Jungla included Orlando Abad on the timbales and lead vocals,
Lucho Bendezú on lead guitar, Javier Quiroz as second
guitarist, Alejandro Almeira on bass, Rufino Bustamante on
keyboard, Ramon Siu on bongos and bells, Ivan Rios on conga,
and Emerson as musical director and composer. Remarkably,
most of the group’s members helped to write at least one
track, Los Dexter’s were a collective endeavour.
Reissued on vinyl for the first time by Ritmo del Barrio, this
record is essential for any collector of Peruvian cumbia.
Showcasing the unique sound of Los Dexter’s, it carries hits
like “Fuga en la Selva” and “El Shiringuero”, which are sure to
set any dancefloor on fire, combined with slower, carimbó-
infused cumbias like “Fiesta en la Jungla,”and “Agua de
Cachilde.” Its closing track, “Tragedia en Uchiza'', is a key
piece of local history and tells of the flooding of the
Chontayacu River in 1982, a mortal tragedy that affected
thousands of people. Despite the subject matter, the album
maintains a joyful vibe throughout, with high energy riffs and
irresistible rhythms, contrasted with terse love ballads, like “A
Jhenny.” It is both a piece of musical history, and a sure-fire
tool for the dance floor.
Los Dexter’s became a fixture of festivals and celebrations in
the provinces of San Martin and Huánuco, and from expanded
across the country, taking Amazonian cumbia from the
Peruvian Amazon, to the heights of the Peruvian sierra, the
coastal plains, and the capital city of Lima.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue and The Epic of Everest - via a stint with The The and collaborations with Derek Jarman, David Lynch and Tilda Swinton - Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity.

In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma (Comatonse Recordings, 2015) is reworked and appears on vinyl only, Jarman is privately recorded reading White Lies, Bertrand Russell is sampled, and Turner records his brother practising the Great Rissington organ for their father's funeral.

"My wife and I lived in Brixton, near the venue, on Coldharbour Lane, 20 years ago. We were above a takeaway shop. The air extractor was a nightmare and the flat smelled of grease. The market was a great place to buy fish. We adopted a giant snail, who we called Ayrton. I used to take him all over town and he loved lettuce and tomatoes. There was a wonderful small pizza shop too, which was so delicious. But back to the music. Brixton is music and I'm a lucky man."

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

"Every night we've been listening to RATTLE. They have a stark yet deep trance percussion vibe that is both holistic and rocking." Thurston Moore
“Quietly dramatic and loudly intimate.” The Quietus
“Two drum sets. Two voices. One great idea.” MOJO
Rattle are Katharine Eira Brown and Theresa Wrigley, they formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. They’ve since released two long-players, 2016’s self-titled debut album Rattle (Upset The Rhythm / I Own You) and 2018’s Sequence (Upset The Rhythm) to much critical acclaim in the music press, and with James Acaster discussing the debut on his BBC Sounds podcast Perfect Sounds!
Rattle have honed the four songs that make up ‘Encircle’ by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. ‘Encircle’ was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colourful artwork was created by Martha Glazzard, who was also responsible for Rattle’s other mesmeric covers.
‘All Burning’ opens the album, a live favourite of cyclical tumbling and evolving wordplay. ‘All Burning’ was built up gradually layer by layer with Theresa’s cumulative snare work and Katherine’s urgent calls for action: “hold your doctor, hold your daughter, hold your horses”. If ‘All Burning’ represents fire, then it’s accompanying 12-minute long track on Side 1, ‘Argot’, is informed by the air. ‘Argot’ is a song about uncertainty, with Katherine singing wordlessly across the majority of the track. “I prefer to sing wordlessly often because it feels a bit more expressive and universal” asserts Katherine. The track feels truly epic with a satisfying release that comes with the eventual introduction of the bass drum and snappy hi-hat section.

Side 2 also pairs a shorter song with a long-form composition. ‘Ritual’ is worked up from a simple snare drum pattern which becomes more and more overlapped into an elliptical form of waltz. Katherine considers ‘Ritual’ as “very earthy song - lots of low lying mist on the ground swirling around and the drums coming together to summon something”! ‘Ritual’ was inspired by a visit to the ruins of Boleskine House so multi-dimensional themes and occult practice loom large. ‘Your Move’ is a step-up gear change with the band wanting it to feel like the tape had suddenly started to spin faster, urging movement, venturing action. Clocking in at over 15 minutes, ‘Your Move’, is mesmeric and boundless, hypnotic in its minimalism of doubled-drums and almost tribal vocal cycles.
With ‘Encircle’ Rattle have grown again, these songs are alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle’s edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight.
Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartetand Codeine.

Der Soundtrack von 'KNEECAP', mit Musik von der Band sowie Bicep, Fontaines DC und Orbital, ist als Doppel-LP im Gatefold-Design auf farbigem Vinyl erhältlich. Er enthält auch Filmmusik von Michael ‘Mikey J’ Asante MBE und Ausschnitte aus den Dialogen des Films.

- Ltd. Col. 2LP: (LP1 Orange / LP2 Green Vinyl)

„When you gonna stop running?“ fragen The Men in der ersten Zeile von „Pony“, dem ersten Song und der ersten Singleauskopplung aus dem
kommenden Album „Buyer Beware“ des New Yorker Rockquartetts. Machen Sie keinen Fehler - dies ist kein Zeichen einer existenziellen Krise,
sondern eher ein Aufruf zu den Waffen für eine Band, die noch nie lange stillgestanden hat. Nach eigenen Angaben ist „Buyer Beware“ ihr 15. Album
seit ihrem Debüt „We Are The Men“ (2009) und ihr viertes für Fuzz Club.
The Men haben eine Arbeitsmoral, die so altmodisch ist wie ihre Rockwurzeln, doch trotz der Hektik scheinen sie nie in Eile zu sein - ein Widerspruch,
der sich in ihrer Musik auf natürliche Weise auflöst, indem sie die rohe Wut des Punkrock mit der minimalistischen Strenge eines Steve Reich (oder,
außerhalb der Musik, Mark Rothko) in zenartiger Ausgewogenheit in Einklang bringen. "Buyer Beware“ ist die fünfte Zusammenarbeit von The Men
mit dem Tontechniker Travis Harrison (Guided by Voices, Built to Spill), der die Nuancen der Gruppendynamik - Nick Chiericozzi (Gitarre/Gesang),
Kevin Faulkner (Bass), Mark Perro (Gitarre/Gesang) und Rich Samis (Schlagzeug) - sehr gut einfängt. Durch die direkte Aufnahme auf Band fängt
Harrison das rohe, konfrontative Fieber ihrer Bühnenshows ein, ohne dabei ihre introspektiven Untertöne zu opfern. Das Ergebnis ist zweifelsohne ihr
aggressivstes Album seit „Leave Home“ (2011) und ihr psychedelischstes seit „Immaculada“ (2010)

FOR FANS OF: Black Label Society, AC/DC, Ozzy Osbourne, Black Sabbath, Torus, Pearl Jam, Candlebox, Alice In Chains
Featuring Dario Larina von Black Label Society
Dario Larina ist vor allem durch seine Arbeit an der Seite des legendären Gitarristen Zakk Wylde bei Black Label Society bekannt. Neben den
Tausenden von Kilometern, die er mit der Band unterwegs war, schredderte Dario neben Zakk Wylde auf dem 2021 erschienenen Album Doom Crew
Inc. und begleitete den Black Label Society-Mastermind und die Sechssaiten-Legende auf das Cover von Guitar World. Bei letzterem brachte Wylde
den Grund, warum er den aufstrebenden Gitarristen an Bord holte, auf den Punkt: „Weil Dario großartig ist.“ Nebenbei brachte er auch zwei
Soloalben heraus, nämlich Dario Lorina und Death Grip Tribulations. Im Laufe des Jahres 2024 stellte er sorgfältig zusammen, was Spirit in the Glass
werden sollte. Er vervollständigte das Lineup mit Brody DeRozie, Mike Gunn und Luis Silva und schrieb und nahm in seinem Heimstudio in Las Vegas
auf, auch bekannt als „Dark Chapel“.

Neuauflage 2024, Purple Vinyl! Die Destroy Boys aus Sacramento kombinieren Garage-Punk, Pop, Hardcore und Indie-Rock zu einem rohen, zukunftsweisenden kalifornischen Punk-Sound auf ihrem 2021er Album! Die Band wurde 2015 als Akustik-Duo von Alexia Roditis (Gitarre/Gesang) und Violet Mayugba (Gitarre/Gesang) gegründet, die eine breite Palette von Einflüssen anführen, darunter Misfits, Siouxsie and the Banshees, Dog Party, The Who, Lady Gaga und Bikini Kill. Nach der Veröffentlichung ihrer Debüt-EP Mom Jeans wurden die beiden von Schlagzeuger Ethan Knight kontaktiert, der sich der Band anschloss, bevor 2016 die Grimester-EP und das Album Sorry, Mom veröffentlicht wurden. Die Band erhielt mehrere Nominierungen bei den Sacramento Area Music Awards 2017. Sie nutzten diesen Schwung für eien ganze Reihe an energiegeladenen Singles und Auftritten mit wechselnden Bandmitgliedern, immer voran Roditis und Mayugba. Schon bald teilten sich Destroy Boys die Bühnen mit Bands wie Mannequin Pussy, Face to Face und Lagwagon und tourten durch UK. 2018 wurde Hopeless Records auf ihren zweiten Longplayer Make Room aufmerksam und nahm die vielbeachtete Band in ihr Roster auf. Mit Open Mouth, Open Heart, das ursprünglich 2021 veröffentlicht wurde, lieferte die Gruppe eine Reihe aggressiver und selbstbewusster Songs, die sich den Themen emotionalem und physischem Missbrauchs, Mobbing und Sucht annehmen. Die Band besteht aktuell als Quartett mit Roditis und Mayugba sowie dem Schlagzeuger Narsai Malik und dem Bassisten David Orozco.

The award-winning film Vengeance Is Mine, All Others Pay Cash (2021) is romantic drama set in a working-class neighbourhood of Indonesia’s West Java. Although the story was set in the 1980s, the film’s music director Dave Lumenta doesn’t really want to use music from that period. He doesn’t want to automatically go with dangdut, the musical genre, a mix of Malay, Indian and modern pop music, the music of choice for majority Indonesia’s working class. He simply doesn’t want the film to be stuck in the time setting and the social class. The scoring is richer, not only was it inspired by dangdut, but it was also inspired by rock as well. In order for his imagination to be free of that time and social context, he decides to make music that was based on the characters, otherwise known as leitmotif.

Lumenta is interested in vulnerability, because it is something that the audience can find in the main character Ajo Kawir, an impotent who is unable to have an erection. Another main character Iteung is someone who is very liberal in terms of her sexuality, but she also struggles with an issue as well, which is their issues, a traumatic past. The film successfully portrays the clash of these two characters. And from identifying these two characters, the composer creates a melody or leitmotif that represents each character. The use of analogue instruments is also consistent with the film’s spirit, which is also shot using analogue camera. Lumenta created the music using acoustic instruments, such as the recorder, along with other sounds from an analogue synthesizer.

The sound produced may not be perfect, just like the are grainy quality of an analogue film, due to limitation of the medium. But it is precisely due to that limitation that the eyes and ears are compelled to watch and listen actively; we must squint to catch something more perfect, or listen closely to filter out imperfections in the sound. Consuming art created with analogue tools requires a different method of listening, watching, and working process.

1970s New York: determined to emerge from his powerful father's shadow and make a name for himself in Manhattan real estate, aspiring mogul Donald Trump is in the earliest days of his career when he encounters the man who will become one of the most important figures in his life: political fixer Roy M. Cohn. Seeing promise in young Donald, the influential attorney--who secured espionage convictions against Julius and Ethel Rosenberg and investigated suspected Communists alongside Senator Joseph McCarthy--teaches his new acolyte how to amass wealth and power through deception, intimidation, and media manipulation. The rest is history.

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

Am 28. Februar 2025 machen Stereolab sieben Studioalben erneut als 2LP-Formate erhältlich. Diese verwenden dieselben Remaster wie die erweiterten Vinylausgaben von 2019, die von Bo Kondren bei Calyx Mastering von den Original-1/2-Zoll-Bändern unter der Aufsicht von Tim Gane (Stereolab) geschnitten wurden, jedoch ohne das Bonusmaterial der 3LP-Versionen (die inzwischen eingestellt wurden). Die Idee dahinter besteht darin, Fans und Läden kostengünstigere Formate dieser begehrten Alben zur Verfügung zu stellen. Jede Platte wird im 5 mm dicken Cover mit bedruckten Innenhüllen und einer schützenden PVC-Aussentasche geliefert.

Die Alben:
1. Transient Random-Noise Bursts With Announcements (1993)
2. Mars Audiac Quintet (1994)
3. Emperor Tomato Ketchup (1996)
4. Dots And Loops (1997)
5. Cobra And Phases Group Play Voltage In The Milky Night (1999)
6. Sound-Dust (2001)
7. Margerine Eclipse (2004)

"Dear music lovers, this album represents the truest and purest essence of myself in a 'now state' at the end of my thirties. I really don't care about aging, but I care about these ten songs. They make me happy, sad, aware, they make me laugh, cry and confident - hopefully, they make you feel the same or make you feel at all, too. For me, they shatter the rising coldness in this world. This wholesome musical powerhouse is about 'people in white cars' - it's a weird metaphor. Learn all about it on this album." - Rico

Billboard Heart, das neue Album von Deep Sea Diver, stellt die Band aus Seattle auf Anhieb in eine Reihe mit St. Vincent, TV On The Radio und Flock of Dimes, Bands, die neue, kunstvolle und magnetische Wege gefunden haben, Indie-Rock zu machen, indem sie Vorstellungen davon, wie er klingen oder was er sagen muss, über Bord geworfen haben. Es ist ihr viertes Album und das erste für Sub Pop, und es ist ein Coup, ein Triumph über Selbstzweifel, der das Scheitern in eine Chance verwandelt, neue Freiheit, Glauben und Stärke zu finden. Mitte Juli 2023 nahm Deep Sea Diver-Mastermind Jessica Dobson in einem Studio in Los Angeles ein Gitarrensolo auf, spürte aber irgendwie nichts. Nur wenige Tage zuvor hatte ihre Band aus Seattle eine Reihe von halb-geheimen Auftritten vor Anhängern gespielt, die de facto als Proben für ein neues Album dienten. Die Sets waren gut gelaufen, aber die neuen Songs schienen verworren, Dobsons Überzeugung ging irgendwo in den 1.000 Meilen zwischen Südkalifornien und dem Heimstudio verloren, das sie mit ihrem Partner, Schlagzeuger und häufigen Co-Autor Peter Mansen teilt. An jenem ersten Abend in Los Angeles hatte sie einen Zusammenbruch, fragte sich, was sie dort tat, und überlegte, wie sie es in Ordnung bringen könnte. Deep Sea Diver zogen sich ohne Album nach Hause zurück. Mussten sie es verschrotten, um mit neuem Material neu anzufangen? Ganz und gar nicht: Nach einer kurzen Pause fand Dobson ein neues Selbstverständnis, ein Vertrauen in ihre Vision für ihre Band und ihre Songs und in ihre Fähigkeit, diese einzufangen. Bei einem Abendessen mit ihrem langjährigen Mitarbeiter Andy Park gestand sie in aller Bescheidenheit, dass sie Hilfe brauchte, was Dobson dazu inspirierte, Deep Sea Diver neu zu erfinden und zu beleben. Diese Enthüllung bereitete die Bühne für die Kraft und Brillanz von Billboard Heart. Drei Jahre zuvor veröffentlichten Deep Sea Diver ihr drittes Album, 2020's Impossible Weight, über das kolossale Indie-Imprint ATO. Es war ein bedeutender Schritt nach oben und brachte der Band eine Welle der Aufmerksamkeit und einen Platz in den Billboard-Charts ein. Doch der Erfolg veranlasste Dobson, an ihren Impulsen zu zweifeln und sich zu fragen, ob die Wirkung oder die Rezeption einer Idee ebenso stark sein könnte wie die Idee selbst. Zu Hause, mit ihr am Klavier und Mansen an der Gitarre in ihrem Wohnzimmer in Seattle, bahnte sich das Paar einen Weg nach vorne und belebte ihre Songwriting-Partnerschaft neu. Das Material auf Billboard Heart ist von Anfang bis Ende erstaunlich. Das Titelstück ist der einzige Song, den Deep Sea Diver tatsächlich in Los Angeles fertiggestellt haben. Die wogenden Synthesizer von Elliot Jackson und der tunnelbläserähnliche Pedal Steel von Greg Leisz sind eine Hymne auf den furchtlosen Vormarsch in die Zukunft - ein strahlendes und großartiges Stück. „Emergency“ verbindet den Elan des Hardcore mit der unmittelbaren Anziehungskraft des Electroclash, wobei Dobsons fesselnder Gesang und seine Gitarrenarbeit im Mittelpunkt stehen. Das zarte und verletzliche „Tiny Threads“ ist eine mitreißende Hymne für alle, die versuchen, etwas zusammenzuhalten - das Leben, die Liebe, sich selbst. „If it haunts me, let it haunt me“, singt Dobson sanft über einer Stille, die nur von Bass und Noise eingerahmt wird. Sie lässt ihre Gitarre in eine Rückkopplung kippen und formt sie dann stetig zu etwas Melodischem um. Es ist ein ganzes Leben voller Angst und Sublimierung, kristallisiert in 10 Sekunden. Billboard Heart fühlt sich im Großen und Ganzen so an. Billboard Heart entstand, als Dobson ihren Instinkten vertraute, es ist ein persönlicher und künstlerischer Durchbruch und das bisher beste Deep Sea Diver-Album, ein trotziges und brillantes Ausrufezeichen am Ende einer langen Zeit der Wanderschaft.

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

Das zweite gefühlvolle Dark Pop Album des legendären Schlagzeugers Dave Lombardo und der Singer-Songwriterin Paula Lombardo.

Die Beziehung von Dave und Paula Lombardo ist wie geschaffen für eine romantische Komödie. Man stelle sich vor: Der Mann, der die Messlatte für Heavy-Metal-Schlagzeuger höher gelegt hat, hat ein Rendezvous mit einer schönen Frau, deren musikalischer Hintergrund darin besteht, dass sie in Las Vegas als Backgroundsängerin für bekannte Bands gearbeitet hat und in Nashville als Singer/Songwriterin Fuß fassen wollte. Zum Glück für die Welt hat sich ihr musikalischer Bund in Venamoris manifestiert, deren Ipecac-Debüt To Cross Or To Burn (erscheint am 28. Februar) weit davon entfernt ist, vorgefasste Meinungen zu zerstören, während es fesselnde neue Möglichkeiten aufbaut.

Natürlich sind die Qualitäten des unermüdlichen Dave Lombardo als Weltklasse-Schlagzeuger bekannt. Aber während er die Blaupause entwarf, die das Thrash-Metal-Schlagzeugspiel definieren sollte, hat er seine Finesse auch auf Solo-Schlagzeug (Rites Of Percussion von 2023, ebenfalls auf Ipecac), Hip-Hop und klassische Musik angewandt, und er hat grenzüberschreitende Aufnahmen und Auftritte mit jedem gemacht, von John Zorns Ensembles bis zu den Punk-Ikonen Misfits und Mr. Bungle. To Cross... ist ein weiterer Meilenstein in seiner bewegten Karriere, in der er seine klanglichen Fähigkeiten um Gitarre, Bass und bemerkenswerte Produktionstechniken erweitert hat. „Das einzige, was mit den vielen Schlagzeugen, die wir zu Hause haben, mithalten kann, sind die vielen Gitarren, die Dave hat“, sagt Paula lachend. „Also spielt er auf diesem Album ziemlich viel Gitarre.“

Paula ist eine wahrhaft dynamische musikalische Kraft mit beeindruckenden stimmlichen Fähigkeiten, Geschick am Klavier und am Synthesizer und einem ausgeprägten Gespür für verführerische Texte, Melodien und Arrangements. Mit 18 war sie Backgroundsängerin in der Enklave des Entertainers Wayne Newton in Las Vegas, wo sie lernte, mit dem Druck umzugehen, wenn man mehrere Auftritte an einem Abend hat und jeden Tag Perfektion verlangt wird. Sie verließ Vegas und ging nach Nashville, um ihre Musikkarriere fortzusetzen, aber, wie sie selbst sagt, „es war einfach nicht das Richtige“.

Der Name Venamoris leitet sich vom lateinischen vena amoris („Liebesader“, die angeblich vom linken Ringfinger zum Herzen verläuft) ab. Die erste öffentliche Aufnahme von Venamoris war „The Gift“, ein Weihnachtslied, das die Lombardos auf Bandcamp veröffentlichten. Kurz darauf erschien ihr Debütalbum "Drown In Emotion", das sich durch Paulas Singer-Songwriter-Vibe auszeichnet, als wäre es 1975 zwischen den Deep Cuts von Carole Kings "Tapestry" und "Heart's Dog And Butterfly" aus dem FM-Radio gezupft worden.

Unter den Special Guests auf dem Album::
Kontrabass - Trevor Dunn von Mr. Bungle (Stay with Me)
Bass - Ra Diaz von Korn (Stain of Pain)
Gitarre - Alex Skolnick von Testament (Stain of Pain, Burnt Paper)
Gitarre - Gary Holt von Slayer (Animal Magnetism)

Behind Pumuky are brothers Jaír and Noé Ramírez, originally from Icod de los Vinos, a small town in northern Tenerife, in the Canary Islands.

For two decades, despite a tumultuous journey with multiple lineup changes and the challenges of island life, they have managed to build an extensive and highly personal discography with labels such as Jabalina, WeAreWolves, as well as Keroxen. In 2025, they release a new chapter in their story: their 5th album titled No sueltes lo Efímero (Don't Let Go of the Ephemeral).

It has been 10 years since they released a full-length album, though they were never idle during this time. In this interim, they released an EP titled Castillo Interior (Keroxen 2020), which Bandcamp described as "In intricately sculpted songs that are utterly hypnotising, the Ramírez brothers explore the border of dreams & reality" Bandcamp / New & Notable Oct 19, 2020. The EP was later remixed by artists like Xiu Xiu and Dntel (Jimmy Tamborello of The Postal Service). During this period, they also collaborated with Elinor Almenara of VVV Trippin'you on the single Metahackeo (Keroxen 2022), part of the new wave of dark music that emerged after the pandemic years.

Pumuky also have an extensive live history, having played in Europe and Latin America, with appearances at major festivals such as Primavera Sound, WOMAD, and the Mexican NRMAL.

No sueltes lo efímero will be released on February 28 through Keroxen, a collective that, in addition to being a platform and label for the best of the Canary Islands' underground scene, organises a small, unique music festival inside a giant abandoned kerosene tank in Santa Cruz de Tenerife—an event that has already garnered praise worldwide.

The album was recorded at La Mina Studios (Granada, Spain) with Raúl Pérez, one of the most respected producers in the Spanish music scene, and then mastered by Rafal Anton Irisarri, a key figure in the ambient world who also appreciates the power of guitars.

In No sueltes lo efímero, Pumuky return to their signature sound, although they have never completely abandoned it: an abrasive slowcore with controlled crescendos and raw, unfiltered lyrics, sometimes bordering on the intensity of dirty shoegaze, at other times leaning into dream-pop passages, but always with the unique stamp that has characterised them from the start.

A rare breed, difficult to categorise, Pumuky write songs as if performing escape tricks.

VENTILATEUR is an instrumental project combining sounds from the vivid worlds of contemporary jazz and postpunk. The three-piece band, consisting of Iben Stalpaert on drums, Jasper Hollevoet on bass and Daan Soenens on guitar, uses angular rhythms and flowing melodies to construct compositions that embody both contrast and cohesion. Originally from Bruges, the band currently has Ghent as its homebase.

The trio released its self-titled debut EP on 22 March 2019. VENTILATEUR won awards at Fresh Fish, Red Rock Rally and Burgrock that same year and was one of the laureates of the then brand new Sound Track. Thanks to Sound Track 2020, the band received a residency at Het Entrepot in Bruges and a year of professional coaching from VI.BE and other national players in the music landscape.

In 2020, VENTILATEUR joined forces with young Ghent theatre collective Camping Sunset for the performance Happiness. The band composed the soundtrack for the play and also performed it live during the five-week run of the production. The music was subsequently recorded and released under the title A Soundtrack For Happiness at the Brussels label Sentimental.

In 2022, VENTILATEUR released its first full-length album with W.E.R.F. Records. Hoofdplaat, titled after the village near the manor house that served as its recording location, is the result of a long process of purification. VENTILATEUR presents the essence of their sound, stripped from all ballast.

VENTILATEUR balances on the border between the ‘niche’ world of instrumental jazz and the accessible world of the pop-rock circuit. From this position, the band aims to bring instrumental music to a wider audience. Apart from being purely intrinsically artistic, the trio's ambition is to excite a new audience for cultural participation and specifically the rich genre of jazz. Through their choice of accessibility within the experimental, the band aims to form a bridge between a wider audience and a musical world still too often labelled as ‘niche’. The musicians not only focus on the club and festival circuit, but have already written soundtracks for some short film projects and are also reaching out to the theatre world.

In its early years, VENTILATEUR was mainly known within the Flemish arts landscape on the Bruges-Ghent-Brussels axis. A soundtrack for Happiness and Hoofdplaat introduced VENTILATEUR to a new audience. Songs from the albums got airtime from Radio 1, Klara and other stations, and singles appeared in national playlists. The band’s music was also picked up by VRT, which used the single Nectar during several programs. In 2023, the band scored their biggest gig yet: Ghent Jazz on a podium curated by their label, W.E.R.F. Records.

VENTILATEUR as a project can count on the support of organisations such as W.E.R.F. Records, Cactus Music Centre, Het Entrepot and VI.BE. The band also has close ties with theatre companies such as Camping Sunset, Compagnie Cecilia and Ontroerend Goed and, of course, numerous connections within the Flemish and Brussels music scene.

“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month

“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire

Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.

Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.

Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.

Deep Space Vinyl (Blue, White, Dark green, Sky Blue & Black Marbled) The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl. The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis. It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Rat Life welcomes back Leibniz for the label's 23rd release! This 12inch piece of wax is jam packed with five grimy techno mantras, each one proofing once again that the highest level of mastery is simplicity. Most information is irrelevant and most effort is wasted, but only Leibniz knows what to ignore.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

When Shadows Dance is the new album from Eyolf Dale’s acclaimed trio with Per Zanussi and Audun Kleive, building on theexcitement of his previous trio album Being the Wayfarer, and his recent collaboration with the Norwegian Radio Orchestraconducted by Miho Hazama. Dale’s compositions and performances have been praised for their cinematic scope, blendingflowing lyricism with atmospheric depth, and this new release promises to push those boundaries even further.This album reflects Dale’s unmistakable style—rich in melodic and emotional narrative—while showcasing his sophisticatedcompositional approach. The trio creates dynamic landscapes, shifting seamlessly between delicate, impressionistic textures andmoments of energetic intensity. As always, Dale’s music draws from his deep connection to the Nordic tradition, while exploringnew and evocative sonic territories. His ability to craft music that feels both ethereal and grounded ensures that When theShadows Dance resonates with listeners, inviting them into a contemplative, poetic space.Known for his wide-ranging collaborations, from his trio to working with orchestras, Eyolf Dale continues to innovate, blendingelements of jazz, classical, and folk in a way that feels timeless yet forward-thinking. With the support of Per Zanussi’scommanding bass lines and Audun Kleive’s masterful percussion, this album is poised to captivate audiences, solidifying Dale’sposition as one of Norway’s most versatile and visionary musicians.

"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

In 2016 an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music as millions of curious listeners were swaying to the band’s adolescent creations. Upon discovering their own virality, the band reformed with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer), toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet. “The whole production has gone up ten-fold,” says Wright of the new album.“ Standout track "Shandy in the Graveyard" feat. rapper billy woods sees the band channeling their youth and tapping into the typical audience at Panchiko shows. That youthful spirit can be felt in the song’s sonic world, as its production genre-shifts between trip hop and orchestral folk, creating a fresh juxtaposition of soundscapes. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material like title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy.

■ Die Nits sind eine niederländische Art-Pop-Rockgruppe, die 1974 in Amsterdam
gegründet wurde. Ihr musikalischer Stil hat sich im Laufe der Jahre ebenso geändert wie
ihre Besetzung, aber die Kernmitglieder sind der Leadsänger und Texter Henk Hofstede,
Robert-Jan Stips an den Keyboards (der mit Supersister, Gruppo Sportivo, The Golden
Earring zusammengearbeitet hat) und Rob Kloet am Schlagzeug.
Im Jahr 2024 feiert die Band ihr 50-jähriges Jubiläum mit einer Europatournee und
brandneuer Musik. Sechs frisch geschriebene Tracks sind auf der Mini-Album "Tree
House Fire" enthalten, wobei das zentrale Thema der Songs das Feuer ist, das das
Amsterdamer Studio der Band im Jahr 2022 vollständig zerstört hat. Diese
10-Zoll-Schallplatte ist als limitierte Edition von 500 einzeln nummerierten Copies auf
Flamino Coloured Vinyl erhältlich und enthält ein 4-seitiges Booklet.

"Flam" is the 5th album from the ever-triumphant duo of Steve Gunn (guitar) and John Truscinski (drums, synths). They have spent the better part of the last 15 years assembling a singular and expressive discography representing their unique and sympathetic interplay. "Flam" sees the duo branch out and get a little more atmospheric than the prior LPs - track after track washes over you. There's slow burners here ("Fin"), fiery explosions ("Conviction") & journeys to the drift ("Felt"). Essential.

"Hachiku ""The Joys of Being Pure at Heart"" LP - Electric Blue Bio-Vinyl (140g)

Melbourne’s dream-pop outfit Hachiku return with their second album The Joys of Being Pure at Heart—a heartfelt exploration of vulnerability, resilience, and connection. Featuring contributions from members of the Melbourne Symphony Orchestra and collaborations with harpist Mary Lattimore, the record fuses shimmering indie-pop with orchestral touches, making it Hachiku’s most expansive and collaborative work yet.

Anika Ostendorf - the creative force behind Hachiku - shaped her inclusive, community-minded ethos by her time working at the queer-run Melbourne label Milk! Records, which also released Hachiku’s self-titled EP (2017) and debut album I’ll Probably Be Asleep (2020). The Joys of Being Pure at Heart (2025) sees Ostendorf lean into a new mode of emotional openness and radical honesty: not only with others, but with herself. As the saying goes, to be loved is to be known – with these 10 songs, Ostendorf lets her guard down and reminds us to hold onto the little joys that make life worth living in spite of it all.

Pressed on Electric Blue, GreenPower Bio-Attributed Compound "

Cornelia Murr’s newest album, Run To The Center, began with a question: What do I want? The answer is everything, and it’s never felt more urgent.

On her first LP in six years, Run To The Center, on 22TWENTY, the London-born singer-songwriter delivers her most expansive, confident work yet. Across 10 hypnotic pop songs, Murr crafts a portrait of a woman in her thirties, standing triumphantly in uncertainty and asking life’s essential questions: How do you fit everything you want into a life? How can you want so much and still manage to live?

Run To The Center, which Murr will tour internationally, is her first release since the 2022 EP Corridor and her first LP since her 2018 debut Lake Tear of the Clouds, produced by Jim James of My Morning Jacket. Murr had long wanted to make another LP, but economic and global forces kept getting in the way. Finally, in the spring of 2023, Murr started working with producer Luke Temple (Adrienne Lenker, Hand Habits), adding to her roster of impressive collaborators. Temple, an old friend, helped Murr realize a sweeping album of her most tender, spectral pop yet.

The songs on Run To The Center reflect Murr’s need to explore desire and time. Some are new, born from spontaneous collaboration, while others had lingered in her mind for years. The album’s production, with muscular drums and buoyant synths, is more expansive than her previous work, swirling with a sparse futurism as Murr embraces life’s uncertainties.

Murr wrote much of the album while hunkering down in Red Cloud, Nebraska, restoring an old house. In this unexpected place, she found her center. The result is an album that explores big questions with beauty and humor, as Murr stands fully in her power.