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In a most original impetus this album traverses forty years of Italian new wave and singer-songwriter tradition. As in the desert where Infesta’s urge is to walk, we are ambushed by the most intense thermal and sonic difference.

It is from here that this important journey we mustn’t miss begins. It leads us eight thousand meters deep in the blue abyss. Not quite enough to come out the other side and, as a kite, bestow all the heights that I will reach. These depths are nevertheless necessary to adjust our eyes to the darkness that lives within us, as a machine to burst our hearts to which we can’t and won't be accomplices.

Machine against machine. The increasing pressure of the lashes of an incessant current, at times sweet and at times sour, on which all the courage is sung and yet is everywhere dispersed like thoughts on water and melodies to be lost at sea. Darkness persists: you said the world can be lived where all was taken. And it’s a crazy and estranging babbling that, stripped by a current, answers: never never never never, in no direction.

My companions, come back, the breaking point has been found, we sing together. Leaf after leaf the time has come: it is possible to destroy the Machine in a mad blinding light.

Cigarettes After Sex return with a double single that showcases both their future and their past. The single featured on the B-side, “Anna Karenina,” is a quintessential Cigs track, sensual, slow-burning, and emotionally oversized, with lyrics so confessional they verge on too much. But its inclusion of spoken word verses adds a striking new dimension to Greg Gonzalez’s world, expanding the band’s intimate palette. Its chorus (“I cried at the end of Anna Karenina, when she threw herself under the train”) might be the most Cigarettes After Sex lyric ever written. The A-side is a long-rumored fan favorite finally seeing release: a gorgeously faithful cover of The Doors’ “The Crystal Ship,” recast in the band’s signature haze. Jim Morrison’s romantic fatalism never sounded more at home.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world.

Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths.

Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

Since emerging in 2020, the band has carved out a reputation as one of the most exciting rising acts in heavy music, with support from BBC Radio 1, Kerrang! Radio and acclaimed rock and metal press such as Metal Hammer, Kerrang! and Alt Press. 2024 saw the band make their Download Festival debut, undertake their first UK headline tour, and secure huge support slots with powerhouse bands such as Skindred. Following the release of their EP "Echoes", the band has enjoyed a busy schedule in 2025 - with appearances at 2000trees (main stage) and Alyx Holcombe's MANTRA showcase.

In recent months, Mallavora have been popping up everywhere, from the stages of Boomtown and Burn It Down Festivals, to the catwalk at London Fashion Week where they provided the soundtrack to Unhidden's latest clothing range. Most recently, you may have heard vocalist Jessica's incredible vocal abilities in an episode of BBC 1's The Celebrity Traitors, a star- studded game show that features household names such as Stephen Fry, Alan Carr and Claudia Winkleman. Jess was called upon by the producers of the show to produce 'banshee-like' wails, demonstrating her vocal range which stretches from beautiful high octave singing to the extremes of fry screaming. All of Mallavora's achievements have been leading to this moment: the announcement of their debut album ' What If Better Never Comes ?'. Set for release on March 27th 2026 via Church Road Records , this record showcases the band's growth as songwriters and highlights their constant hunger to push the envelope.

The Four Owls debut album ’Nature’s Greatest Mystery’ returns on 2x12” Black and Yellow Galaxy Repress across 500 copies (never to be repressed in this colourway).

Celebrating FIFTEEN YEARS since the original release (and with rumours of a new album in the works) ’Nature’s Greatest Mystery’ Black and Yellow Galaxy Repress is a critically acclaimed UKHH classic!

The Four Owls are Big Owl (Fliptrix), Rusty Take-Off (BVA), Bird T (Verb T) and Deformed Wing (Leaf Dog) who also handles all of the production.

’Nature’s Greatest Mystery' features guest appearances from Q-Unique (Arsonists), Dirty Dike and Jam Baxter. A critically acclaimed modern day UKHH classic!

Limited edition pressing of 500 copies.

Black and yellow galaxy vinyl, full colour 350gsm reverse board gatefold sleeve. 14-track album. Shrink wrapped.

Mit bisher über 30 Millionen Streams ihres Katalogs und einer Tournee-Geschichte, die das Download Festival, Graspop, Resurrection sowie Tourneen als Support für Electric Callboy und Bury Tomorrow umfasst, sind As Everything Unfolds sicherlich keine Neulinge in der Szene. Die Band, angeführt von der Powerfrau Charlie Rolfe, ist bekannt für ihre emotionsgeladene Musik sowie ihre dynamischen Live-Auftritte. Nun veröffentlicht die Band ihr drittes Album "DID YOU ASK TO BE SET FREE?" über Century Media Records. Das Album, benannt nach den Lyrics der Single "SET IN FLOW", zeichnet sich durch die bekannte und beliebte musikalische Intensität der Band aus, gepaart mit emotionalen Texten, mit denen sich Fans und neue Hörer gleichermaßen verbunden fühlen werden. Charlie, die sich nicht scheut, über die Inspiration hinter den Tracks zu sprechen, wechselt mühelos zwischen heavy Growls und klarem Gesang und lässt die Musik wie eine Achterbahnfahrt zwischen verschiedenen Genres wirken. Mit einem Feature von Dani Winter-Bates von Bury Tomorrow auf "WHAT YOU WANTED" würdigt die Band ihre Freundschaft und Tournee-Geschichte mit der britischen Metalcore-Band - ein Track, der sicherlich zu einem Fan-Favoriten werden wird. Nach dem Erscheinen des Albums müssen die Fans nicht allzu lange warten, um die neue Musik auch live zu erleben, denn die erste Festivalankündigung für den Sommer steht bereits fest.
Mit "DID YOU ASK TO BE SET FREE?" definieren sich As Everything Unfolds erneut als Band ohne Grenzen und als eine Gruppe, die man in der alternativen Musikszene im Auge behalten sollte - ihre größten Momente liegen vielleicht noch vor ihnen. Das Album wird als Standard-CD-Jewelcase, als trasparent-petrolgrüne LP sowie als digitales Album erhältlich sein.

Mit Grumpy Pieces kehrt der Düsseldorfer Musiker Harmonious Thelonious alias Stefan Schwander mit einem Werk zurück, das seine langjährige Klangästhetik präzise destilliert und zugleich spürbar aufreibt. Wieder verbinden sich Pan-Afrikanische und Nahöstliche Rhythmuskonzepte, minimalistische Wiederholungsstrukturen und reduzierter Elektronik-Einsatz zu einem hypnotischen Sound - diesmal jedoch rauer, trockener und offener für Brüche als zuvor. Die acht Stücke wirken wie unter Spannung gesetzt: Melodien schaben über kantige Bassfundamente, scharfe Snare-Schläge durchschneiden das Gefüge, und trotz des klaren Groove-Fokus ist ständig ein nervöses Knistern präsent. Grumpy Pieces reflektiert eine Gegenwart voller politischer und gesellschaftlicher Reibung - ohne explizite Kommentare, aber mit einer Musik, die Reibung selbst zum Gestaltungsmittel macht. Während die A-Seite vergleichsweise direkt beginnt, öffnet sich die B-Seite zunehmend dem kontrollierten Zerfall, bis der finale Track "Dissolving" den Titel programmatisch umsetzt. Entstanden ist das Album in Schwanders Düsseldorfer Studio - intuitiv, unmittelbar, ohne große Bildschirm-Arrangements, eng verwoben mit seiner live-erprobten, tranceartigen Arbeitsweise. Grumpy Pieces ist kein Bruch, sondern eine Zuspitzung: ein kraftvoll verdichtetes, körperliches und zugleich unruhiges Album, das die charakteristische Handschrift von Harmonious Thelonious schärft. Tanzmusik mit Widerstand - und Biss.

Following the strong reception of their second album, Totem of Quiet Mystic (2023) Jiyu have earned praises from outlets such as Jazzwise, Enlace Funk and The Chillout Tent, as well as support from a wide range of iconic DJs including Patrick Forge & Chris Coco. The singles to this new album, Cumulus & the Subterranean, Smell of Fire and Deep Woods, have immediately been embraced—drawing glowing reactions and airplay from dj's like, Phil Cooper, Dj Vadim, Fred Everything, David Patterson, Jon Kennedy and Curtis Colin

On this third album from Jiyu, the Copenhagen band stretch their cosmic–spiritual jazz language into deeper, wilder terrain. Dropping April 10th on vinyl and digital via Dubsoul Records, the record captures six musicians in full telepathic flight, recorded at 12 Ton Studio in Copenhagen. Across eight tracks, elastic basslines, jazz-dub-soul—tinted drums and percussion, Wurlitzer and jazz-guitar glow and flute-swept atmospheres drift between grounded groove and open-sky improvisation, while guest vocalist Mai Lan Doky adds dreamlike textures on Cumulus & the Subterranean. From the shuffled broken-beat pulse of Smell of Fire to the slow-burn haze of Deep Woods, the Wild Things album is a rich analogue-soul excursion—earthy, exploratory and tuned to the outer frequencies.

Stunning, limited edition 12" picture disc featuring iconic, gruesome artwork by Vince Locke. A crucial 1998 release that kept traditional death metal alive during the rise of nu-metal.

The absolute definition of 80s US power metal, back on limited edition picture disc!

OUR ENDLESS WAR zeigt eindrucksvoll wie moderner Death Metal zu klingen hat!" Metal Hammer (Florian Krapp, 6 von 7 Punkten)

Info:
Wer es brutal will, kommt an diesem Koloss nicht vorbei!

Auch auf dem fünften Album in ihrer beeindruckenden Karriere kennen WHITECHAPEL kein Halten. Our Endless War bündelt alle Stärken, die das Sextett aus Knoxville in Tennessee seit seiner Gründung entwickelt hat. Das Album wurde penibel ausgefeilt und geht partout keine Kompromisse in Sachen Brutalität ein, ist aber zugleich das bisher geradlinigste, atmosphärischste und emotional packendste Album der Bandgeschichte und hievt jeden Aspekt ihres Sounds auf ein neues Niveau.

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.