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Taylor Hollingsworth aus Birmingham, Alabama, hat sich schon immer einer einfachen Einstufung widersetzt. Als er gebeten wurde, seine Musik zu beschreiben, tat er sich schwer - ein bisschen Folk, ein Hauch von Blues, eine Prise Rock 'n' Roll, aber nicht wirklich in eine einzige Schublade zu stecken. Schließlich prägte er den Begriff ,Folk n' Roll", um seinen Sound zu beschreiben. Jetzt bekennt er sich stolz zu diesem Sound mit seinem neuesten Album, das treffend den Titel ,Folk n' Roll" trägt. Fans von JJ Cale, Mississippi John Hurt, Chuck Berry, Richard Thompson, Jonathan Richman und John Prine werden große Freude an Hollingsworths Mischung aus zeitlosen Einflüssen haben. In den frühen 2000er Jahren tourte Hollingsworth ausgiebig mit seiner punkigen Rockband (stell dir eine Mischung aus Ramones, Chuck Berry und ZZ Top vor) und arbeitete als Session-Musiker, der auf Tour mit verschiedenen Künstlern Gitarre spielte (vor allem mit Conor Oberst und der Mystic Valley Band). Doch nach der Geburt seiner Tochter legte er eine Tourpause ein, um sich ganz seiner Familie zu widmen und sein Handwerk als Vollzeit-Musiker vor Ort in Birmingham, Alabama, zu verfeinern. In dieser Zeit perfektionierte er seine fesselnde Ein-Mann-Show, die er nun ,Folk n' Roll" nennt. Seine Auftritte sind ein unvergessliches Erlebnis - fingergepickte E-Gitarre, ein mit Mikrofonen ausgestattetes Fußstampfer-Pedal, das den rhythmischen Rückgrat bildet, und gelegentlich ein Looper-Pedal, um Gitarrensoli einzuflechten, während er seine charakteristischen erzählerischen Texte vorträgt - Texte, die von zahlreichen Künstlern gecovert wurden, vor allem von Conor Oberst und Phoebe Bridgers bei Better Oblivion Community Center. ,Folk `N Roll" ist sein zweites Album für das beliebte Indie-Label Dial Back Sound, nach dem von Kritikern gefeierten und geliebten ,Yahola" aus dem Jahr 2025.

Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.

FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.

Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.

FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.

In the early 1960s, beat groups from the Dutch Randstad dominated the national charts. Yet far from the big cities, in the clubs of Drenthe, one band was already being billed as “Beatgroup Number One”: Cuby + Blizzards. But frontman Harry Muskee never embraced that label. Raised on broadcasts from The Voice of America, he possessed a deeper understanding of the blues than most of his contemporaries. Muskee didn’t want to sing ‘songs,’ as he called them, he wanted to sing the blues, raw and unfiltered, in the tradition of Howlin’ Wolf, John Lee Hooker and Muddy Waters.

Their debut single “Stumble & Fall” was recorded in the Bavohuis, a simple gym hall in Amsterdam, with Addy Kleingeld as producer. But the debut album Desolation marked a turning point, recorded at the Phonogram Studios in Hilversum with renowned blues producer Tony Vos, it captured the band exactly as Muskee intended.

The resulting album became a jewel of Dutch music history. Never before had the Netherlands heard a blues singer who poured his emotions into a recording with such conviction and authenticity. Muskee even outshone his British peers. Eric Burdon (The Animals), Paul Jones (Manfred Mann), Mick Jagger (The Rolling Stones) and Van Morrison (Them).

At the 1968 Grand Gala du Disque (the Dutch equivalent of the Grammys), Muskee received an Edison Award for Desolation, handed to him by cabaret artist Wim Sonneveld, whose lukewarm speech couldn’t diminish the significance of the moment.

Sixty years later, the legacy of this groundbreaking album still resonates, an essential document of European blues and a defining moment in the story of Cuby + Blizzards.

This 60th anniversary edition of Desolation is now available as an expanded 2LP-set including the original 1966 album plus fifteen bonus tracks. The gatefold version features songs “Things I Remember”, “Stumble & Fall”, “L.S.D. (Got A Million Dollars)”, is a limited edition on blue vinyl and includes new liner notes by Dutch Blues authority Johan Derksen.

ROLE MODEL kündigt sein drittes Studioalbum Chuck Timely & The Hourglass an. Das Album beschäftigt
sich mit der Angst, dass die Zeit davonläuft, mit vergangenen Fehlern, unerfüllten Hoffnungen und der
Sehnsucht nach einer Zukunft, die vielleicht nie erreichbar scheint. Im Zentrum steht Chuck Timely, keine
klassische Alter-Ego-Figur, sondern ein eigenständiger Charakter, der die Themen des Albums verkörpert.
Charmant, schwer greifbar und zeitlos bewegt sich Chuck zwischen Nostalgie und Gegenwart, als jemand,
der überall Eindruck hinterlässt, vertraut wirkt und trotzdem unerreichbar bleibt. Visuell bewegt sich die
Figur zwischen klassischer Vintage-Ästhetik, nostalgischer Ikonografie sowie bewusst chaotischen Lo-Fiund Grunge-Elementen. Genau dieses Spannungsfeld aus Vergänglichkeit, Sehnsucht und Liebe prägt das
gesamte Album, das sich musikalisch um Zeitdruck, Vergangenheitsbewältigung und Reue dreht.
ROLE MODEL, bürgerlich Tucker Pillsbury, steht für eine neue Form moderner männlicher Popmusik:
emotional offen, selbstironisch und charmant leichtfüßig. Nach ausverkauften Tourneen, einem SNL-Debüt,
einem Platz auf der Forbes-„30 Under 30“-Liste und einer Rolle im Netflix-Film Good Sex zeigt sich ROLE
MODEL auf Chuck Timely & The Hourglass auf dem bisherigen Höhepunkt seiner kreativen Entwicklung

In an era of excess and endless distraction, Margaret Glaspy rejects the noise in favor of something far more essential. Before setting to work on her fourth full-length album I Am Both, she stepped away from social media and soon discovered a clarity of mind she hadn't experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon's most formidable songwriters.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big Bad Feat. Genesis Elijah, Killa P & Dabbla




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

Das akustische Instrumental-Album "Daniel" erweitert die Welt jenseits der Betonschluchten und Überführungen von LA hin zum pulsierenden, brodelnden Meer des Lebens, das Mexiko-Stadt ist, bis hin zur kargen, hügeligen Landschaft von Red Cloud, Nebraska. An jedem dieser Orte war der ständige Begleiter eine Nylonsaiten-Akustikgitarre - mit einer eigenen, weitgereisten Geschichte. "Es war die Gitarre meines Vaters", erinnert sich Danny Garcia, der Mann hinter dem Reverend. "Vor ein paar Jahren habe ich herausgefunden, dass sie auch meinem Großvater gehörte." Seit seiner Kindheit allgegenwärtig, hat die mexikanische Akustikgitarre für Garcia mit jedem Jahr an Bedeutung gewonnen. Stunden um Stunden des Spielens, Reisens und des Einhauchens von Leben in ihr Griffbrett haben sie sowohl zu einem Werkzeug als auch zu einem Talisman gemacht. "Da ist diese offensichtliche Abstammungslinie, die Familie und die Verbindung_ diese Verbindung durch die Geschichte", vertraut Garcia an. "Es ist sozusagen das einzige Familienerbstück, das ich habe." In der letzten Zeit hat all dieses Spielen (oder Herumklimpern, wie Danny es nennt) Reverend Baron dazu gebracht, einem Klang nachzujagen - einem, der die Ursprünge der Gitarre Lügen straft. Es ist ein Klang, den er von Zeit zu Zeit hörte, und als es darum ging, "Daniel" aufzunehmen, war dieser Klang sein wahrer magnetischer Nordpol (oder Südpol, sozusagen). Wenn du dich durch "Daniel" hörst, wirst du Anklänge an die Gitarrentöne von Antonio Bribiesca und Luiz Bonfa hören. Wenn du tiefer gräbst, wirst du auch die Grundzüge der Gitarrentexturen von Townes Van Zandt und Nick Drake erkennen. Ohne deren Virtuosität in seinem Spiel für sich zu beanspruchen, ergänzen die Seele und die Verletzlichkeit, die zu Markenzeichen der ersten beiden Reverend-Baron-Alben geworden sind, diese Einflüsse. Es liegt eine Wärme in "Daniel", die in diesen akustischen Meditationen im Mittelpunkt steht. Von kurzen, fließenden Momenten wie "El Monte" und "How Glad" bis hin zum hoch-einsamen "Muchacho" schweben die Songs wie Cumuluswolken über einem tiefblauen Himmel.

Sir Richard Bishop returns for a new sponítaneous six-string meshing of people"s music, recollections and psychic intentions. Are y"all ready for some Hillbilly Erotica? Migration from last album"s Ragas to this new Erotica is another chapter in Bishop"s progress, drifting via songs into the further frontiers of his pappy"s hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the "rotica"s hung round the neck of John Fahey"s infamous dubbing of certain tradiítional American folk sounds as "American Primitive." A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters & picking pickled brains in the saucy head waters of the down-low & literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick"s acoustic guitar music, it"s a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk"s classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It"s fine!

Sir Richard Bishop returns for a new sponítaneous six-string meshing of people"s music, recollections and psychic intentions. Are y"all ready for some Hillbilly Erotica? Migration from last album"s Ragas to this new Erotica is another chapter in Bishop"s progress, drifting via songs into the further frontiers of his pappy"s hometown sounds, trancing over and out in their hand-me-down clothes. As with the ragas, the "rotica"s hung round the neck of John Fahey"s infamous dubbing of certain tradiítional American folk sounds as "American Primitive." A perfectly good thought, but Sir Richard picks his own axe and chose a separate path. Rushing through gutters & picking pickled brains in the saucy head waters of the down-low & literal American primitive, his hillbilly music is a mash of brined cultural inheritance, mini-ragas and moonshine-drunk savagery breaking out on the frets. As a conception for Sir Rick"s acoustic guitar music, it"s a dynamite means and frame, centering his improvisations in a place overflown with pagan desire and unbound in deliverance. Here he flies up and down the neck, his manner less pristine, yet more exquisite, a flailing, flowing-on-the-river medley through stubborn whitewater turbulence, post-grass and folk"s classical gas. Anybody who takes a snort of this here Hillbilly Erotica will find a frankly spellbinding richness of intent and execution in their ear-mouths. And may thereafter find brain and blightness. It"s fine!

Bist du verrückt genug um in die Welt von SPOOKYMAN einzutauchen, dem Klangforscher und Sound Tüftler Instrumenten Bauer aus Rom Italien, mit Weissem Operations Kittel und präzisions Brille, schickt er dich auf eine Zeitreise in Vergangenheit und Zukunft. Er benutzt Instrumente, die wie aus einem vergilbten Science-Fiction-Film entsprungen, zbsp ein Oszilloskop, das Schallwellen aufzeichnet, und einen Schallblaster, der mysteriöse Tonbänder abspielt. Seine Musik kann man unterordnen in einem Mix aus Library Music, Science-Fiction und Freak-Post-Blues und mann kommt sich vor wie in einem Spionagethrillers. SPOOKYMAN & SEIN AKUSMATISCHES ORCHESTER erwarten dich, um dich in eine Klangdimension zu entführen, in der die Zeit keine Rolle spielt und die Gegenwart in einer Mikro Dosis LSD aufgelöst ist. Summarized in VRR own words: "B-Picture Spy Explotation Movie sound researcher and tinkering instrument builder from Rome, Italy, he plays the oscilloscope that records sound waves and a sound blaster that plays mysterious tapes in a mix of library music, science fiction, and freak post-blues" Rabenschwarzes Vinyl und Kassette erhältlich!

Bist du verrückt genug um in die Welt von SPOOKYMAN einzutauchen, dem Klangforscher und Sound Tüftler Instrumenten Bauer aus Rom Italien, mit Weissem Operations Kittel und präzisions Brille, schickt er dich auf eine Zeitreise in Vergangenheit und Zukunft. Er benutzt Instrumente, die wie aus einem vergilbten Science-Fiction-Film entsprungen, zbsp ein Oszilloskop, das Schallwellen aufzeichnet, und einen Schallblaster, der mysteriöse Tonbänder abspielt. Seine Musik kann man unterordnen in einem Mix aus Library Music, Science-Fiction und Freak-Post-Blues und mann kommt sich vor wie in einem Spionagethrillers. SPOOKYMAN & SEIN AKUSMATISCHES ORCHESTER erwarten dich, um dich in eine Klangdimension zu entführen, in der die Zeit keine Rolle spielt und die Gegenwart in einer Mikro Dosis LSD aufgelöst ist. Summarized in VRR own words: "B-Picture Spy Explotation Movie sound researcher and tinkering instrument builder from Rome, Italy, he plays the oscilloscope that records sound waves and a sound blaster that plays mysterious tapes in a mix of library music, science fiction, and freak post-blues" Rabenschwarzes Vinyl und Kassette erhältlich!

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.

The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.

We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.

Earlier in the year, Washington, D.C-based Sol Power Allstars launched the Sweet Breeze Sound imprint, seemingly as a vehicle for oddball re-edits and nostalgic, sample-rich productions. Handling side A on release number three in San Fran's King Most, who crafts a hybrid 80s electro/proto-house jam out of echoing electronics, bobdypopping beats, and all manner of effects-laden samples (including a wealth from InDeep classic 'Last Night a DJ Saved My Life' ). Over on side B, Sol Power's own Marc Meistro takes over, laying down his own sparse, lo-fi, analogue-rich tribute to electro-era synth disco that once again nods to a variety of cult classics from the early 1980s.

born (literally) in fire, soma flared briefly as the alchemical pairing of two unique and dynamic musicians. david thrussell and pieter bourke met through mutual friends in the artistic melting-pot of early 1990s elwood, melbourne, australia. bourke was an integral member of the gothically ambient eden, thrussell frontman of anarchic industrial combo snog. both admired each others work, and though some considered them an unlikely combination, something rather potent was brewing which drew them inexorably together.

initially bourke joined snog live and then in the studio, contributing mightily to their epic second album ‘dear valued customer’. as a natural result of their friendship and muse, thrussell and bourke instituted their own project, soma, to explore the intersections of arcane and mysterious technologies. the first soma album “hollow earth” was released to acclaim.

soon after, thrussell was awoken by a 3am knock on his door. bourke was now homeless - the result of a devastating fire that had just torn through his apartment and studio - and he needed somewhere to sleep. this is when work on ‘the inner cinema’ began, with bourke and thrussell ensconced in the same dwelling, able to write and record around the clock (often only leaving to plan the next session while dining at local vegan eateries).

at the time thrussell was obsessed by the testosterone bravado and haunting alienation of ‘spaghetti-western’ theme songs, while bourke brought his love of all things percussive and the other-worldly atmospherics of arvo pärt (with the outer-space dub of king tubby) to the mix. together, on a diet of blood-plum sago, fortean times and lingering smoke fumes, they concocted their dadaist brew.

magical and unforgettable, ‘the inner cinema’ stands apart and outside of the musical mainstream. since its 1996 release the album has developed a mythical reputation and is spoken of in hushed and adulating tones among acolytes of atmospheric and electronic music. you hold in your hands a lovingly remastered deluxe reissue of this sonorous gem.

time marches on, and after a few more sporadic soma recordings bourke and thrussell moved on to other pastures. bourke would work with dead can dance, lisa gerrard and hollywood auteur michael mann, as thrussell toured regularly with snog and black lung, cut some interesting soundtracks and birthed the idiosyncratic omni recording corporation.

expelled from its fiery crucible, this dark jewel of sound, this soundtrack of the mind, has lain in the soft earth awaiting rediscovery. fluid metabolic rhythms and breathy washes of timeless melancholy pulsing, inviting, in the warm soil. now is your chance.

Obwohl Shelly Manne (1920-1984) oft auf seine Rolle in der West-Coast-Jazzszene reduziert wird, war
er tatsächlich einer der vielseitigsten amerikanischen Schlagzeuger. In seiner Karriere arbeitete er mit nahezu allen Größen des Jazz unterschiedlichster Stilrichtungen von Swing über Bebop bis hin zur Avantgarde
zusammen und war sogar auf Alben von Tom Waits und Frank Zappa zu hören. Etwas von dieser Flexibilität
zeigt er auch auf dem 1962 aufgenommenen Album “2-3-4”, das seinen Titel der Tatsache verdankt, dass
Manne sich hier im Duo, Trio und Quartett präsentiert. Dabei kommt es unter anderem zu einer Reunion
mit zwei Musikern, mit denen er zu Beginn seiner Karriere in den 1940er Jahren in New York zusammengespielt hatte: dem Tenorsaxofonisten Coleman Hawkins und dem Pianisten Hank Jones. Neben fantasievoll
interpretierten bekannten Standards präsentieren die Musiker auch zwei lakonisch betitelte Originale: “The
Sick of Us” und “Me and Some Drums”.

Through an intimate, conversational approach, free from any trace of mannerism, pianist Enrico Pieranunzi and guitarist Bebo Ferra probe the innermost mystery of a genius whose expressive language combined charm and intellect are in equal measure. Drawing on languorous ballads at unhurried tempos, the program alternates reinterpretations of emblematic Evans themes - 'Song for Helen', 'Very Early', 'Once Upon a 'Summertime' - with a series of inspired original pieces. Occasionally joined by the deep, reassuring double bass of Diego Imbert ('Song for Helen', 'Calling Enrico'), they move from post- romantic atmospheres to more introverted lyrical passages, steering clear of both sentimental excess and detached formalism.

Among the projects that helped redefine European electro and EBM at the turn of the millennium, Electronic Corporation and heimelektronik remain essential references. Blending machine-driven rhythms, melancholic synth work and an instinctive understanding of the dancefloor, their productions captured a unique moment where classic body music was reimagined for a new era.

The A-side features "Illuminate" and "We Got Velocity", originally released under the Electronic Corporation moniker, while the B-side collects "My Darkest Sounds" and "Nothing But My Beat" from heimelektronik's sought-after Electronic Lifeforms EP.

Collecting four timeless recordings that move effortlessly between electro and EBM, this 12" is driven by sharp sequencing, uncompromising drum programming and a singular vision of electronic music. TIP!!!

Seit 1982 ist Benjamin Sportes prägender Bestandteil der alternativen Szene Frankreichs, in chronologischer Reihenfolge: Les Wanderes, Torpedo, Sportes, Sporto Kantes und seit 2017 als Futuro Pelo. Das Album "Sketches Of Loss" ist entstanden aus einem Jahr der Trauer und einer brutalen Nähe zum Tod. Nach einer zehnjährigen Pause von der Gitarre markiert Sketches of Loss eine radikale Rückkehr zu den ureigenen Wurzeln von Rock 'n' Roll, Garage und Punk, ist Sportes intensives, ungefiltertes Ventil der Emotionen. Eine Klangexplosion aus Rock'n'Roll, Elektro, Garage, Punk und Pop. "Sketches Of Loss" reduziert die Musik auf ihr ureigenes Skelett: eine Stimme, eine Gitarre und ein stetiger Drum-Loop. Inspiriert von der Dringlichkeit von The Gun Club und der Theatralik von John Maus, zeugt Futuro Pelos neue Ära von unerschütterlicher Widerstandskraft und Energie- ein zeitliches Kräftemessen zwischen seinem 24-jährigen Ich und dem Mann, der er heute ist. Eine Rückkehr zum ungefilterten Rock 'n' Roll, Garage und Punk als Solo-Projekt - geboren aus einer existenziellen Dringlichkeit und einer brutalen Nähe zur Sterblichkeit. Tipp! Alternative Rock'n'Roll, Independent, Garage, Elektro-Punk für Fans von Sleaford Mods, Electronicat, Suicide, The Kills, Crocodiles, La Femme, Bracco, The Devils, Reverend Beat-Man & The New Wave, Bad Decisions

Seit 1982 ist Benjamin Sportes prägender Bestandteil der alternativen Szene Frankreichs, in chronologischer Reihenfolge: Les Wanderes, Torpedo, Sportes, Sporto Kantes und seit 2017 als Futuro Pelo. Das Album "Sketches Of Loss" ist entstanden aus einem Jahr der Trauer und einer brutalen Nähe zum Tod. Nach einer zehnjährigen Pause von der Gitarre markiert Sketches of Loss eine radikale Rückkehr zu den ureigenen Wurzeln von Rock 'n' Roll, Garage und Punk, ist Sportes intensives, ungefiltertes Ventil der Emotionen. Eine Klangexplosion aus Rock'n'Roll, Elektro, Garage, Punk und Pop. "Sketches Of Loss" reduziert die Musik auf ihr ureigenes Skelett: eine Stimme, eine Gitarre und ein stetiger Drum-Loop. Inspiriert von der Dringlichkeit von The Gun Club und der Theatralik von John Maus, zeugt Futuro Pelos neue Ära von unerschütterlicher Widerstandskraft und Energie- ein zeitliches Kräftemessen zwischen seinem 24-jährigen Ich und dem Mann, der er heute ist. Eine Rückkehr zum ungefilterten Rock 'n' Roll, Garage und Punk als Solo-Projekt - geboren aus einer existenziellen Dringlichkeit und einer brutalen Nähe zur Sterblichkeit. Tipp! Alternative Rock'n'Roll, Independent, Garage, Elektro-Punk für Fans von Sleaford Mods, Electronicat, Suicide, The Kills, Crocodiles, La Femme, Bracco, The Devils, Reverend Beat-Man & The New Wave, Bad Decisions

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

Originally released in 2008. Although this album invites aesthetic comparisons to works by the likes of Philip Jeck, William Basinski, and Janek Schaefer – draped as it is in an obfuscating, soupy crackle – there’s a very specific conceptual agenda at work here.

Part of the success of »Persistent Repetition of Phrases« comes from the attention it pays to the function of »the loop«, not only as a narrative ordering system in modern music, but as a means by which the brain itself recalls and interprets information; it’s as old as recorded sound itself, but in this context the repetition of small shards of auditory information becomes an elegy to fading memory and the worn-out synapses of old age. The track titles offer signposts through Kirby’s labyrinth of faulty remembrances, pointing their way towards the peculiarities dictating the manner by which the mind stores and attempts to recover information: »Lacunar Amnesia« references a condition that leaves a specific event absent from the sufferer’s memory, and Kirby’s music sounds suitably stuck on a prelude to something that never happens.

Bathed in gusts of crackle, the piece gets stuck on what might be a start of something, but we never get to hear what. Many of the pieces refer to different ways the memory might find itself caught in a holding pattern: »Von Restorff Effect«, »Rosy Retrospection«, and the title track itself are all suggestive of reliving a single event or point in time – here, both music and memory are united by the notion of »glitch«, whereby a fault or fissure causes the replaying of the same pocket of data over and over again, but what distinguishes Kirby from so many other musicians operating within the field of loops and broken recordings is the unnerving, ghostly sentimentality that courses through this process. »Long Term (remote)« is particularly explicit in its reaching back through the first half of the 20th century, exhuming snatches of music hall romance, now warped into a sinister new form by the erosions of time. It’s like watching John Carpenter’s »The Fog« only to find that instead of vengeful phantoms emerging from the mist, it’s The Glenn Miller Band. Which is infinitely more disturbing. More eerie still is the detachment from authorship endemic to this sound – at no point do you really sense the presence of a composer’s hand; this album just... is. A remarkable thing that only seems to have improved with age (which is either highly appropriate or highly inappropriate, I can’t quite decide which), »Persistent Repetition of Phrases« is an even better fit on vinyl, a medium which itself wears and fades just as the memory does.

Across landscapes of electronica, ambient textures and jazz improvisation, Be Quiet unfolds as an intimate, spatial set of recordings - built on proximity and contrast, where different cultures, disciplines and sonic identities meeting Moalvaer's unmistakable trumpet voice. The album is accompanied by a documentary film directed by celebrated Norwegian filmmaker Per Manning, capturing the process, environments and relationships behind the music, and informing the project's visual world. Be Quiet unfolds as Molvaer steps into each collaborator's space, responding in real time and shaping a body of work that remains fluid, intimate and constantly in motion.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

Mit "Stoak wie a Felsen - Das Beste aus fünf Jahrzehnten" erscheint am 26. Juni anlässlich des 75. Geburtstages von Stefanie Werger eine besondere Werkschau auf farbiger Vinyl und CD, die einer der markantesten Stimmen des Austropop gewidmet ist.

Stefanie Werger ist weit mehr als eine erfolgreiche Interpretin: Sie ist eine prägende Singer/Songwriterin, die mit ihren Liedern, ihrer Sprache und ihrer Haltung über Generationen hinweg Spuren hinterlassen hat.
In einer Musikszene, die lange stark männlich geprägt war, hat sie sich mit unglaublichem Talent, künstlerischer Eigenständigkeit und einer großen Portion Charisma einen festen Platz erarbeitet und damit sehr früh eine besondere Rolle als erfolgreiche Frau in der österreichischen Pop- und Liedermacherszene eingenommen. Ihre Songs sind direkt, poetisch, humorvoll, unbequem und berührend zugleich - und genau darin liegt ihre anhaltende Kraft.
Andy Zahradnik nennt Stefanie Werger treffend eine "Liederatin" - ein Begriff, der ihr künstlerisches Wesen wunderbar auf den Punkt bringt. Denn Werger erzählt in ihren Liedern Geschichten, beobachtet scharf, formuliert lebensnah und verbindet literarisches Gespür mit musikalischer Kraft. Ihre Werke sind nie bloß Songs, sondern persönliche, gesellschaftliche und emotionale Momentaufnahmen.

Die Tracklist von "Stoak wie a Felsen - Das Beste aus fünf Jahrzehnten" enthält zentrale Stationen des Schaffens von Steffi Werger: Der Reigen spannt sich von I wü di g'spian, das hier in einer spektakulären Live-Version enthalten ist, über Klassiker wie Stoak wie a Felsen (ebenfalls als kraftvolle Liveaufnahme), Flamenco Turistico und Sommer bis hin zu dem wehmütigen Langsam wea i miad ihres letzten Albums. Als besonderer Bonustrack ist der brandneue Song So schene Leit inkludiert und damit erstmals auf Tonträger erhältlich.

Auch die Ausstattung der Edition unterstreicht den besonderen Charakter dieses Releases: Die LP erscheint auf weiß-silber marmoriertem Vinyl und macht die Veröffentl

Atkinson first saw Les yeux sans visage when she was a teenager, around the turn of the century. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision to shoot in black and white. Even four decades after its first release, it was clear that this was a work that stood outside of the cultural moment that birthed it, speaking through time in ways that were uncanny, but profound.

A quarter-century later, Atkinson was approached by the Belgian cultural center VIERNULVIER to create a new score for Les yeux sans visage for its celebrated Videodroom series, which has seen artists like claire rousay, Mabe Fratti, Lee Renaldo, and many more create new original scores for cult classics and genre cinema. Atkinson's music, with its sublime meditations on space and proximity, its elusive sense of narrative development, mirrors the pacing and mystery at the heart of horror filmmaking. There is a shadow at the heart of her soundtrack to Les yeux sans visage, an ever-shifting wisp and an insinuation of encroaching transfiguration. Echoing a climactic moment in the film, the music obliquely points to "the Beyond," an impossible place of discovery and revelation.

Atkinson envisioned her music as something akin to the air moving throughout and beyond the many cages that appear in the film, unconstrained by the bars and with undefined borders. Those cages hold the victims of a madman surgeon, determined to graft a new face onto his daughter, the protagonist Christiane Génessier, who lost hers in a car accident while he was behind the wheel. Atkinson was reminded of her predecessors at the pioneering French studio the GRM, who approached sound in a less sinister, but similarly surgical manner, and took inspiration from their playful approach to cerebral soundmaking for the electroacoustic topography into which the piano is embedded. As such, Atkinson’s reactions to the larger themes and the minute-by-minute happenings onscreen are both audible simultaneously.

A film about a man who destroys the lives of young women marked by their beauty and similarity to his daughter in a shame-fueled rage has clear, continuous cultural resonance. "Through the music, I decided to bring back their empowerment despite what they endure," says Atkinson. "This is why the record is also dedicated to Gisèle Pelicot, whose trial happened while I was in the process of composing the music and kept thinking of her strength and her decision to share her trial in order to reverse the shame."

This recorded version of the soundtrack is a 34-minute synthesis of the full 90-minute score, presented on LP along with an essay by writer-musician Claire Cronin and drawings by Momo Gordon, together forming a complex reflection on the film's themes. If these sounds move as if the bars of cages are no barrier, they also intimate the freedom and power of those held behind them. Rather than simply mirroring the fear and confinement shown onscreen, Atkinson offers an elusive escape, a beacon for the characters, and the listener, to follow as they reckon with the narrative and move through it.

John Ringhofer, der Mann hinter Half-Canded Cloud, ist ebenso fröhlich und genügsam wie seine Musik. Als sparsamer Mensch zieht Ringhofer die U-Bahn dem Taxi vor, recycelt Plastik, macht sich zwanghaft Notizen und ist ein geborener Optimist. Half-Canded Cloud begann 1999 als Heimstudio-Projekt in Chattanooga, Tennessee. Ringhofer lebte später über ein Jahrzehnt lang in der kalifornischen Bay Area (wo er als Teilzeit-Hausmeister arbeitete), bevor er 2015 mit seiner jungen Familie nach Helsinki, Finnland, zog, um die linguistische Forschung seiner Frau zu unterstützen. Half-Canded Cloud versteht es, komplexe theologische Konzepte in eingängige und erhabene Kinderlieder zu verpacken, die sich weder ihrem Thema noch ihrem Zuhörer herablassend nähern.

Knocked Loose have announced their hotly anticipated new album, A Different Shade of Blue -- a mammoth of a sophomore release and massive step forward for the band and for hardcore and metal as we know it. Recorded by producer Will Putney, the new LP was approached slower and more methodically. Abandoning the previous 'live in studio' recording approach for something more deliberate, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. While some musical influences are easily identified - Pantera, Hatebreed, Obituary and more - the band's palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment, Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Clocking in at a lean and mean 37 minutes and featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue grabs the listener by the throat from the jump and slowly tightening that grip for the duration.

Seven Letters is an alias for Symarip, one of the best-selling artists of all time on Trojan Records

Their songs have been covered by The Specials, Bad Manners, Special Beat, Judge Dread and many more

Seven Singles collected on LP for the first time.

Includes liner notes with interviews and pictures with original members.

Powerful Stuff is a 1989 studio album recorded in Memphis at Ardent Studio and Alpha Sound and produced by Terry Manning - With Kim Wilson on vocals, Preston Hubbard on bass and Fran Christina on drums, it was the last one by the Fabulous Thunderbirds to feature guitarist Jimmie Vaughan before he left the band - The track "Powerful Stuff" achieved mainstream success when it was featured in Touchstone Pictures' 1988 hit film Cocktail - It was the first single released from the Cocktail soundtrack album, which reached number one on the Billboard Charts and sold over 19 million copies worldwide

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Michigan Band EJ & the Echoes: Rediscovering a Soul Legacy

The story of EJ & the Echoes represents a remarkable chapter in Michigan's music history and the early American soul scene. Its origins date back to the late 1950s, when Everett J. "EJ" Gronda was already active as a young musician. While studying at Central Michigan University in the early 1960s, he met the talented vocalist Manuel "Manny" Holcolm. Together with other musicians, they formed vocal groups that soon performed throughout the state and even recorded near Detroit's legendary Motown studios.

In 1963, Gronda founded EJ & the Echoes, a band that quickly gained popularity at dances, clubs, and weddings across Michigan. With Manny Holcolm as lead singer, the group developed a distinctive harmony-driven sound, blending influences ranging from the Beatles to James Brown. The band served as a house band in Traverse City, opened for national acts, and performed regularly at well-known Detroit venues.

Between 1964 and 1967, EJ & the Echoes released several singles on the Diamond Jim Records label. Although major commercial success eluded them at the time, their recordings later found international recognition. Today, their songs remain staples of the British Northern Soul scene.

After the band dissolved, the members pursued different paths. EJ Gronda became a schoolteacher but remained devoted to music throughout his life. In 2006, the musicians reunited for an emotional jam session. EJ Gronda passed away in 2022, followed by Manuel Holcolm in 2024. Their musical legacy endures-on this vinyl release, dance floors, and in the memory of a remarkable era.

Our sincere thanks go to author and blues historian Fred Reif. He wrote the accompanying text and provided all the pictures of the band printed in the gatefold cover. Without him, this project would not have been possible.

Dieser junge Herr kommt aus Alicante/Barcelona im Süden Spaniens und ist wohl die schrägste, tollste und wildeste Flamenco-Trash-One-Man-Band seit Menschengedenken. Geboren 1993 in eine musizierende Fernfahrerfamilie, kam er schon früh mit englischen und holländischen Touristen in Kontakt und brachte deren Musik mit nach Hause. Dort kreierte er diese kuriose Mischung aus Flamenco und Trash und erschuf sein eigenes Ein-Mann-Orchester.Er tourte fleißig durch ganz Spanien und Europa, unter anderem als Gastmusiker von Suicide Generation. Er steckt tief im Sumpf des wilden Trash-Rock'n'Roll und ist definitiv die spanische Wiederauferstehung von Hasil Adkins, dem Gott aller One-Man-Bands. Seine Liebe zur Flamenco-Musik erbte er von seinen Eltern, sein Zwillingssohn hingegen musste einen ,richtigen" Beruf erlernen. Doch Nestter blieb das schwarze Schaf der Familie.Auf der Bühne ist er am Ende des Konzerts meistens nackt und ausgeschwitzt, spielt mit seinen Genitalien die Maracas und quält seine Flamenco-Trash-Gitarre wie kein anderer. Er ist ein primitiver Wilder, der auf ein jungfräuliches Prinzessinnenpublikum trifft, und der einzige Donut, der sich Nestter nennen darf.Bitte heißen Sie ihn willkommen - Spaniens nuttiest one around - und lassen Sie sich von Nestter Donuts in die Welt des wilden, wilden Rock'n'Roll-Flamenco-Trash verführen.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Originally released in 1987, Deathcrush is more than just an EP; it is the debut recording of the most infamous band in extreme metal and the first studio release to emerge from the Norwegian Black Metal scene. Reissued with meticulous attention to detail, this new edition captures the raw, chaotic energy of Euronymous, Necrobutcher, Maniac, and Messiah before the genre was fully defined.

2x 180g grey vinyl repress!