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Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

HONNE have announced the release of their much-anticipated new album, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ – a record that toasts the start of a new era of music from one of the UK’s most inventive and original outfits.

Releasing on October 22, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ forms HONNE’s third studio album following critically acclaimed LPs, ‘Warm On A Cold Night’ (2016) and ‘Love Me / Love Me Not’ (2018), as well as ‘no song without you’ – a surprise 14-track mixtape released last summer.

Written throughout the course of 2020, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ captures HONNE in limitless full bloom – as songwriters, producers and collaborators. “In the past, we’ve limited ourselves”, HONNE explain. “We might get to a section of a song and things are getting really exciting, but we then pull ourselves back and say, ‘Can we really do that?’. Now, we’ve sidestepped the rules and done whatever we wanted to do.”

This sense of freedom permeates the tracklist, which is defined as much by its eye-catching collaborations – Khalid (‘Three Strikes’), Griff (‘Back On Top’), 88 Rising’s NIKI (‘Coming Home’) – as it is by its musicianship, shimmering pop feel and intelligent song-writing; Sam Smith (‘Back On Top’) and MNEK (‘Easy On Me’) also co-wrote songs on the album.

Bold and ambitious , ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ brings together everything HONNE have worked towards in their career so far, while simultaneously pushing them into broad and exciting new spaces.

HONNE have announced the release of their much-anticipated new album, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ – a record that toasts the start of a new era of music from one of the UK’s most inventive and original outfits.

Releasing on October 22, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ forms HONNE’s third studio album following critically acclaimed LPs, ‘Warm On A Cold Night’ (2016) and ‘Love Me / Love Me Not’ (2018), as well as ‘no song without you’ – a surprise 14-track mixtape released last summer.

Written throughout the course of 2020, ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ captures HONNE in limitless full bloom – as songwriters, producers and collaborators. “In the past, we’ve limited ourselves”, HONNE explain. “We might get to a section of a song and things are getting really exciting, but we then pull ourselves back and say, ‘Can we really do that?’. Now, we’ve sidestepped the rules and done whatever we wanted to do.”

This sense of freedom permeates the tracklist, which is defined as much by its eye-catching collaborations – Khalid (‘Three Strikes’), Griff (‘Back On Top’), 88 Rising’s NIKI (‘Coming Home’) – as it is by its musicianship, shimmering pop feel and intelligent song-writing; Sam Smith (‘Back On Top’) and MNEK (‘Easy On Me’) also co-wrote songs on the album.

Bold and ambitious , ‘Let’s Just Say The World Ended A Week From Now, What Would You Do?’ brings together everything HONNE have worked towards in their career so far, while simultaneously pushing them into broad and exciting new spaces.

First new release from Lizard Music in over two decades Since their hiatus, band members have joined Wilco, become the musical director for Cat Power, been a featured guest on RuPaul’s Drag Race, and worked with artists including Lana Del Rey, Brian Wilson, The Monkees, and more! Available on CD, Digital, and double-LP What Lizard Music says about Arizone! This collection of buzzy, whirly pop songs from a parallel dimension is a testament to Martin Short, Martin Sheen, Sheena Easton, Tina Turner, and Tiny Tim. Arizone! is better than discovering never-before seen discs for a View-Master. Arizone! is the sound of four old friends who spent their formative years playing music, traveling, and learning about the world, reuniting after a 25 year hiatus to compare notes and wound up with a one-way ticket to Arizone! Lizard Music began in Atlantic Highlands, NJ in 1989 when high school friends Mikael Jorgensen and Erik Paparozzi started learning and writing songs with a four-track. They pillaged their parents' record collections and discovered the musical universes of The Beatles, Frank Zappa, Captain Beefheart, XTC, James Brown and The Meters. In the fall of 1990, Lizard Music (named after the book by Daniel Pinkwater) was hired to be the backing band for David Peel and The Lower East Side at the recently-closed Brighton Bar in Long Branch, NJ, which would serve as the unofficial home base for the band for the next five years.

In four short years of existence, Green Lung have risen from the murk of the UK heavy underground to become a true cult band with a devoted following. Debut album Woodland Rites, released independently in early 2019, quickly garnered attention, resulting in a single being named ‘Track of the Week’ in the Guardian, plays on Daniel P. Carter’s Radio One Rock Show, a tour with fellow UK heavies Puppy and festival appearances across Europe. This brought the band to the attention of the wider music industry, and after multiple offers (including one from a major label) the band decided to stay true to their roots and sign with the Finnish audio wizards at Svart Records, home to several of their doomy inspirations including Reverend Bizarre and Warning. Svart’s deluxe reissue of the album, and the preceding EP Free the Witch,sold out several runs. Two years later, the folk horror-obsessed fivesome have re-emerged from their mulchy catacombs armed with dozens of freshly-whittled riffs. Black Harvest, the sequel to Woodland Rites, is a more colourful, widescreen reimagining of the band’s sound - Dawn of the Dead to its predecessor’s Night of the Living. Recorded at Giant Wafer Studios in rural mid-Wales over the course of two weeks with longtime producer Wayne Adams (Petbrick, Big Lad), it’s a more expansive and textured record than anything the band have done before, boasting a cinematic quality and more attention to detail.

Ultimately, Can't Swim feel that Change of Plans is "the most Can't Swim record yet." LoPorto says, "All of our endeavours as a band have led us to make what I think is the most honest and transparent album in our discography. We spent way less time recording what we thought we should be writing and put down whatever came naturally. The recording process was certainly the easiest to date as well — we knew what we wanted going into it. I'm constantly writing songs and some of the tracks on Change of Plans have been in the demo stage for almost four years now so it feels great to finally have them all together on one release." Change of Plans was produced, mixed, and mastered by Will Putney (A Day to Remember, Every Time I Die, Body Count, Knocked Loose) of Graphic Nature Audio and is the culmination of everything Can't Swim have been building and exploring over the last six years, combining their signature visceral lyricism and cathartic rock sound with influences ranging from the worlds of folk to EDM. One could say it's a little bit of everything all rolled into one, and in a way, that's true. When life is more unpredictable than ever, Can't Swim are striking the perfect balance of hope and realism by writing songs that embrace the chaos of life. They want to find and harness a vibe that makes living a bit easier for everyone, and with each release, they're getting closer to that goal.

A month before the pandemic hit Norway – and the rest of the world for that sake – Darling west released their fourth album, «We’ll Never Know Unless We Try». They managed to get through two or three shows before everything was canceled, and the country went into lockdown. It may sound a bit counterintuitive to records a live album while in lockdown, but that is exactly what Darling West decided to do. When Norway partly opened during the fall of 2020, the band recorded their gigs at Parkteatret in Oslo and at Folken in Stavanger, and these recordings make out the songs on «Live 2020». Even though the gigs were played at venues with restricted capacity, it’s nice to see that they can reach bigger a bigger audience with this recording. «Live 2020» consists of songs from Darling West’s entire catalogue, and you can almost hear that they’ve been longing to play live on a stage. It had been six months since they’d been in front of an audience when these recordings were made, and the energy in the rooms were very special. This record is a document of this.

In 1994 Come responded to the difficult-second-album stereotype with the hypnotic, intense and emotional masterpiece 'Don't Ask Don't Tell'. Featuring the original line-up of Thalia Zedek, Chris Brokaw, Sean O' Brien and Arthur Johnson, the Boston band broadened their sound by slowing down the tempos and creating a dense urban stream of consciousness that mixes noise, city blues and_ catharsis. The album hits you immediately as one of the greatest dissident records ever made. Lovingly remastered, this expanded edition includes 'Wrong Sides', an additional albums worth of b-sides and unreleased tracks, including the band's very first single 'Car' and their last recorded song, 'Cimarron', featuring this core line-up. These gems showcase the rawness and incredible growth of a band completely in command of their songwriting and at the same time paying homage to some of their punk roots with beautiful renditions of Swell Maps 'Loin Of The Surf' and X's 'Adult Books'. Also Includes new artwork with unearthed photos and fresh liner notes by the band. Dissident from traditional rock this is a band playing music that thematically and structurally seems to pull from old Europa, from Eastern folk and modernist classical music as much as US and UK rock. Dissident from traditional ideas about singing and songwriting Thalia's (ex of Live Skull) presence on songs like 'Yr Reign' and the astonishing closer 'Arrive' isn't the pushy self-aggrandizement of a lead singer but the internal voice of the eternal migrant, someone who knows about survival, hiding, how living between multiple worlds can become its own refuge of distance, its own sanctuary of unbelonging Don't Ask Don't Tell emerged from a period of cohesion, a break from the tight and hectic touring schedule Come had been plunged into after the acclaim accorded 11:11, and you can hear that increased focus in every moment the layers of guitars and feedback are even more precise, the structuring of songs takes on a new openness and ambition, and the whole narrative arc of the record from 'Finish Line' to 'Arrive' is more exquisitely realised and sequenced. "The songs on Don't Ask Don't Tell . . . had a kind of magic we didn't necessarily control ourselves." Chris Brokaw - interview with Neil Kulkarni, 2013. "Devastating, with slow, burning songs that shudder and wince" NY Times

On Now Where Were We, The Exbats hit the ground running like
a dystopian garage rock version of the Shangri-Las, or like
a message to the future from the pre-Velvet Underground doowop
wannabe Lou Reed. The album rings bright, like a beacon
in the wilderness: eminently, effortlessly catchy, and loaded
with buoyant choruses that rank alongside the best chart-toppers
launched by the Brill Building or Phil Spector’s Wall of Sound.
Kenny McClain and his daughter, vocalist and drummer
Inez McClain, formed the nucleus of the Exbats over a decade
ago, when Inez was just 10 years old; today, Bobby Carlson
rounds out the group on bass. Despite their remote location in
Bisbee, Arizona, just eleven miles north of the U.S.-Mexican
border, the group quickly racked up accolades citing a wealth of
influences that run from cartoon quintet the Archies to punk rock
originators the Avengers, and from the so-sweet-it-hurts 1910
Fruitgum Company to Los Angeles antiheroes the Weirdos.
Truthfully, The Exbats embrace a wider swath of musical styles,
incorporating blue-eyed soul, tongue-in-cheek country, Brit
pop, psych, and R&B into their sound.
The McClains describe this album as “more ambitious” than
its predecessors. They tooled ninety minutes northeast to Tucson
to record, per usual, with Matt Rendon at Midtown Island Studios.
Months later, the Exbats emerged with an album imbued
with harmoniously cautious optimism—the musical equivalent
but psychological antithesis to the Brian Wilson-Tony Asher
masterpiece “I Just Wasn’t Made For These Times.” While Wilson
was looking for “a place to fit in,” The Exbats have found
sanctuary via the brilliant “Ghost In The Record Store,” which
is “for all of us who need the joy of a little bit of plastic making
lots of noise.” Like the best records to croon along with, Now
Where Were We is captivatingly simple, yet hardly simplistic.
The Exbats are singing from their hearts—and they aren’t afraid
to bare their souls.

The Pineapple Thief, are one of the leading lights of Europe’s experimental rock domain, led by post-progressive mastermind Bruce Soord & reinforced by Gavin Harrison (King Crimson) on drums.
Following the release of their latest studio album ‘Versions Of The Truth’ in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists, their plans were put on hold by the continuing global pandemic.
Eager to still perform & connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled ‘Nothing But The Truth’ directed by band videographer George Laycock (Blacktide Phonic/Visual).
Bruce Soord explains” “The Pineapple Thief is equally about the studio & the stage, so it was hugely disappointing that we were unable to tour, especially as we were excited to be able to perform the
new album ‘Versions Of The Truth’ live for everyone. Being able to do this film, especially under the circumstances, was invaluable. We all knew we did not want to shoot a film of us standing on stage staring at an empty room. We wanted something special, something ‘cinematic’ so we have created something unique & something very, very special that I am proud to have been a part of. I can’t wait for people to hear it.”
Drummer, Gavin Harrison adds “Nothing But The Truth” is a highlight for this band in terms of captured performance.
The Pineapple Thief’s 2018 anthemic release ‘Dissolution’ garnered worldwide acclaim from both media & fans, earning them their first UK Top 40 album, #1 UK Rock & Metal album & #22 on the German album charts. It took them on two extensive sold-out European headline tours & their first ever tour of North America.
‘Versions Of The Truth’ raised the standard yet again by delivering, quite possibly, one of the most important rock albums of 2020.
‘Nothing But The Truth’ captures The Pineapple Thief at their very best performing songs from their illustrious catalogue including for the first time live, songs from ‘Versions Of The Truth’.
The release will coincide with the rescheduled UK & European live shows this autumn & continue into 2022 with more dates to be announced.
The soundtrack to ‘Nothing But The Truth’ will be released on a gatefold black vinyl double LP with an 8-page printed colour booklet.

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of David Tudor's legendary LP, "Microphone", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Still mind-blowing nearly half a century after it was first released, now complete with a new English translation of the album's original liner notes, this is just about as exciting as reissues come and not to be missed.

At long last, after decades out of print, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Costin Miereanu's "Luna Cinese", part of an ongoing initiative dedicated to bring the imprint's seminal output back into the light. Easily one of the most singular and important experimental albums of the 1970s that remains as engrossing, creatively riveting, and as ahead of its time today as it was in 1975, this is as exciting as reissues come. Complete with new English translation of their original liner notes, it can't be missed!

repress!

Matt Jones' spark for dance music was ignited in the late 1990s, as a youngster hearing tracks by Fatboy Slim, Basement Jaxx & the Chemical Brothers. A developing interest in electronic music
led him to catch the DJ bug at 16. He soon found his niche within House music, spending every last penny on imported records by House producers such as DJ Sneak, Daft Punk, Erick Morrillo, Todd
Terry & anyone with the right beats. Soon he discovered his preferred style of house music. It all came together after witnessing an
absolutely slamming party courtesy of Chicago House Music legend Derrick Carter. Tough bass lines, Jackin' beats and infectious elodies were all the ingredients necessary. Being somewhat of a gear junkie, he later acquired a sampler in an attempt to push his DJ sets further.
Discovering it was possible to create new music with the sampler, lead him swiftly down the rabbit hole of music production.
Matt Jones' has since gone on to DJ up & down the country & produce a range of material under the House Music umbrella. Music ranging from deep warm up grooves, to Jackin' dance floor cuts,
catering for....

Nanocluster Vol 1. is an album with some serious pedigree. It sees Immersion (aka Malka Spigel and Colin Newman of influential groups Minimal Compact and Wire respectively) collaborating with some of the finest left field artists of our era: Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The project was born out of a Brighton based club night, also called Nanocluster, run by Spigel and Newman alongside writer, broadcaster and DJ Graham Duff, and promoter Andy Rossiter. The club features a range of influential and cutting edge music acts. But the unique aspect of the evenings is that each show climaxes with a one off collaboration between Immersion and the headliners. The songs having been written and recorded in the studio in just three days prior to the performance - or one day in the case of Schnauss. "It could have just been a series of performances." Says Newman.? "But the fact that we had built the tracks in the studio for the performances means we had these recordings." Says Spigel. The recordings have since been developed with Immersion heading up pro- duction duties. The result is a beautiful and unique album.? "I think the really interesting thing is how different everybody is," says Spigel. "Both as people and creatively." - Immersion and Tarwater: The German duo of Ronald Lippok and Bernd Jestram have created an impressive body of work. Yet their involvement with Immersion has opened out their sound, creating a more panoramic soundscape. The opening instrumental 'Ripples' is a gentle breathe of optimism, all purring tones and sun dazzled synths. Meanwhile, 'Mrs. Wood' is a dubby psychedelic shuffle, Lippok's vocal cool and assured over a fat bass line and skybound eastern melodics. It feels like a more spacious take on the Tarwater of albums such as 'Suns, Animals and Atoms'. The four musicians' 3rd collaboration is Nanocluster's most pop moment: with a heartfelt yet unsentimental lyric unfurling over feline rhythms, 'All You Cat Lovers' is a feel-good anthem for cat lovers everywhere. - Immersion and Laetitia Sadier: An original and distinctive presence in contemporary music, Sadier made her name with the inimitable Stereolab, but she's also created several impressive solo works. The instrumental 'Unclustered' sees Sadier's spidery guitar weaving through Immersion's lush web of synths drones. The following 'Uncensored' has a subtle melodic tug with a classic Spigel guitar line underpinning Sadier's sweet yet worldly wise vocal. 'Riding the Wave' is another feel good song, swapping between Newman's plaintive vocal, and Spigel's vocal and Sadier's backing vocals. With its uplifting chorus: 'Things have a way of working out' 'Riding The Wave' feels like it might be the sound of the summer we've all been waiting for. - Immersion & Ulrich Schnauss: A highly respected solo artist, as well as being a member of Tangerine Dream, Schnauss' skill with electronics is legendary. The opening 'Remember Those Days On The Road' skips along on a rimshot rhythm with Spigel's honeyed vocal telling a tale of life on tour. Yet it is far removed from such usual fare. This feels vulnerable and flecked with melancholy. 'Skylarks' opens with a lattice of arpeggios before a gently nag- ging guitar enters and everything takes a turn for the sublime. 'So Much Green' is everything you'd hope a collaboration between Newman, Spigel and Schnauss could be. A constantly spiralling urban-kosmisch, with Spigel's plangent bass anchoring the celestial sounds. The addition of her wordless backing vocals and recordings of real birdsong only serve to elevate the mood further. - Immersion & Scanner: Scanner - aka Robin Rimbaud - is one of the most prolific and diverse artists currently working in contemporary music. Spigel and Newman have of course collaborated extensively with Rimbaud before: alongside Max Franken in the art-pop group Githead. But this is something very different. Their opening piece together: 'Cataliz' is the album's moodiest moment. With its serpentine synth drones it sounds like the soundtrack to a mysterious thriller. The rich pulsing 'Metrosphere' recalls Immersion's early work whilst adding another layer of grainy uncertainty. The closing 'The Mundane and the Profound' opens with a "Rimbaud scanned" recording of an irritated flight attendant but this is eventually subsumed by a simple yet emotive piano figure: a gentle and touching end to a unique collection of songs. Nanocluster Vol.1 is a testament to a remarkable synergy between a diverse assembly of strongly individual talents. The fact that it not only succeeds, but excels should be cause for celebration.

In what seems like some sort of cosmic alignment bound to happen, the ever prolific and somewhat elusive Niagara make their way into the Discrepant catalogue with '1807'. Compiling tracks recorded between 2014 and 2018 that appeared scattered among very limited and long out of print self released CDRs, the record feels as much out of time as deeply resonant with these times with no dancefloors. Stripping away most of the beat based approach of early Príncipe releases and Ascender EPs, these 17 vignettes presented in the classic dance maxi 12" format dabble with escapism in a manner that projects them as potential DJ tools for lockdown.

Deeply idiosyncratic, the trio from Loures shows an internal coherence that while not easy to grasp given their mutating creative impulses, weaves each different path into a sonic fiction all their own. Cobbled together from countless hours of jamming on warm spectral synths, field recordings, otherworldly textures or devious drum machines '1807' paints a vivid and dreamlike escape route that goes from the hypnotic arpeggios and rarefied synths of 'Esc8' through the glowing tones and fragmented melodies of 'Egyptiu' and into the malfunctioning swirl of the stark 'Esc 10' or the polluted 4/4 thump and funky guitar line of 'Mapas'. Equally disruptive and inviting.

All tracks composed by Niagara between 2014 – 2018

Skudge's back catalog features some of the finest moments from the 10's. Putting aside the powerful EP's, guest appearances and remixes, the album 'Phantom' initiated a consolidated, and perhaps a more liberated, side of the signature sound of which we are no strangers.

Perhaps the most difficult task in creating something is to follow simple truth's. The adrenaline spiked and dusty tunage from the Stockholm studio, has now been revisited in this new decade and reduced even further.

In this new series from Skudge, the tracks 'Pressure Drop' and 'Realtime' are remodeled and retuned. Not as a reminder of what has been, but more as a result of reaching a different conclusion and expression.

Concentrated on the skeletal parts of the originals. Rebuilt into alternatives that reflect a sifted and interestingly constrained sonic palette. This further shows how Skudge not only inspire the community, but are also inspired by their own history.

Coloured Vinyl

New Zealand based, Australian Composer Micah Templeton-Wolfe has been creating music as Stray Theories for over 15 years now. Crafting cinematic ambient for personal listening and film.
Limited edition clear copper LP plus download card.
n5MD is proud to announce his 4th full-length and second with the label: This Light. This Light takes Templeton-Wolfe's amalgam of modern classical, ambient, and post-rock and sheds ample focus on each aqueous element.
It's cinematic yet tranquil, with loads of melancholia—each work cascading to emotive heights. This Light is equal parts majesty, confidence, sincerity, and sympathy. So aptly named, the album can be seen as Templeton-Wolfe's shining light in the Stray Theories catalog.

Debut release for the UK born, Australia-based warehouse party. After 7 years curating a die-hard following for their gatherings on land, BAG’s first foray into the world of cyberspace charts TC80, who lays out a melancholic yet euphoric four-tracker.

The titular track, the A1 – Lost Station, is a highly functional piece with a signature grit in its bassline to contain a haunted high-end. Floating through the stars, looking down over the pyramids is Prophecy – a breaky number with an ethereal almost marimba-like chime to hurtle out of the Stratosphere.

The B side brings all back down to earth with Vanilla Sky underscoring one of TC80s finest works of the season. Zotra ties it all together, another highly functional tool with the cybernetic backbone to catch terrestrial attention.

One of the world’s premier house DJs, Junior Sanchez re-imagines one of his early classics, releasing ‘Be With U 2.0 (feat. Dajae)’ via Club Sweat.

As a passionate advocate of preserving the spirit of house music Junior Sanchez mixes ingredients of the 1999 original, situating the warm buoyant bass underneath Dajae’s fervent and impassioned vocals, while implementing spirited sax tones for a soul-fulfilling affair.

An iconic anthem that has lit up dancefloors for over two decades, is served dance music justice with its rebirth. Junior Sanchez bestows the ‘Be With U’ gift upon a new generation, coupled with remixes from Yolanda Be Cool and Dance System.


Supports from: Claptone, Anna Lunoe, Tommie Sunshine, Sacha Robotti, David Penn, Riva Starr, Kryder, Shiba San, HeavyFeet, Kevin McKay, Jamie Jones, Pat Lok, Heldeep Radio - The Noise House, Vanilla Ace, Moon Boots, Norman Doray, Nick Catchdubs, severino panzetta, Don Diablo, Charles J, and Patric la Funk, TOCADISCO, Chris Lake, Paco Osuna, Dennis Cruz, Bingo Players, Mendo, Riva Starr, Don Diablo, Joachim Garraud, and Roger Sanchez

Since slipping out on Leng last year, Paul ‘Mudd’ Murphy’s first collaboration with singer/songwriter David Harks, ‘Susta’, has become a much-played modern Balearic classic, with DJs and listeners alike responding to the track’s attractive blend of sun-kissed nu-disco instrumentation, warming melodies and deliciously evocative lead vocals from Jaanika Leino AKA JaneLy. Now the track returns for 2021 in the shape of two superb new remixes from Chicagoan deep house legend Ron Trent, who four years ago delivered similarly ear-catching revisions of Mudd and Pollard’s ‘Far Away’ as part of the 10th anniversary celebrations for Murphy’s Claremont 56 label.



As you’d expect given Trent’s impeccable track record over the last three decades, both revisions are stunning. He begins by eking every last ounce of soul from Leino’s brilliant vocal on a remix that’s warming, deep and luscious. Combining elements of Murphy and Harks’ colourful, synth-heavy original mix – including the lusciously tactile bassline and boogie-style synth flourishes – with his own yearning chords, hand percussion sounds and a shuffling, samba-tinged house beat, Trent re-imagines ‘Susta’ as a future vocal deep house classic. Melodious, musically intricate, infectious and summery, it’s a remix for the ages. It comes accompanied by a Dub Mix that successfully shows off the intricacy of Trent’s production and additional instrumentation while keeping both eyes firmly on the dancefloor. Beginning with effects-laden synth sounds reminiscent of the mid-‘80s proto-house classics by Paul Simpson, Winston Jones and Boyd Jarvis, the mix sees Trent skilfully add selected snippets of Leino’s lead vocal to a backing track rich in delay-laden synthesizer sounds, reverb-rich chords, echoing percussion hits and chords so warming they feel like a late-night, loved-up bear hug for your ears. Like the A-side vocal version, Trent’s dub is breath-taking and spine-tingling in equal measure.

Love Wash opens with “Across the Flats” and closes with its title track, both upbeat ballads that build from scorched drones into momentous sprawling pop songs that help ease in and out of the album, which features contributions from co-PC Worship collaborators (LEYA’s Adam Markiewicz on violin and NYC drum shredder Greg Fox).
The second and third tracks “Drive” and “Saints” carry the subtle intensity that opens the album, with unpredictable instrumentation, chord changes and arrangements. This vibe is revisited later in the album on “Dune House” and “Hidden Away”, all of which are sonically rich, unraveling, dark, introspective and powerfully optimistic.
The rest of Love Wash is comprised of catchy, borderline alt-country hits with a twisted Nashville tele vibe (“December Sun”, “New Thing” & “East Side Walk”), featuring pedal steel and vocal contributions from fellow Dougie Poole band members Tristan Shepherd and Francesca Caruso. Love Wash has a natural flow throughout, however the one real outlier is the well placed and hyper paced middle child of the album “Dredging Up Old Blues,” a schitzo-synth-pop Mountain Dew Rock jam that feels like buying trucker speed at a digital gas station in Middle-America.

Love Wash has echoes of a post-Beatles solo record, recorded in the Northwest in the mid-90s; transient in its influences yet tied together with the aesthetic of its approach. Sequenced like the best, most damaged early K / Kill Rock Stars records and driven by fingerpicked acoustic guitar, sweeping drones, euphoric synths, lush vocals and soaring Dead Man leads, Love Wash is a beautifully rich pop record at its core and an ambitious journey of an album that started as bedroom demos and evolved into a layered studio exploration.
-- Justin Frye (PC Worship

Born in Majorca, Marc Melià is a composer/producer, who’s been based in Brussels for over 10 years. First spotted alongside Françoiz Breut, Lonely Drifter Karen or Borja Flames, he released Music for Prophet in 2017. It was issued on Gaspar Claus’s label Les Disques du Festival Permanent, as part of Flavien Berger’s curation.

On that first album, Marc Melià had explored the possibilities of a mythic synth; on Veus, as if sloughing, he applied the process of sound modification to his own voice, until becoming an android. But an android who sings of love and dreams, a sensitive automaton who plays with the tropes of pop music. Through this device, Marc Melià knowingly seeks poetry and beauty within transgenics, in the search of a universe where one can surf though waves of profoundly moving chord patterns, hear voices unconstrained by range limitations, or dance freely, as in zero gravity.

Part of the album has been recorded in Une ferme dans les Vosges, courtesy of Rodolphe Burger. It was recorded with Roméo Poirier, one of the most promising figures of ambient, and the elegant multi-talented Lou Rotzinger. As if progressing in parallel with his own linguistic experience, to add another layer to the sloughing, side A is sung in Catalan, Marc Melià’s mother tongue, and side B in French, his adopted language.

Like an echo to his previous album, Veus opens with an instrumental, “Pulse on a E”, which starts with a sequence created with a single note transposed to its octave, just like “Fata Fou”, the last song on Music for Prophet.

Although the title seems to reference an iconic 80s synth, “DX7” is actually about the seven days of the week. It is a love song, about the temperamental oscillations which make every morning the blank canvas of an unpredictable story. Wednesday, I hate you, Sunday, I love you. With few words and a lot of emotion, a synthetic voice is trying to grow more human each day.

“Dent de Serra” deals with the weight of memory on our relationships, but also with the way we revisit them constantly in order to integrate souvenirs within present relationships. Suddenly, the song stops and enters a new dimension, everything is different, as if what had just happened was now forgotten forever.

Oxytocin (“Oxitocines” in Catalan) is said to be the hormone of love. This song deals in a playful way with the duality between science and faith, between rational and magic, when it comes to sentimental relationships. Love is a universal theme, it is everywhere in the world, and love songs have been written for a very long time. But this particular love song is an ode to an aspect of love that has been less sung about: biology, which makes it possible to feel like you’re floating in space when you fall in love.

“Les étoiles” is a trio with Flavien Berger and Pi Ja Ma. The song is about attraction. What attracts humans to each other, but also the inevitable gravitational attraction. The song is also about accidents, magic moments that take us outside of our daily lives and give us the possibility to imagine a sidereal, infinite love.

“A propos d’une chanson” was born after Marc Melià had dreamed he had written the most beautiful song he’d ever created. When he woke up, he realized that song was actually O Superman by Laurie Anderson.

Aside from these songs, Marc Melià offers a few breaks, instrumental but no less narrative.

“Final d’hivern” conjures these quiet moments between two intense events; sleeping at night between two days; the calm that settles in after a hard winter, right before spring properly starts.

Using a musical language that clearly references Ryuichi Sakamoto, “Romain”, with its theme based on a melancholic chord pattern, could be the soundtrack to a 1970s movie lost in time. Little by little, elements that seem to come from a completely different context find their place, while turning the initial mood into something strange and unexpected.

Finally, “Retorn”, which finishes the album, is a reprise of the theme of “DX7”.

From the chords that make up a song, to the days that make up our lives, existence is but a cycle, and Veus is an exploration of them. Marc Melià keeps on drifting on his personal path, between homage to the past and visions of the future.

Sony Classical release - sensational double album by one of the world’s most accomplished film composers. This stunning album sees Hans Zimmer arrange some of his most successful and recognisable compositions into electrifying concert suites for orchestra, choir and an impressive list of soloists. Recorded in the prestigious Wiener Konzerthaus, the album features the renowned Vienna Radio Symphony Orchestra and the Neue Wiener Stimmen choir under the baton of award winning conductor Martin Gellner. Included in the album are some of Zimmer’s most popular hits: The Dark Knight, Inception, Lion King, Pirates Of The Caribbean, The Da Vinci Code and many more. Specialist marketing activity. The double CD format is released March 15th and 3 LP set is released March 29th.

ArtPlay and Brave Wave Productions are proud to unveil their first soundtrack collaboration : GS-011: Bloodstained: Ritual of the Night The Definitive Soundtrack for vinyl.

Contains 4x 12” 150g black vinyl discs, art-decorated sleeves, a full color booklet, and download code for high-fidelity digital versions all 46 tracks.

Originally funded via Kickstarter in 2015, Bloodstained: Ritual of the Night, spearheaded by legendary game creator Koji Igarashi, was released in June 2019 to critical success. One highly rated element of the game was its melodic, moody and catchy music, composed by Michiru Yamane, along with Keisuke Ito, Ryusuke Fujioka, Atsuhiro Ishizuna and Ippo Yamada.

GS-011: Bloodstained: Ritual of the Night The Definitive Soundtrack will come in a 4-LP box set containing all 46 tracks. The set will come with a booklet containing liner notes (in English and Japanese) from Michiru Yamane and Koji Igarashi.

Originally from Limerick, O’Brien’s work captures the everyday and the inbetween in a way that transcends any genre label. Writing from her own observations, O’Brien’s influences can be found in the realism of Mark E. Smith of The Fall, Patti Smith and The Slits, and the works of literary icons such Frank O’Hara, W.B. Yeats, Joan Didion and Albert Camus. Releases to date have drawn admiration from British and American outlets and radio stations as diverse as The FADER, Stereogum, The Guardian, Loud And Quiet, The Quietus, BBC Radio 1 and BBC Radio 6 Music, and more.

Speaking about the new single, O’Brien explains: “‘Most Modern Painting’ is about the creation and maintenance of ‘the self’ - the most epic task we are faced with in our lives. I wanted to work with structure in an unconventional way, linking the movements together using various voices from the narrative. The lyrics are voiced through a dialogue between the conscious and unconscious, through dream recall, memory, the individual and the ego.”

The accompanying music video for ‘Most Modern Painting’ was shot in a film-like manner on 16mm. Directed by Saskia Dixie, the movements are intrinsically linked to the lyrics; the choreography incorporates physical theatre, dance and elements of daily gestures and habits.

The chorus line on ‘Most Modern Painting’ birthed the title for the EP ‘Drowning In Blessings’ - “The more I said it, the more it meant. It’s an image which I find really cathartic; seeing the weight or build up of things as possibilities and opportunities instead of bearing their burdens. I approached the set of songs on the EP like a short album so the body of work feels full and tells a substantial story. Tracks allude and refer to one another and provide clues and hints to the future and to the past. It’s not only about language and music - it’s about energy, spaces, leaving room for other people to get in.”

A multifaceted artist, O’Brien’s writing has also been published by the esteemed London Magazine whose alumni include T.S. Eliot, Sylvia Plath and William Burroughs. Her unique fusion of spoken lyrics and art rock has piqued the attention of luminaries of both fields, seeing her perform with John Cooper Clarke and The Brian Jonestown Massacre at sold out theatres across the U.K. Playing live with her band and collaborators; Julian Hanson (guitar) and Oscar Robertson (drums), Sinead O’Brien’s transfixing performances are placing her at the forefront of a resurgent wave of independent British and Irish talent.

Originally released in 1989, Dead Moon’s second album is an absolute masterpiece even by their high standards.

The record that built the legend and cemented the band as the greatest rock and roll act of the 90’s. Features some of Fred Cole’s catchiest hooks and heaviest songwriting including favorites like “Dead Moon Night” and “54/40 Or Fight”.

Work on 'Fragile' began last August at the height of lockdown. Grill locked himself in the recording studio where he found himself experimenting with new sounds and technologies and was able to learn more about the techniques involved in mixing, production and arrangement. "The aim was to write a physical album maintaining an energy throughout and utilising sounds and structures I'm interested in. Using limitation was a big part of the process to push what I used as far as possible. Reading about Robin Guthrie's breakdown of Cocteau Twins minimal setups across different albums and how Prince distorted the Linn Drum Machine were also inspirations."

Musically, 'Fragile' is a more dance-centric record than 2020's 'Ride', with eleven blistering tracks aimed straight for the dancefloor. From the lush, pulsing synths and blistering beats of 'Another Time', to the hazy, sun-soaked 'Wildflower', Grill seeks to create dance music that is endlessly catchy and hugely uplifting. He draws heavily on a Euro-dance influence in his search for pop perfection with melody instrinsic to each track. The Italo disco sound of Giorgio Moroder is never too far away, climaxing with the pumping 'Crash' while the emotive dance of New Order is echoed in 'Wandering Sky' and 'Romance'.

From a visual perspective, 'Fragile' is inspired by gothic, renaissance art and architecture. The album artwork is a photograph Grill took on Château d'If, a fortress and former prison located on the Île d'If, the smallest island in the Frioul archipelago, a short distance from Marseille in southeastern France.

Peace of mind after the book release and the long awaited drop of the 5 tunes we were expecting from the pressing plant. While Escai is finalising the cover of Jay Nemor’s album, now it's time for me to go back to work with Yann, the London member of our Funk Investigators little patrol.
Hailin' from Houston TX, Leroy Allen started his career in ‘69 with the group “THE SYMPHONICS “, that later became GOD’S GIFT TO WOMEN, which in 1972 recorded “Let Your Heart Be The Judge“, which still gets air play more than thirty years later. In the early 80’s Leroy started the group ”
The Perfect Timin' Band”, which backed BO WILLIAMS, while touring with Cameo, and Gerald Levert. Perfect Timin' also opened for New Edition, Baby Face, Roger Troutman & Zapp, just to name a few. In 2013, Leroy Allen has started a solo project with the new hit single “I WANT IT “, receiving heavy rotation in the Southern United States and European Markets. Mr. Allen recently formed “Orion The Band” which consists of top musicians from the Houston area, creating the foundation for the “I Want It” Project, of which both songs included in this release are a natural developement. Catchy, extremely soulful, just perfect for this mid summer rainy day!

First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).

MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!

A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!

So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!

Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.

The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!

This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!

OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!

Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.

Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).

Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.

Ever since the release of their acclaimed debut EP P'eau (2018) these Mechelen-based musicians have been honing their craft in songwriting and production, building a new home studio to record future material while also expanding from a three-piece to a five-piece ensemble. By adding singer/percussionist Stefan De Graef (Psychonaut) and guitarist/singer Sander Rom (L'Itch) to their ranks, HIPPOTRAKTOR have become a more versatile outfit able to employ a broader palette of sounds, taking the band's earlier instrumental prog metal sound to new heights. Taking notes from the best moments in contemporary progressive and post metal, HIPPOTRAKTOR capture the awe-inspiring power of nature_from the delicacy of the first falling leaf to the massive cosmic energy of the sun. By combining the big, catchy riffs and the rhythmical prowess of Gojira with the relentless but equally groove-loaded complexity of Meshuggah, Meridian delivers an overwhelming experience of sound, presenting the listener with sentiments that are recognisable, but with an intensity that seems larger-than-life. "Meridian finds its origin in everyday moods, taken out of context and morphed into a stylised version that re- flects the dreamer in me," explains main songwriter and guitarist Chiaran Verheyden. "It tells the story of someone who's lost in a world too massive to comprehend, and seeks answers in places where none can be found. Meridian was written as an attempt to distillate what I felt but couldn't put into words." As the main vocalist in the group, finding these words was the job of Stefan De Graef, who carried over his fascination for philosophy and religion from his other band Psychonaut. "Meridian tells the story of a solitary wanderer on the Earth in the absence of other beings," explains Stefan. "Without anyone to share knowledge and history with, the protagonist is forced to create his own truths and stories about the nature of life, consciousness and the universe. The protagonist begins to personify and deify his surroundings, assigning sentience to the trees, the mountains, the wind, the waters etc. for they are his only companions in this desolate world." Essentially, Meridian is an exploration of the evolutionary theory of naturism, which was put forth by German scholar Max Mu"ller in the 19th century, and which argues that religion finds its origin in the deification of the forces of nature by early human beings. By juxtaposing this sociological theory with seven tracks that unfailingly conjure images of the earth, sea and sky, HIPPOTRAKTOR have created an analogy that enlarges the imaginative quality of their music to (literally) epic proportions. Combining the best of prog, groove and post-metal, Meridian comprises an incredible ride for fans of soaring hooks, technical riffing and earth-shattering breakdowns. Limited bluegreen-grey single colour vinyl edition, gatefold! FOR FANS OF Meshuggah, Periphery, Cloudkicker, Intronaut, Animals As Leaders, Gojira, Skyharbor, Psychonaut

Clive Nolan is a British musician, composer and producer who has played a prominent role in the recent development of progressive and symphonic rock. He has been a regular keyboard player in bands such as Pendragon, Arena, Shadowland, Strangers on a Train and Caamora. He is the lyricist and composer of numerous rock albums and musicals, including the Arena catalogue, a monumental rock opera "She" and two Victorian inspired Steampunk musicals, "Alchemy" and "King's Ransom". 'Song of the Wildlands' by Clive Nolan's is a secular oratorio with elements of rock, progressive rock, folk and classical music. The story is based on one of the oldest English poems "Beowulf", which is an account of life and heroic deeds by the mighty warrior protecting the land from the vicious monsters. The album was recorded during the 2020 pandemic and features vocalists and instrumentalists from the UK and Norway playing a variety of rock and Nordic folk instruments, as well as a 200-voice choir recorded distantly by singers from all over the world singing in Old English (Anglo-Saxon). 'Song of the Wildlands' is the biggest music venture from Clive Nolan so far.

For all overthinkers and introverts. On their debut album "Smalltalk & DMCs", the Berlin indie-pop trio Varley finds strength in vulnerability. The result: an album like a good friend.

The indie-pop trio Varley is Dublin-born Claire-Ann and German band mates Joschka Bender and Matthias Heising. Initially influenced by Bon Iver, and citing the likes of Fleetwood Mac, The Cardigans and Phoebe Bridgers as other notable touchstones, what lies at the core of Varley’s affective, heart-on-sleeve music is its willingness to be vulnerable. Their music is an honest and raw outlet, and the cathartic nature of their songwriting is one to be championed.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

Yi Yole – recorded in 1978 – was the first time the legendary South African saxophonist Dudu Pukwana had worked with the ICP. An innovator in the genre of Cape Jazz with the Blue Notes – which also featured Chris McGregor, Louis Moholo, and Johnny Dyani – who fled the apartheid regime for London in 1964, Pukwana's style is the perfect complement to ICP co-founders Han Bennink and Misha Mengelberg, who round out the trio here.

Relaxed and somewhat understated for the ICP catalog, Yi Yole is the one and only time these leaders in European free improvisation would record together in a trio setting. This limited reissue marks the first time the album has been in print on vinyl since its initial release.

An energetic blend of NEW WAVE and HEAVY PROGRESSIVE ROCK, Four Stroke Baron aspires to bring forth a lively and refreshing new voice to the music scene. The group manages to craft massive and immersive soundscapes juxtaposed over catchy, pop-like song structures. It is this penchant for blending familiar sounds and styles into something altogether new that has allowed the band to undergo a dramatic metamorphosis from its founding members improvising in a shed outside of Reno, Nevada, to preparing for the debut of their second full-length album, “Planet Silver Screen,” on Prosthetic Records.

Met Cirkeldier Daniël en Struik, twee catchy Nederlandstalige popnummers, vieren FULCO en Teletext hun eerste samenwerking. Twee meezingers in een sausje van tijdloosheid. Vanaf 15 oktober te koop op een lekker ouderwetse 7inch single.