Buscar:ch

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Produced by François Tétaz and Luke Howard and recorded primarily at Melbourne's Synth Temple, Tina Arena's Way Of The World reimagines “True Faith” (New Order), “Way of the World” (Max Q / Michael Hutchence), “Enjoy the Silence” (Depeche Mode), “Ordinary World” (Duran Duran), “Torno Bambina” (Ada Mori) and “Cayendo” (Frank Ocean) through stunning orchestral arrangements, prepared piano, analogue synthesis and electronic textures.

Rather than traditional cover versions, these are complete artistic reimaginings that reaffirm Tina Arena as one of Australia's most expressive and enduring vocalists. Of first single “True Faith”, Tina says: “Making the deliberate choice to focus on the lyric of true faith was musically revelatory for me. It presented a blank musical canvas with endless vulnerability and space for me to explore.”

François Tétaz, a Grammy and ARIA-winning producer known for his work with Gotye, Kimbra and Architecture in Helsinki, contributes synthesisers, Rhodes, prepared piano and drum machines throughout, while pianist and composer Luke Howard shapes the EP's restrained, cinematic language. The pair are joined by an ensemble including the Budapest Art Orchestra, Peter Knight, James Rushford, Mindy Meng Wang and orchestrator Felix Watson, giving the collection its rich, orchestral backbone.

The EP announcement lands amid a landmark 50-year career anniversary for Tina — one of Australia's highest-selling artists of all time, having sold more than 10 million albums worldwide.

Another Day on Earth (2005) was Brian Eno’s first song-based album since Nerve Net in1992, and remains one of his most acclaimed solo records. It featured a young Jon Hopkins alongside long-standing collaborators Nell Catchpole, J. Peter Schwalm and Leo Abrahams, with lyrics co-written by Michel Faber and Danny Hillis. The album was launched with a public conversation between Eno and the writer Michael Bracewell at the Marble Palace in St Petersburg and its cover photograph was taken by Eno himself in Beijing, during his first Chinese audio installation in the city’s Ritan Park. Following Warner Bros’ purchase of Hannibal Records in 2006, the licence for Another Day on Earth lapsed in 2008 and the album has been unavailable outside Japan ever since.

“Grand, sweeping choruses ... that insinuate themselves deep into the memory, but also moments of whispering intimacy - a wistful, haunting record that runs warm with understated emotion. ★★★★★” - Matthew Collin, The Observer (2005)

Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”

Dark Entries is Filling Your Silence with the help of J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Having spent years in front of and behind the camera, 1999’s Filling Your Silence was his debut as maestro. This album collects the soundtracks from the first two Raging Stallion films - Sexpack One and Sexpack Two - to bring us nine tracks of sleazy beats and trance-like moments of pure ecstasy. Album opener “Seduction” begins with the iconic synthetic pan flute, one of the defining sounds of the 1990s, before pulling us along with its wild grooves.

Halfway through its nine-and-a-half- minute course, it breaks down to bust out a jazzy electric piano vamp. “Running with Scissors” ups the tempo with some crunchy breakbeats to undergird its portamento-laced lead synth. Elsewhere, like on “Mercy” and “Mercy (2nd Movement),” we see Slater embracing a bleep-adjacent sound close to early Nightmares on Wax or 808 State. Filling Your Silence’s endless grooves pursue that oceanic feeling. This record comes with a one-sided insert that includes archival Raging Stallion press materials. In the words of the Bay Area Reporter, Filling Your Silence is “quite possibly the best music for sex ever written.” A bold claim, but we can’t help but agree.

Georg Danzer war eine Lichtgestalt der Austropop Szene. Wie kein anderer hat er mit seinen Songs und Texten ins Schwarze der österreichischen Seele getroffen. Die Anekdoten auf "13 schmutzige Lieder" sind schlüpfrig, verwegen und oftmals herrlich unkorrekt. Danzers lässiger Dialekt macht den Reiz aus, er gibt den schmutzigen Liedern den Charme, der sie so unverwechselbar macht. Am 7. Oktober hätte Georg Danzer seinen 80. Geburtstag gefeiert. Zu diesem Anlass veröffentlicht Sony Music eine Neuauflage seiner "13 schmutzigen Lieder" auf "schmutziger Vinyl" - als Spezialpressung auf Black Dust Vinyl mit Orange & Schwarz. GEORG DANZER - "13 schmutzige Lieder" - ab 2.10.26 auf schmutziger Vinyl erhältlich! Tracklist: New Orleans Alptraum Stomp | Murphy's Law | Sado-Maso | Swinging Prostata | Rosarode Gummihandschuach | Gnädige Frau in Malaga | Eigentlich bin ich ein Schwein | Der imaginäre Vibrator-Walzer vom 22. Juli 1998 | Karibik in Unterhosen | Olle Weiber san G'frassta | A alte Drecksau | Strandbrunzer-Tango | Ballade vom versteckten Tschurifetzen | Ruaf die Zeitansage an | Leck Mich | Ich denk an Sex | Suche nette Partnerin zum Bumsen ... | Kreuzritter | Tanz Erotisch

KYSH returns to wax with its third vinyl release — another milestone in the label’s steadily growing catalogue. More than a year and a half into the journey, KYSH feels more in its element than ever, bringing together five names that represent both the label’s own extended family and fresh acts joining the ranks. All well-established and highly respected figures in the modern techno landscape, they deliver a sharp selection of contemporary club weapons. Kashpitzky opens with “Blush”, a raw, boomy cut where rough-edged rhythmics meet crisp modern production, channeling the spirit of industrial techno at its best. “Tarmac” by Regent follows with a dense, restless groove, while Chontane’s “Gyuto” dives into hypnotic territory, layering rhythmic elements around subtle dissonant melodies. On the flipside, Temudo & Pierce join forces for the threatening, aggressively contemporary “Highest Clarity Grade”, balancing intricate sound design between rhythm and atmosphere. Closing comes GCOD with “Sleeper Agent” — dancing sub bass, a striking hook and a relentless hi-hat groove keeping the weight firmly down low. Another strong statement on wax, KYSH-003 confirms the label’s vinyl output as a mark of quality, with five floor-tested cuts drawing from a fresh, current take on the industrial influences that shaped techno a decade ago. A new lineup, a distinct direction, and five tracks ready to speak for themselves on a proper soundsystem.

Re-release of Steffi's successful debut album Yours & Mine on her new imprint. The classic house album that reminds of early Detroit and Chicago tracks with a modern touch!!!

For more than 20 years, every CASPIAN album has been driven by a desire to stretch boundaries — a relentless ambition that's resulted in one of post-rock's most revered catalogs and established the Massachusetts quintet as an enduring, global force in the genre's modern era. On CASPIAN, the band’s first album in six years and debut for Wax Bodega, the more unexpected way forward was to stop searching for what they hadn’t yet done and instead trust what had defined them from the beginning.

The six-song, 39-minute effort draws freely from the musical vocabulary the band have spent their career writing: evocative melodic themes, dense textures, swelling crescendos and crushing heaviness that rolls in like a slow-moving storm on the horizon. But they still find new possibilities within those familiar contours, allowing patient development and repetition to carry as much weight as surprise. The nine-minute “Remain” turns a recurring melody into a sweeping study in tension and release, while “No One Left to Tell” layers subtle shifts around a hypnotic tremolo figure and “A Great Fire” sends serpentine guitars crashing into buzzsaw riffs. Even the graceful 3/4-time closer “Waltz for the End,” completed in a half-hour burst of inspiration, reflects the quiet confidence of five musicians comfortable enough in their skin to resist tearing everything down for the sake of reinvention, even as the circumstances surrounding them change dramatically.

Marcos Valle is one of those artists you simply can't overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you. By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn't stop there. He has continued recording fabulous albums over the following decades, right up to the present day. Widely regarded as one of the finest recordings in Marcos Valle's catalog, Vento Sul (1972) represents a pivotal moment in his artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as "Democústico," "Revolução Orgânica," "Paisagem de Mariana," and "Pista O2," the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording -- an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl.

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

From Richmond, Virginia, Shy, Low have a reputation as one of the most compelling voices within the modern instrumental underground. Their music speaks to fans of post-rock's emotional grandeur and post-metal's crushing intensity alike, while simultaneously appealing to listeners drawn to experimental, atmospheric, and cinematic forms of heavy music. The band's ability to merge these seemingly disparate qualities has resulted in a body of work that is immediately recognizable and continually evolving. Luminous melodies, driving heaviness, layered textures, and carefully controlled tension allows `Purity Spiral' to move effortlessly between fragile moments of introspection and towering passages of intensity. Whether constructing intricate layers of harmony or driving songs toward explosive climaxes, there is a deep understanding of pacing, atmosphere, and the power of restraint. Momentum is at the heart of this album, through intricate rhythmic detail, and explosive bursts of energy, drums become the anchor and catalyst, supporting the band's expansive arrangements while pushing them toward moments of cathartic release. What distinguishes Shy, Low is their ability to balance enormity with restraint. Their music unfolds patiently, allowing tension to accumulate through layers of texture, melody, and dynamics. Moments of delicate clarity often coexist with overwhelming weight, creating a sense of organic motion. At the core of the band's sound lies an acute understanding of contrast. From shimmering, expansive passages to towering walls of distortion, the rhythm section provides both propulsion and atmosphere, becoming integral narrative voices that shape the emotion. There is a disciplined sense of purpose in their writing, an understanding that every note serves a larger arc. Shy, Low thrives in the space between introspection and catharsis, where subtle details become as impactful as the heaviest climaxes, and listeners are taken on a journey that is as visceral as it is profound. FOR FANS OF Caspian * Russian Circles * If These Trees Could Talk * Pelican * Toundra

,BETHLEHEM" ist eine Zusammenarbeit, die über Grenzen hinweg entstanden ist, die nicht überschritten werden konnten. Das Stück vereint die Stimme von Lawrence Sammour - der seit mehr als fünf Jahrzehnten den Chor der Geburtskirche leitet - mit der elektroakustischen Sprache der Beiruter Komponisten Sary Moussa und Abed Kobeissy. Entstanden als Reaktion auf die Entscheidung der Geburtskirche, die Weihnachtsfeierlichkeiten während des Völkermords in Gaza auszusetzen, verwandelt das Werk traditionelle liturgische Hymnen in eine weitläufige und tief bewegende Komposition, in der Stimme, Elektronik, Buzuq und Atmosphäre ohne Hierarchie nebeneinander existieren. Weder Neuinterpretation noch Bewahrung - ,BETHLEHEM" ist ein Akt des Zuhörens über Entfernungen hinweg: ein Werk der Trauer, das auf der fortbestehenden Präsenz von kulturellem Gedächtnis, Hingabe und menschlicher Verbundenheit besteht.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.

Citric Dub EP is a collaborative release from Law and RUNDR, released via R-WHITES, Repertoire's jungle-focused sister label for releases from the core Repertoire crew.

Following the first five R-WHITES compilation volumes, Citric Dub EP marks the imprint's first dedicated artist EP, exploring the intersection of jungle, dub techno and ambient music.

Deep sub bass, tape-inspired textures and hypnotic, progressive arrangements combine with classic breakbeats to create a sound that is both immersive and firmly rooted in the foundations of jungle.

Music on heavy rotation while making the record included... Basic Channel, Deepchord, Terekke, Biosphere, Wax Doctor, Aphex Twin, Burial, Nala Sinephro, Scientist and Jah Shaka.

"Broken Home"tells the story of an escape that doesn"t really lead anywhere. The song depicts leaving a dysfunctional home hoping to find something better,only to end up in a worldthat feels just as chaotic and empty. The journey takes on a surreal tone, filled with striking, symbolic images: glittering but hollow figures, cheap messiahs, plastic saints-signs of a society that builds superficial, interchangeable idols. Surrounded by a hyperconnected crowd, there"s still a deep sense of isolation running through everything. The city itself feels saturated with excess, addiction, and illusion, where even moments of "cleanliness" or redemption seem fake, as if something as simple as rain could wash everything away. At its core, the song explores alienation and disillusionment, suggesting that escaping your past doesn"t mean much if the world you run into is just as broken.

TV Star aus dem Raum Seattle-Tacoma präsentieren mit ,Music For Heads" ihr Debütalbum und verbinden darin Psychedelic Rock, Jangle Pop, Garage Rock, Shoegaze und klassischen Indie-Rock zu einem warmen, zeitlosen Sound. Inspiriert von Bands wie The Brian Jonestown Massacre, Mojave 3 sowie der alternativen Gitarrenmusik der 1990er Jahre, vereint die Band eingängige Melodien mit atmosphärischen Gitarrenlandschaften und treibenden Rhythmen. Die fünfköpfige Gruppe entwickelte ihren Sound über mehrere Jahre hinweg und schafft auf den zehn Songs eine gelungene Mischung aus psychedelischer Tiefe, Pop-Sensibilität und roher Garage-Energie. Mit ,Music For Heads" liefert TV Star ein ebenso nostalgisches wie eigenständiges Debüt, das klassische Indie-Einflüsse in einen frischen, modernen Kontext setzt.

Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

Mit Gamgumsupon legt Kuhn Fu sein bislang direktestes und energiegeladenstes Album vor. Das international besetzte Ensemble um Gitarrist und Komponist Christian Kühn verbindet Jazz, Punk, Metal, Psychedelia und Big-Band-Sound zu einer explosiven Klangsprache, die sich jeder Genre-Schublade entzieht. Kraftvolle Riffs treffen auf ausgefeilte Arrangements, improvisatorische Freiheit auf ungebremste Spielfreude und feinen Humor. Trotz ihrer kompositorischen Komplexität wirkt die Musik unmittelbar, eingängig und voller überraschender Wendungen. Zwischen brachialer Energie und verspielter Leichtigkeit entfaltet Gamgumsupon eine eigene musikalische Welt, in der Virtuosität stets im Dienst des Songs steht. Ein mutiges, kompromissloses Album, das Rock und Jazz auf ebenso originelle wie mitreißende Weise neu zusammenführt.

Das selbstbetitelte Debüt von South 1998 (ehemals South) ist vielleicht das, was dem alten Label Jagjaguwar jemals am nächsten kam, Musik zu veröffentlichen, die sich auch bei, sagen wir mal, ECM Records wie zu Hause anhören würde. Spitzt die Ohren, und ihr werdet es hören - Pat-Metheny-artige, klare, ausgefallene Gitarrenklänge, die geduldig zu trägen, hypnotischen, an Steve Reich erinnernden mathematischen Sackgassen geschichtet werden; ineinandergreifende Hackbretter und Vibraphone, die fallen und wogen wie an einem seltenen Tag mit starkem Schneefall in einer Stadt im Süden; die leisen und selbstbewussten Gesänge von Patrick Phelan und Nathan Lambdin, untermalt von den gleichmäßigen Rhythmen des Schlagzeugers Tod Parkhill. Bei der Erstveröffentlichung bezeichneten wir das Projekt aus Richmond, Virginia, als ,Exegese der großen Ambient-Rock-Momente des 20. Jahrhunderts". Daran halten wir fest. Doch bei näherer Betrachtung und mit dem Rückblick auf fast 30 Jahre seit der Veröffentlichung der LP sind ihre kleinen, kniffligen Schätze erst richtig zur Entfaltung gekommen. Es fällt schwer, keinen Vergleich zu einer zeitgenössischeren Künstlergeneration anzustellen, wenn man ,South 1998" wiederentdeckt, das nun aus SEO-Gründen umbenannt wurde (wer hätte das damals gedacht!?!?). Der experimentelle Slowcore-Experimentalismus von Escho Records aus Kopenhagen und ML Buch; ein bisschen von den Vorreitern der Cloudrock-Szene (und Jag-Labelkollegen) Chanel Beads; eine ganze Reihe von Veröffentlichungen des angesehenen (und unterschätzten) norwegischen Labels Hubro. Aber es verdient auch einen Platz im Regal neben seinen zeitgenössischen ,Post-irgendwas"- und ,Pre-irgendwas"-Kollegen von damals - Tortoise, Bark Psychosis, The Sea & Cake. ,South" von 1998, ein unbestrittener Jagjaguwar-Klassiker, war an sich nie verloren gegangen, aber wir haben es für euch wiederentdeckt - zum ersten Mal überhaupt auf Vinyl, als Teil unserer Feierlichkeiten zum 30-jährigen Jubiläum.

Label head Len Faki joins forces with Icelandic dub techno pioneer Exos for Infinity In Loop, a joint exploration into cavernous depths and shifting tonal landscapes.
Two versions of the title track fill the entire A-side, each unfolding with patient intent. Drifting across icy atmospheres and static hums, Infinity In Loop’s first incarnation slowly builds into a mesmerizing, minimalistic loop—punctuated by delicate percussion and a faint, comforting sprinkle of melodic warmth amidst the arctic chill. The second iteration leans more into a classic 90s dub techno framework, launching straight into a steady pulse anchored by echoing chord pairs and crisp, high-energy percussion.
On the B-side, the duo shifts towards raw, dancefloor-driven territory. Aurora delivers impressive tension with dry, jacking rhythms, snappy percussion, and haunting vocal fragments cut up to drive the groove forward. Closing out the EP, Circuit Flux pairs sub-heavy low-end with unpredictable rave energy. Nostalgic 90s vocal cues, pitched-up hooks, and fidgety FX swell and recede over staunch synths—creating a dynamic, deeply layered track that constantly shifts between space and peak-time momentum.

Daydream: 30th Anniversary Edition is a 2-CD set featuring the original multi-platinum-certified album Daydream, which includes the smash hits “Fantasy,” “Always Be My Baby” and “One Sweet Day." Disc 2 collects remixes and rare B-sides, including a brand-new remix, “Underneath The Stars (Eric Kupper Klassic Club Mix) (Radio Edit).” The second disc also features a writing session demo for “I Am Free.”

The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).


"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic


‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)


The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.


Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.


Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)

2026 Repress

After years of building around techno, Genex is moving somewhere else.

The shift has been happening for a while. The music is becoming less about the expected function of a techno record and more about groove, movement and the details that make a track feel alive.House has always been part of the picture, but now it takes a much bigger role. Weeks & Weeks EP marks the first release from this new chapter.

It also opens the catalogue of Concrete Soul, a new label built around house and techno with soul. A place for music that can be raw without losing its character, and functional without losing the feeling behind it. Concrete Soul is about the contrast between the hard and the human, the concrete and the soul.

"For those who feel the ground"

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

It's an honour and a privilege for Vinyl Fanatiks to be able to repress one of Tango's remixes. And half of the royalties of the track will be sent to his family. So supporting this release not only adds fire to your record box but also a few quid to Tango's family.

A cracking release and boy what a remix he delivers, total luxury and decadence which showcases the incredible vibes of Dave's original mix but adds that Tango rolling goodness too. A double winner! On the flipside Fantasia is remixed by Dave as Midi Magic(al).

[a] a1. Calm Before The Storm [Tango Remix]
[b] b1. Fantasia [Midi Magical Remix]

Fila Brazillia is the name of the decidedly singular collaboration between Steve Cobby and David McSherry, born in the coastal town of Hull in the UK. Bending—and often outright breaking—more or less every rule in the book, they've been effortlessly blending deep house, downtempo, breaks, ambient, and wry humour, sampling anything they can get their hands on. Their first outing was the 1990 single-sided white label 12" Mermaids, an airy deep house tune featuring a cheeky sample taken from the theme from Robison Crusoe. Since then, they've released a boat load of singles, seven highly regarded full-lengths, and more than 60 remixes for artists such as Radiohead, Busta Rhymes, and Lamb.

Black Market Gardening is their third full-length and marks a creative high-point for the duo. Over nine tracks, Fila Brazillia guides you through hazy, bass-heavy trip hop, cosmic synth lines, brisk breakbeats, funky guitar riffs, and even touch of drum 'n bass (it's the mid-1990s after all...). There's just so much to take in, leaving the listener wondering where the samples end and the live instrumentation begins. Yes, Fila Brazillia's output fits squarely within the chill-out tradition prevalent in the UK at that point in time, but their unmatched creativity and boundless approach to the studio process makes their music truly timeless.

Black Market Gardening is available as a 30th anniversary edition for the first time since 2001.

Richly progressive folk-informed heavy post-rock and a sick burn to boot. - The Obelisk Rebecca Vernon (SubRosa), the driving creative force behind THE KEENING returns with her second album, Devotion. The new album sees Vernon and company releasing one of the year's most evocative albums; a truly compelling mix of slow burning, ethereal post-rock, folk, goth, and soaring doom. For Vernon, the writing process for Devotion took place in two starkly different environments. It ranged from the contemplative solitude of a friend’s cabin in a deserted Idaho ski resort, to the hectic reality of a 55+ senior living community in Spokane, Washington, where she was staying with her father. This shift resulted in an explosive album with a subtle duality that resonates throughout its most poignant moments. Take the lead single, "A Little Bit of Blood," for example. Quiet, acoustic guitar strums give way for Vernon's haunting vocals, before the backing instrumentation explodes into a soaring chorus reminding the listener that sometimes the best paths taken are the most difficult. "You drew a little bit of blood to show me Just a little bit of blood to make me see It took a little bit of blood to wake me Just a little wound in the night to free me" In a 2024 interview with Decibel Magazine, Vernon discussed the drastic shift in heavy music's themes in recent years, highlighting a willingness to convey raw emotion: "Metal is beginning to share more vulnerable things, more confessional things. Metal has almost become a safe place to talk about those things. People are being open with their struggles. Twenty years ago, they wouldn't have." Devotion lays these emotional confessions bare and showcases a truly bright burn. Devotion was recorded in April 2022, again at Hallowed Halls in Portland, with Billy Anderson and Nathan Carson featured in their same roles as heard on Little Bird. Once again, Vernon showcases her writing prowess, having a heavy hand on all the instrumentation for Devotion; Vernon played drums, guitar, piano, organ, and hammered dulcimer, and provided most of the vocals on both albums, with a few guest vocalists added to the mix.

With over 26 years, 8 full-length albums and performances in 40+ countries, GOTHMINISTER is regarded as “one of the most iconic gothic/industrial acts” (Terra Relicta). For the first time, the entire album is fully recorded, produced, mixed and mastered by Bjørn Alexander Brem himself – delivering the raw and uncompromising sound he always envisioned. Gothminister, an acclaimed icon in the gothic industrial metal scene, delivers a monumental masterpiece with “We are all Demons.” This 11-track album plunges into the depths of our inner darkness, revealing that we all carry demons beneath the surface. Through its bold thematic arc, the album urges listeners to confront their darkness, embrace strength within it, and emerge fearless. Musically, it’s a powerful fusion of gothic industrial metal and modern EDM elements. Expect ferocious synths, thunderous drums, and industrial guitars that cut like steel. Screaming vocals intertwine with female duets, soaring operatic moments, and grand choral sections. All of this creates a dark yet beautiful atmosphere—one that culminates in unity and completion. This is not just an album; it’s a legendary sonic journey, cementing Gothminister’s iconic status.

“I marvel afresh at Béla’s extraordinary vision, his indefatigability as a creator, his galvanizing presence as a bandleader, and of course, his freaking banjo playing. Live Heart will reverberate through and energize the bluegrass community forever.” – Chris Thile Live Heart: My Bluegrass Heart at the Ryman is a 3LP set that captures one legendary night in bluegrass. On January 8, 2022, in the aftermath of a Nashville blizzard, Béla Fleck was joined by three generations of renowned players who together brought the fire: Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Tony Trischka, and Molly Tuttle. The celebrated banjo virtuoso and musical adventurer has both dug deep into his instrument's complex global history and unlocked the breadth of its possibilities. He has earned 19 Grammy awards, and his acclaimed studio album My Bluegrass Heart, was a homecoming in sound. The music Fleck composed for his GRAMMY-winning My Bluegrass Heart is the third chapter in a decades-spanning trilogy that began with 1888’s Drive and the Bluegrass Sessions in 1999. This live record encompasses bluegrass in its core – the intergenerational passing down of music – and is nothing short of a masterpiece in sound, artistry, and community.

After decades contributing to records where a single riff could transform a dancefloor, Charlie May turns that instinct inward on Trusted Farms.
For over thirty years, Charlie has occupied a position that seems increasingly rare in electronic music: the musician’s musician, the person behind the machines, the extra pair of hands in the studio, and quite often, the person responsible for the melody you end up carrying around in your head for weeks on end. 
Alongside Duncan Forbes as Spooky, Charlie helped shape some of the most important electronic music to emerge from the UK in the early ’90s. That partnership would also sow the seeds for one of Sasha’s defining records: the central riff behind Xpander began life in Spooky’s live material, before Charlie brought the idea into the studio with Sasha and helped transform it into one of electronic music’s most enduring anthems.
Listen closely to Charlie’s work and there’s a particular instinct that keeps returning: knowing when a simple synth line is enough. Knowing which note needs to change. Knowing when repetition stops being repetition and starts becoming the entire reason a track works. More recently, as one-third of Quiet Places on ASIP, he’s taken those same instincts somewhere looser — beatless, gridless and led by improvisation.
Trusted Farms puts those instincts front and centre.
Tiny melodic phrases appear and refuse to leave. Synth lines repeat just long enough to become lodged in your head. Parts rub against each other without being tidied into submission. There’s a sharpness and directness to it all amongst the purposeful analogue warmth.
Some of these tracks feel almost ridiculously simple at first. But simplicity is difficult when you’ve spent decades learning every possible way to complicate something. Many of the parts on Trusted Farms were performed live with minimal editing. A synth line might be doubled, distorted, re-recorded and pushed back through another piece of equipment, but it remains the same idea. Instead of filling the gaps, Charlie works on the weight and character of what is already there. The melodies become physical; slightly worn around the edges.
For someone whose fingerprints can be found across some genuinely monumental moments in electronic music, Charlie has spent decades knowing what to add. 
Trusted Farms is about knowing exactly what to leave alone.
Available on black 12”, mastered by Andreas Lupo LOOP-O Lubich and featuring artwork by Peter Skwiot Smith,

Discrepant presents Fantarombo, a new album by Giovanni Lami.

While his previous works often moved through memory, residue, degradation, and dialogue with existing materials, Fantarombo takes shape as an unstable, bodily gesture.

Sound is not recalled or reconstructed, but triggered, pushed, and set in motion as an active force. Lami approaches modular synthesis as a physical, hands-on practice rather than a technical exercise or display of system mastery. The modular setup becomes a responsive body: something to be nudged, listened to, and occasionally resisted.

The pieces unfold through slow accumulations, unstable feedback paths, and carefully misaligned sequences. Rather than driving toward resolution, the music lingers in states of suspension, allowing small shifts in voltage, timing, and texture to reshape the whole. Chance and duration play a central role, with structure emerging gradually from repetition and drift.

There is an unmistakably organic quality to the sound: porous, tactile, and quietly resonant. A sensitivity to space, grain, and micro-movement, where subtle changes carry as much weight as overt gestures. On Fantarombo, process takes precedence over control, and the circuitry is allowed to speak back, resulting in music that feels intimate, unstable, and quietly insistent, revealing itself slowly through sustained attention.

A music of unresolved behaviours, suspended somewhere between obsolete digital optimism, imaginary systems and malfunctioning computational folklore.

Für die Feier des Miteinanders! Mit ihrem zweiten Album "Wenn man das Licht zurückverfolgt, weiß man, wie alt die Sterne sind" gelingt WIM ein eindrucksvoller Schritt nach vorn. Die Hamburger Künstlerin verbindet erstmals ihre poetische Tiefe mit einem neuen, synth-poppigen Sound, der Raum für Leichtigkeit und Bewegung schafft. In zehn Songs erzählt sie von prägenden Momenten, Verlust, Erinnerung und dem, was Menschen im Verborgenen formt. Dabei entsteht ein Album, das Empathie einfordert, ohne zu beschweren - und das zeigt, dass selbst schwere Themen tanzbar sein können. Produziert von Tobias Siebert (Kettcar, Enno Bunger), klingt die Platte organisch und frisch - unverkennbar WIM, aber mutiger und offener als je zuvor, fast schon moderner, urbaner XL-Pop: Die Songs werden rhythmusgetriebener, luftiger und teils konsequent vom Beat getragen. Und wenn es inhaltlich doch zu schwer wird, tanzt WIM im Studio zu Paula Hartmann, hört Chappell Roan und lässt sich von Wir Sind Helden inspirieren. LP farbiges Coke Bottle Green Vinyl (140g), CD Digipak mit Posterbooklet.

Mit Music From The Films Of Francis Ford Coppola erscheint eine sorgfaltig kuratierte Doppel-LP, die die unverwechselbare Klangwelt eines der einflussreichsten Regisseure des modernen Kinos wurdigt. Von Der Pate uber Apocalypse Now bis hin zu The Conversation und The Outsiders vereint diese Sammlung Musik aus Filmen, die das amerikanische Kino seit den 1970er Jahren nachhaltig gepragt haben. Die Zusammenstellung zeigt eindrucksvoll, wie entscheidend Musik fur die emotionale Wirkung von Coppolas Filmen war. Neben den Kompositionen von Carmine Coppola finden sich Aufnahmen von Kunstlern wie Buddy Holly, The Beach Boys, Elvis Presley oder Richard Wagner. Die Doppel-LP beleuchtet das Zusammenspiel von Bild und Ton und richtet sich gleichermaßen an Filmfans, Soundtrack-Sammler und Liebhaber klassischer Filmmusik.

The Crystal Teardrop's first album, THE CRYSTAL TEARDROP IS FORMING, came out on Rise Above Records' subsidiary Popclaw in May 2025. Steeped in classic psychedelic guitar pop and the Paisley Underground scene, not to mention the broader 60s cultural aesthetic, it has made them firm favourites with audiences in the UK and Europe. Now, barely a year later, comes its infectious follow-up, LOVE YOU MORE, also on Popclaw. The songs on LOVE YOU MORE are fundamentally upbeat, but there are hard edges, both musically (check out the guitar solo on It's Too Late!) and lyrically.

Proto jackin’ hip-house/punk-funk from the third coast. Originally is- sued in 1984 on Chicago’s scene- defining Mitchbal label, Z-Factor’s Dance Party Album is where boy- hood friends Jesse Saunders and Vince Lawrence reinvented the 909 for the Warehouse, WBMX, and be- yond. Come for the spaced-out, lo-fi Italo synths, stay for the micro-bud- get four-on-the-floor drum machine rattles.

Das 1996 erstmals erschienene Debütalbum „1977“ erreichte Platz 1 der Charts und erreichte Platinstatus. Es katapultierte Ash vom Teenager-Newcomer zum Indie-Rock-Pionier. Drei Jahrzehnte später feiert
diese Jubiläumsausgabe das Album, das mit seiner mitreißenden Energie, den eingängigen Melodien und
unvergesslichen Hymnen wie „Girl From Mars“, „Goldfinger“, „Kung Fu“ und „Oh Yeah“ eine ganze Generation prägte. Die Jubiläumsausgabe erscheint als Doppel-LP (EcoRecord InkPlosion) im Gatefold-Cover,
als Doppel-CD im Digisleeve mit Booklet.