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Definitive Recordings Reissues the Classic "Do It" by Las Americas with Remixes by St. David.

Definitive Recordings proudly presents the reissue of "Do It", a timeless house classic by Las Americas, the project of renowned producer David Alvarado. Originally released in 1994, this track returns in remastered form, accompanied by two fresh remixes by Italian house maestro St. David and a remastered version of the Chuck Phulasole remix.

St. David, born Davide Disanto in Bari, Italy in 1991, leads this reissue with his distinctive old-school house style. His influence shines throughout this reissue, showcasing why he is one of the most respected figures in the underground house music scene. With a career rooted in the 90s house aesthetic, he has reached the top of the World Vinyl Charts multiple times, with support from icons like The Martinez Brothers, Jovonn, and Chris Stussy. Drawing inspiration from legendary American house labels such as Strictly Rhythm and Nervous Records, St. David has built a reputation for blending timeless grooves with modern energy.

His "St. David Big Tool Mix" is a playful and catchy reimagining that manipulates the iconic vocal phrase "Do It" with rhythmic sampling, injecting a vibrant groove into the original. The "St. David Drum Tool Dub" takes a funkier, stomping approach, layering the track with sharp, rhythmic guitar licks and adding a fresh twist to the vocal hook.

The remastered original from 1994 remains a testament to David Alvarado's legacy, with its repetitive 90s house structure, featuring classic basslines and funky guitar riffs centered around the unforgettable vocal motif. Rounding out the release is the Chuck Phulasole remix, which leans into a moodier vibe with its focus on keys and a prominent Moog bassline, adding depth and texture to the track.

The "Do It" reissue is a celebration of house music's enduring influence, pairing a remastered classic with fresh interpretations for contemporary dancefloors.

After "RUINER", "CLEAN" and "GOLD", Atlanta's noise juggernauts WHORES. return with fierce new album ,WAR". American Muscle to drown out the American Dream as it careens into the ditch_ "WAR" is a an album full of brazen rhythms, serpentine riffs, walls of feedback, and howls of contempt. It is an album that is as rowdy and boisterous as it is anxious and savage. "Helmet comparisons are understandable but Helmet wishes they sounded this authentic and convincing in 2024", Heavy Mag wrote in their rave review, and Rolling Stone included "WAR." in their 20 best metal records of 2024. "It pisses me off when people talk shit about us. They don't know the lengths I go through to keep this band going" says guitarist/vocalist Christian Lembach in an interview with New Noise Magazine on why it's taken eight years between albums. Personal issues, accidents and then the pandemic presented obstacles for the band. Lembach injured both of his knees and tore the meniscus in his right one, and he broke both elbows and his ribs in an accident at his day job. WHORES. have dealt with setbacks that would have killed other bands, but instead it's made them stronger. And Lembach's high standards haven't exactly accelerated the making of "WAR": "It takes a while because I need to make a record I can stand behind. I just don't want to put anything out to just do it. I never think the one I'm working on is a masterpiece. To me the masterpiece is the next one", he says. "Lyrics are the most important part to me. Not the riffs not the song structures but the actual words" Lembach elaborates. "I always have the title before I write the lyrics. All the lyrics and song titles fit thematically into the album title. In this case I did a lot of soul searching. I was trying to figure out what it takes to be happy. I had to confront the ugly parts of myself. The title isn't political, it's about conquering the ugly parts of yourself." "WAR" is a battering ram of a live band, slugging like a doomsday clock towards midnight. Originally self-relased in 2024, we are happy to finally release in Europe what we're sure will become a noise rock genre-classic. PRESS "time is just a construct and Whores. are forever" - Everything Is Noise " ein weiterer musikalischer Schlag in die Magengrube" - Visions 10/12 " Frontman Christian Lembach is not so much a singer as a verbal assailant a spitting cobra of a human who leaves you drenched in his venomous wordplay." - Heavy Mag FOR FANS OF CHAT PILE, HELMET, HIGH ON FIRE, KEN MODE, INTERCOURSE, UNSANE, NAILS

After "RUINER", "CLEAN" and "GOLD", Atlanta's noise juggernauts WHORES. return with fierce new album ,WAR". American Muscle to drown out the American Dream as it careens into the ditch_ "WAR" is a an album full of brazen rhythms, serpentine riffs, walls of feedback, and howls of contempt. It is an album that is as rowdy and boisterous as it is anxious and savage. "Helmet comparisons are understandable but Helmet wishes they sounded this authentic and convincing in 2024", Heavy Mag wrote in their rave review, and Rolling Stone included "WAR." in their 20 best metal records of 2024. "It pisses me off when people talk shit about us. They don't know the lengths I go through to keep this band going" says guitarist/vocalist Christian Lembach in an interview with New Noise Magazine on why it's taken eight years between albums. Personal issues, accidents and then the pandemic presented obstacles for the band. Lembach injured both of his knees and tore the meniscus in his right one, and he broke both elbows and his ribs in an accident at his day job. WHORES. have dealt with setbacks that would have killed other bands, but instead it's made them stronger. And Lembach's high standards haven't exactly accelerated the making of "WAR": "It takes a while because I need to make a record I can stand behind. I just don't want to put anything out to just do it. I never think the one I'm working on is a masterpiece. To me the masterpiece is the next one", he says. "Lyrics are the most important part to me. Not the riffs not the song structures but the actual words" Lembach elaborates. "I always have the title before I write the lyrics. All the lyrics and song titles fit thematically into the album title. In this case I did a lot of soul searching. I was trying to figure out what it takes to be happy. I had to confront the ugly parts of myself. The title isn't political, it's about conquering the ugly parts of yourself." "WAR" is a battering ram of a live band, slugging like a doomsday clock towards midnight. Originally self-relased in 2024, we are happy to finally release in Europe what we're sure will become a noise rock genre-classic. PRESS "time is just a construct and Whores. are forever" - Everything Is Noise " ein weiterer musikalischer Schlag in die Magengrube" - Visions 10/12 " Frontman Christian Lembach is not so much a singer as a verbal assailant a spitting cobra of a human who leaves you drenched in his venomous wordplay." - Heavy Mag FOR FANS OF CHAT PILE, HELMET, HIGH ON FIRE, KEN MODE, INTERCOURSE, UNSANE, NAILS

Legendary shoegaze band Chapterhouse will share their first ever recordings on a new EP, White House Demos, released via Sonic Cathedral on May 9.The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. "They were the first songs we wrote as a band," says the band's singer and guitarist Stephen Patman. "At the time our live set consisted of Stooges and '60s garage-psych cover versions which we mixed with these original songs." The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about - until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record"."When the boxset was released, Christian got in touch and reminded me of these demos and how much he loved them," says Stephen. "He was probably the first person I gave a cassette copy to. He still rehearses and records at The White House and was going in for a session the following week, so I asked if he could ask the owner/engineer Martin Nichols to check if he still had them in his archive. Thankfully he did." Of the four tracks that make up the EP, `Ecstasy' has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of `Guilt' was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of `Die Die Die' was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning `See That Girl', however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.

Das vierte Album der US-Amerikanischen Post-Hardcore-Supergroup aus Gitarrist Mark Engles (Dredg), Drummer Chris Robyn (Far) und Sänger & Gitarrist Ben Flanagan (The Trophy Fire).

Anfang 2024 zogen sich Black Map nach Südkalifornien zurück, um 'Hex' mit Saosin-Gitarrist Beau Burchell als Produzent aufzunehmen. Die Band verfolgte eine klare, kollektive Vision, die sich von der weitläufigen, ätherischen Natur von 'Melodoria' zu einem dringlicheren und direkteren Sound entwickelte.

Sänger/Bassist Ben Flanagan beschreibt 'Hex' als ein Werk mit einem starken „let's f*cking go“-Geist, während Gitarrist Mark Engles die Balance zwischen atmosphärischen Elementen und treibender Intensität hervorhebt. Das Album fängt den unverkennbaren Stil der Band ein, mit Marks markanter Gitarrenarbeit, die stets präsent ist, und einem erneuten Fokus auf Unmittelbarkeit und roher Energie.

Für Ben steht 'Hex' für die tiefgreifende Wirkung von Musik, die Trost und Verbindung bietet. Schlagzeuger Chris Robyn fügt hinzu, dass das Album einen unaufhaltsamen Schwung hat, der mit Kraft und Absicht nach vorne drängt. Verwurzelt in Themen wie persönlicher Kampf, Authentizität und Widerstandsfähigkeit, ist 'Hex' die bisher kraftvollste und eindringlichste Veröffentlichung von Black Map.

3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

DMV-by-way-of-the-U.K. punk duo Teen Mortgage have announced their debut album, Devil Ultrasonic Dream, out May 9th on vinyl via Roadrunner Records.
Produced by the band alongside longtime collaborator Kenny Eaton, the album’s first single, “BOX,” is a two-minute sprint of seething defiance, packed with hooks and unrelenting energy.
The album’s title, Devil Ultrasonic Dream, leans into the 1980s-era satanic panic in rock and roll. “The Devil Ultrasonic Dream,” explains frontman James Guile, “is about realizing a fantasy that Christian fascists don’t understand or want you to have. The devil—Satan—has always been a symbol of counterculture.”
Originally from England, Guile had been toying with the Teen Mortgage project under various monikers for years, crafting a sound steeped in sociopolitical commentary and built for the mosh pit, heavily influenced by classic ’80s punk. After relocating to Maryland five years ago, he connected with drummer (and former nurse) Edward Barakauskas via a Craigslist ad. Since then, the duo have spent years building Teen Mortgage’s presence in the DMV scene. In between a global pandemic and Barakauskas serving as an ER frontline worker, they managed to drop an EP and a string of singles before signing to Roadrunner Records in 2024.
Teen Mortgage has earned support slots with a stacked list of artists, from Weezer, Smashing Pumpkins, OFF!, and Alkaline Trio and return to the UK in June to play Download Festival and support Weezer at their Halifax Piece Hall show.

Die Liverpooler RATS sind knallhart der Wahrheit und den Beats verpflichtet. Furchtlos, gelegentlich wild und häufig zärtlich kommt dieser mitreissende Pöbel auf der Debüt-LP "Rule The World" zusammen, nachdem die Single "Patsy Decline" (2021) ein neugieriges Publikum zu ihren lebhaften Liveshows lockte. Der direkte und optimistische Mix der Band aus unerschrockener lyrischer Ehrlichkeit und Crossover-Rock, R&B und Ska ist der Soundtrack des modernen innerstädtischen Grossbritanniens. Frontmann/Texter Joe Maddocks wird mit Mike Skinner (Jamie T, The Streets) verglichen, und die Band ergatterte einen frühen Supportslot für Liam Gallagher bei seinem Auftritt in der Royal Albert Hall 2022. Der gewundene Weg zu einem vollständigen Album wurde geduldig beschritten, RATS brauchten über zwei Jahre, um den Spass und die Wut ihrer prickelnden Liveshows auf Band zu bannen. "Es ist eine Mischung aus unseren individuellen Charakteren, die zusammenkommen", sagt Drummer Alan Phillips. "Da sind Lowells Dub und Ska, Joes scharfe, fast schon Hip-Hop-artige Texte, und dann sind da noch Mikey und Chris mit ihren mitreissenden Indie-Gitarrenriffs. Es ist eine Mischung aus den unterschiedlichsten Melodien in uns."

Originally released on Ben Chasny's own Pavilion imprint in 2011.

"I was invited by the Incubate Festival and the city of Tilburg to participate in an artist residency where I would explore the region’s unique chapels built for the Virgin Mary. After writing the music for about six months by drawing on memories of the encounters with the chapels and using techniques inspired by Gaston Bachelard’s Poetics Of Reverie, I flew back to Tilburg to perform the music at the Incubate Festival. We recorded the evening and I released the result on my Pavilion label. Each cover was hand painted white on white in the old Pavilion style. I created a stencil and used graphite powder to make the design that is inspired by the sun imagery in Athanasius Kircher diagrams."

Roadside chapels express the identity of the inhabitants of North Brabant, a Dutch province, bordering on Belgium. Roman Catholicism has been the dominant religion in this southern part of the Netherlands since the eighth century. For about a century and a half this religion was strongly suppressed. Only when the French revolutionaries preached freedom of belief around 1800 could the people of North Brabant exercise their faith again. This was the start of a very strong emancipatory development from which a special form of the Roman Catholic faith arose that fully determined everyday life of the people here. This faith was the determining factor in life and the measure of all things. After the second Vatican Council (1962-1965) the reins of the catholic faith in Brabant were loosened as well. This was the start of a revolutionary process of secularisation. Within a decade hardly anything was left of the almighty influence of the Roman Catholic Church and this situation has lasted up to the present day.

In spite of the almightiness of the official, Vatican ruled, Roman Catholic faith, North Brabant has always and perhaps notoriously fostered an undercurrent of popular belief as well. This is a kind of belief in which elements of the official faith and age-old pre-Christian traditions are combined. Worshipping relics, holding pilgrimages and processions, the use of water from holy wells, popular art, recitations and songs, festivals, rituals, folk traditions, superstition and the like are all examples of popular devotion. These matters have strongly influenced and formed the identity of the present-day population of North Brabant. It is part of their immaterial heritage.

An obvious and still very much visible form of popular devotion are the roadside chapels. In Brabant some 400 can be found, most of which have been devoted to Mary. Chapels are small buildings in which Mary or other saints are worshipped. They can be found within villages or towns or in natural surroundings. Always at the finest spots! The beauty of the environment adds a primary religious or mystical feeling to the visitor. Local people attach great value to their chapels. In spite of the overall secularisation in society they are still at the centre of cultural and social life. Where people in North Brabant can hardly be found in the churches nowadays, this doesn’t mean at all they are no longer religious. On the contrary, religious feelings are perhaps stronger than ever, but now people have to find their own expression of them. That’s why they fall back on the age-old popular belief in which chapels play an important role. We can even witness new forms of popular belief with chapels as their focal point. An example of this is the scattering of ashes of people who have been cremated. Chapels clearly also play a role in the lives of young people. On an average five new chapels are added every year.

I have studied the popular culture and belief and the identity of the inhabitants of North Brabant for over thirty years. I have published over forty books on these subjects. In 2010 I was approached by the organisation of the Incubate Festival in the North Brabant town of Tilburg. Their request was for me to lead the American composer and guitarist Ben Chasny around a number of chapels in the province devoted to Mary. He had been invited to North Brabant to write some new compositions. Ben Chasny then chose to be inspired by these chapels and that’s how we met. I was especially curious how an American would react to something as specific and small as a roadside chapel in North Brabant, since we tend to think here of (people in) America in terms of ‘big-bigger-biggest’. Would an inhabitant of this enormous country with this prevailing culture be able to grasp and respect the identity of some 2.5 million people in North Brabant with their chapels? The answer to this question lies hidden in the compositions he made and that can be listened to on this album. Yes, Ben Chasny has been able to convert the phenomenon of a simple chapel devoted to Mary into music. The physical and the spiritual have found each other. What a beautiful world…just listen! - Paul Spapens

Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth—an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal.

--

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
With the dying sun.

The mind has a thousand eyes,
And the heart but one:
Yet the light of a whole life dies
When love is done.

Francis William Bourdillon, 1899

--

All music composed, recorded & mixed by Panos Alexiadis
Spoken word on 'But One' & ‘Follower' by Fotini Stamatelopoulou
'The Night Has a Thousand Eyes' poem by Francis William Bourdillon
Mastered by Christophe Albertijn

Comes on Black & White Marbled Vinyl, complete with a printed inner sleeve featuring insightful liner notes. CHARLY RECORDS present the first ever reissue of the sought-after cult New York, gospel street opera, Free The Black Man’s Chains. The most intriguing, and certainly the most ambitious project on the city’s GSF label (see more stunning titles on GSF exclusively from Charly). The project had its roots in a trio of singles released by the mysterious Broad Street Gang in 1971. The first, on the Cougar label called “Fair Skin Man” and its two follow-ups “L-o-v-e Love” and the title track from the album “Free The Black Man's Chains”. Celebrated musicians on the sessions were Mitchell Rowe, Bobby Eli, Len Pakula, Daryl Hall, Ron Baker, Norman Harris, The Raelettes and strings arranged by Richie Rome. A project like Free The Black Man's Chains should have been perfect for the multi-media nature of GSF. The album could have led to a film in the way that it had for Jesus Christ Superstar, but instead like so many of the label's releases, the album failed to make its mark due to a lack of promotion. GSF would barely reach its second birthday before it – and its parent company – shut down. A Black Opera…

Scorpion Child wields a sound that hearkens back to when guitar rock ruled the airwaves and going to concerts was the ultimate main event. The Austin, TX quintet released its self-titled debut in 2013 via Nuclear Blast Records. The album landed at #26 on the Billboard Heatseekers Chart and #99 on the Billboard Hard Music Albums chart. Following its premiere by Eddie Trunk, iTunes named "Polygon Of Eyes" its "Single of the Week," and Scorpion Child earned a nomination for "Best New Band" at the Classic Rock Magazine presented "Classic Rock Awards." The group's second album, 2016's 'Acid Roulette' was recorded with GRAMMYr Award-nominated producer Chris "Frenchie" Smith Meat Puppets, _And You Will Know Us By The Trail of Dead and featured the fan-favourite tracks "Reaper's Danse", and "My Woman in Black". The band's new album, 'I Saw The End as it Passed Right Through Me', is set for release on February 14 '25. Austin, Texas band, Scorpion Child, plays dark rock and roll that blends haunting themes and atmospheric melodies; the group's unique fusion of post-punk, hard rock, and brooding aesthetic has garnered it a dedicated fanbase. On the heels of a multi-year reinvigoration, the unit returns in 2024, galvanized with a fortified lineup and renewed dedication. The first taste of what the strengthened Scorpion Child delivers lies in wait with the new single, "Outliers", a powerful punch of a song, filled with introspective lyrics, that perfectly encapsulates the band's distinct style. "Outliers" was recorded at Austin's Point West Recording with Charles Godfrey (Black Angels, The Mountain Goats) and represents the first official new music from Scorpion Child since the 2016 release of its full-length LP, 'Acid Roulette' (Nuclear Blast Records). "Outliers" will appear on Scorpion Child's impending new album, 'I Saw The End as it Passed Right Through Me', slated for an early 2025 release date via Noize In The Attic. With the drop of "Outliers" comes the track's accompanying music video; stream Scorpion Child's "Outliers" now at this location. "Outliers" deep dives into the organizational use of fear tactics and the related, unknown forces that we are supposed to run from, or conform to," offers Scorpion Child vocalist Aryn Jonathan Black. "The song is a look into the thought that "they" are always watching us and that we should play the same game from our POV in the shadows." The vinyl LP is milky clear.

A double shot of stone-cold classic remixes taking on two unquestionable anthems, David Morales Presents The Face 'Needin' U' and FPI Project 'Rich In Paradise (Going Back To My Roots)' available for the first time ever on vinyl via Snatch! Records.

DJ Support:

Mousse T
Weiss
DE LA SWING
Michael Bibi
Franky Rizardo
Richy Ahmed
Tom Findlay Groove Armada
Hot Since 82
Chris Lake

It's been a long time between drinks for German band Bambi Davidson. "Brunswick", their first outing on Claremont 56, is their first recorded output for 15 years.
It's something of a triumphant return, too. Last time we heard
from them, back in 2000, they were a 'post minimal rock'
duo comprising of guitarist/vocalist Robin van Velzen and
drummer Hans Christian Fuss. A decade and a half of live
improvisation and a multitude of collaborations later, they
return as a Balearic rock four-piece. The band's newest
members, former Mountaineer man Frank Mollena and Sofia
Fuss, were asked to join following a particularly successful
series of live collaborations and improvisational jams.
"Brunswick", the first track from their soon-to-be-released sophomore set, is particularly special. It´s a 13-minute shuffle
through Balearic post-rock territory, with Van Velzen's weary,
emotional vocals riding a wave of vibrant colours, backwards
Hazy, intoxicating and evocative, it sounds like a horizontal
anthem in the making.
One sided, hand numbered, limited to 500

For the quartet led by NIGHTRAGE frontman Konstantinos Togas, 2025 is shaping up to be a stellar year. In February, Greek progressive metallers HERTA toured Eastern Europe. On May 2, 2025, the playful Athens-based group will release their debut album, “Crossing The Illusion” (LIFEFORCE RECORDS). HERTA’s sound is characterized by groove- and rhythm-driven compositions that continually offer surprises and fresh impressions. Despite the complexity and technical prowess of their music, the songs remain accessible and catchy. The band’s keen sense of atmosphere and melody shines through, creating ten eventful tracks that captivate listeners from start to finish. “Crossing The Illusion” immediately enchants with its sophisticated creativity. The band delivers impressively majestic songs that blend heaviness and pathos in a compelling mix. Guest appearances by Sakis Tolis (ROTTING CHRIST) and George Prokopiou (POEM/MOTHER OF MILLIONS) further attest to HERTA’s approach to expanding the variability and complexity of their prog metal continuously. The album was produced and mixed by Fotis Benardo at Devasoundz Studios and mastered by Johann Meyer at Silver Cord Studios. FFO: GOJIRA, LAMB OF GOD, MASTODON and MACHINE HEAD

We are proud to present the first official reworks of the disco/jazz-funk masterpiece Trip To Your Mind - now available for the first time with a picture cover featuring a classic shot of composer Reginald Hudson on the front.

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, though its true origins remained a mystery. While recorded at London's Advision Studio, Hudson People were neither local nor British - a fact first uncovered with its official 2022 reissue on Backatcha Records. In interviews with label owner DJ Scientist, Reg Hudson revealed that the backing band behind his composition was Body Heat, a GI group based in Germany. The recording, believed to date back to around 1977, remained shelved for some time. By the time it was finally released in 1979, Body Heat was on the verge of disbanding, leading to the track being credited to Hudson People. Since then, Trip To Your Mind has been heavily bootlegged and compiled since the late '90s, cementing its status as an in-demand classic.

For our rework release, the A-side features a brilliant DJ-friendly edit by Delfonic, based on the original Hithouse mix. Unlike the later Ensign Records remix, this version starts with an 8 bar intro crescendo that was missing from subsequent reworks. When we approached Delfonic about reworking the track, he was immediately hooked - especially since he had already started an edit years ago but never completed it. His version builds tension through an extended intro before leading into the beloved vocal line: "Take a trip through your mind, surprises you will find." Delfonic's masterful editing ensures the track keeps listeners engaged until the very end.

The B-side features a rework by Italian DJ and producer Luca Trevisi, aka LTJ Xperience. His version is based on the Ensign remix of "Trip To Your Mind" by Chris Hill and Robbie Vincent. Some may recall a slightly different, clubbier version of this rework, which was released by a UK label in 2010. That version became a sought-after gem - however, Hudson never received any payment from the label. When we reached out to Trevisi about an official re-release, he generously revisited his edit, resulting in a more organic and dynamic mix. His version will appeal not only to disco and funk lovers but also to house and club DJs. The new mix was mastered by Frederic Stader on an EMI TG124 - an iconic mixing desk, famously used at Abbey Road Studios.

Both edits preserve the psychedelic essence of the original while making it more compatible with modern listening habits. Pressed on a high-quality, loud-cut 12", this release is a must-have for any DJ's collection. It follows our label's GI-related releases by Grand Slam and "Shake It - Make It Loose" by J.D. Puma Lewis - another project that composer and keyboardist Reginald Hudson was involved in.

"Fimbulvinter" by Bjorn Riis: A Journey Through Darkness and Light... Named after the legendary long winter that heralds Ragnarok, a time of both destruction and rebirth. Bjorn Riis' new album Fimbulvinter is a profound and deeply personal work. Drawing from his own experiences with anxiety, Bjorn explores themes of hopelessness, paranoia, and despair, ultimately finding a spark of hope and gratitude in the darkness. "This isn't an autobiographical album," Bjorn explains, "but I wanted to share parts of my own journey and address a subject that I feel is both deeply important and still somewhat taboo." Musically, Fimbulvinter reflects Bjorn's diverse influences, blending the atmospheric and introspective tones of progressive rock with the energy and swagger of the hard rock bands he grew up with in the early '80s. Fans of Kiss, Black Sabbath, and classic progressive acts will find much to love in the album's rich soundscapes. From the driving, anthemic energy of "Gone" - a track made for blasting on the open road - to moments of introspection and monumental heaviness, Fimbulvinter is a dynamic journey through darkness and light. Bjorn takes centre stage on the album, performing all instruments and vocals, while also enlisting contributions from talented collaborators, including Henrik Bergan Fossum (Airbag), Arild Broter (Pymlico) and Kai Christoffersen on drums. Longtime partner and co-producer Vegard Kleftås Sleipnes also returns, ensuring the album's production is as impeccable as its compositions. With Fimbulvinter, Bjorn Riis once again demonstrates why he is a cornerstone of the progressive rock scene, delivering music that is as emotionally resonant as it is sonically captivating.