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Grisline is a fresh-born label exploring the balance between light and shadow — a sonic playground where genres blend, bend, and collide. Rooted in the pulse of electro, techno, and house, we’re drawn to contrasts, emotions, and movement, always in search of unexpected harmony.

Our first release comes from Fabrega & Christian, delivering four original tracks that chart a dynamic journey across the dancefloor. The title track, Dark Chai Bowl, opens with a groovy electro cut full of harmonic twists and crisp synth work, setting the tone for the ride ahead. Onda Vampiresca dives into darker territory, layering driving rhythms with flickers of brightness — a hypnotic blend for losing yourself in the moment. On the flip, Lilac Lebal ramps up the intensity with a percussive, floor-focused tool built for peak-time energy. Finally, Lampin’ (featuring Ku$h) winds things down with a smooth, atmospheric break — perfect for the after-hours or sunrise sets.

Cosey Fanni Tutti has announced details of a new album, 2t2, set for release on the artist’s own imprint, Conspiracy International, on 13 June 2025 on vinyl & CD. Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood. She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.” There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision. She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.”

The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Nach den Erfolgen des Merchcowboy Mixtapes Vol. 1 und Vol. 2 erscheint am 18. Juli 2025 der dritte Teil des Benefizsamplers. Dieses Mal unterstützt man #LeaveNoOneBehind sowie PRO ASYL und stellt sich so klar gegen Rechtsruck und Ausgrenzung und positioniert sich für bedingungslose Humanität. Unter anderen unterstützen Die Toten Hosen, Die Ärzte, Deichkind, Broilers, Heaven Shall Burn, Donots, Madsen, Grossstadtgeflüster, Sondaschule, Montreal, Deine Cousine, Juli, Ebow, Lara Hulo, H-Blockx, Heisskalt und viele weitere der bekanntesten Namen der deutschen, alternativen Musikszene das Projekt. Allesamt Bands und Künstler*innen, die politisch aktiv sind und sich für eine weltoffene, tolerante Gesellschaft einsetzen. Das Merchcowboy Mixtape Vol. 3 wird durch Musik Spenden für die Organisationen #LeaveNoOneBehind sowie PRO ASYL sammeln. Also genau die Organisationen, die sich täglich für die Förderung gelebter Demokratie, die Unterstützung von Geflüchteten sowie Bekämpfung von Faschismus einsetzen. Alle Bands und Künstler*innen verzich-ten hierbei auf Gagen - der Erlös aus dem Verkauf des Samplers wird vollständig zu gleichen Anteilen an beide Organisationen gespendet.

Legendary artist, Raincoats co-founder, songwriter, filmmaker, and feminist icon Gina Birch has announced her eagerly awaited second solo album, Trouble, arriving via Third Man Records on Friday, July 11. Pre-orders are available now.

Trouble is heralded by today’s premiere of the album’s blistering centerpiece, “Causing Trouble Again,” available for streaming now. An official music video – directed by famed photographer/filmmaker Dean Chalkley and featuring an all-star collective of fellow female artists including Birch’s longtime friend and co-founder of The Raincoats, Ana da Silva, Neo Naturists co-founder Christine Binnie, singer-songwriter Amy Rigby, X-Ray Spex and Essential Logic co-founder Lora Logic, painter Daisy Parris, artist Georgina Starr, writer Jill Westwood, multi-disciplinary artist and activist Bobby Baker, award-winning costume designer Annie Symons, veteran photographer and Raincoats collaborator Shirley O’Loughlin, and many more – is streaming now on YouTube.

“For the ‘Causing Trouble Again’ video, after hearing Bob Dylan sing about a white ladder all covered with water, I became obsessed with white ladders,” Gina Birch says. “ I decided to use five white ladders, three with seven rungs…I realized later that this references Jacob’s Ladder and a connection from Earth to heaven, but I think I was thinking of ladders as a symbol of getting on, getting up. I wanted to have a choreographed movement with four of us with these ladders. How do we move with ladders? Do we move together, do we fight, do we dance? “I also wanted to reference the wind scene from the film, The Colour of Pomegranates, and to include as many artist women from the Women in Revolt exhibition as I could.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Thanks to acclaimed live shows and radio appearances in both Norway and Germany, Heigh Chief has been steadily winning over a growing fan base with their high energy performances of songs from their first two albums. One Night Live solidifies their reputation as a formidable live band with incredible chops and songwriting skills. Their talent has earned them notable achievements, including winning the Notodden Blues Cup in 2013 and placing second in the Norwegian finals of the "Battle of the Bands." These successes helped them secure spots at the International Blues Challenge (IBC) in Memphis for two consecutive years, 2015 and 2016. The four-piece band brings serious talent to the stage - featuring none other than Norway"s top Hammond organ virtuoso, Lars Christian Narum. One Night Live is the band"s first live recording, and it doesn"t disappoint. Recorded in Norderstedt, Germany while the band was on tour in 2019, it"s an impressive testament to the band"s talents.

Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood.

She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.”

There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision.

She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.” The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Mit ihrem fünften Studioalbum machte die Band um Frontmann Nergal einen großen Schritt weg von ihren rohen und primitiven Anfängen. Es war ein wichtiger Meilenstein in der Entwicklung von Behemoth und führte mehr Elemente aus dem Death-MetalGenre ein, während sie sich als Komponisten und Musiker immer weiter von ihren traditionellen Black-Metal-Wurzeln entfernten und entwickelten.

The Spanish Queen (of the Piano)

She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.

When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.

Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.

Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.

Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.

Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.

As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."

Alicia De Larrocha, Piano

The Isle Of Lewis is the largest such of the Outer Hebrides archipelago, and a place where myth and folklore are abundant, The Callanish Stones, a cruciform circle reckoned by tradition to be the forms of petrified giants who would not convert to Christianity, once prompted notable chronicler of the ancient Julian Cope to pronounce himself “Lashed by wind and rain but surrounded by vibe”.

This was where Holy Scum decided to take a pilgrimage for the recording of their second album proper for Rocket Recordings, All We Have Is Never. Frustrated by the physical and logistical challenges keeping the band members from collaborating, they decided the best way forward was at the residential Black Bay Studios on Great Bernera, a two hour plus ferry ride from anywhere. “The isolation of Black Bay was our salvation, a much-needed cleanse after a year of relentless misfortune” reckons the band’s Peter Taylor. Taylor describes the Holy Scum approach jokingly as ‘No riffs’ yet this belies an ability to carve abstraction and minimalism into monolithic and ominous shapes. Whilst the band are as handy as ever with excoriating and ear-splitting experimentation - as on the feverish guitar scree that underpins the taut‘Thieves’ - they also excel in a grittily vital charge as analogous to the ballsy kinetics of Fugazi and The Ex (the primal ‘I Am The Land’) as the overcast catharsis of Killing Joke and Voivod (the infectious ‘Witches’). “The title is a nod to the fact that everything ends - good, bad, ugly, beautiful “ reflects vocalist Mike Mare (Dälek) of their most focused work to date. “That is not a bad thing - it is a rebirth every time. We can spend a lifetime 24/7 together having shared experiences but living separate realities”. “I don’t think it is nihilistic,” he adds. “The despair turns into hope for sure”.

WRWTFWW Records is very happy to release Swiss cult band Grauzone’s recording of their April 12th 1980 live show at Gaskessel in their hometown of Bern. The 9-track album, documenting the very beginnings of the group, is available as a limited edition white vinyl LP in heavy 350gsm sleeve with special artwork by band member Stephan Eicher.

Experience the early Grauzone days, live from Bern, Switzerland, with a concert recorded at legendary local venue Gaskessel, with Martin Eicher on guitar and vocals, Christian G.T. Trüssel on bass, Marco Repetto on drums, Stephan Eicher on synth, and Claudine Chirac on saxophone. The performance is a true time capsule of the early 80s underground, showcasing the punk side of Grauzone with renditions of songs that were never officially released, as well as future fan-favorite “Moskau”. A piece of Swiss music history, This limited release is a must have for all Grauzone fans and DIY archivists.

About Grauzone:

The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".

Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.

Jedes Album von BC Camplight hat eine Hintergrundgeschichte, die genauso fesselnd ist wie seine Musik. A Sober Conversation ist da nicht anders, denn der virtuose Songwriter und Pianist Brian Christinzio dokumentiert die letzten zwei Jahre seines Lebens, in denen er sich endlich einem schockierenden Kindheitstrauma stellt, während er sich der Nüchternheit verschreibt, um sein mutigstes und aufschlussreichstes Album zu schaffen. Es handelt sich um ein fesselndes, manchmal eindringliches Quasi-Konzeptalbum, das von schonungsloser tragikomischer Läuterung und erhabener, komplexer Melodik geprägt ist und lyrische Drehbücher mit schillernden Arrangements verbindet. Es ist BC Camplight auf dem Höhepunkt seiner bemerkenswerten Fähigkeiten.

A Sober Conversation folgt auf Christinzios Album aus dem Jahr 2023, das von der Kritik gefeierte The Last Rotation Of Earth (sein erstes Top-40-Album), ein Album, das sich um die quälende Trennung von seiner langjährigen Beziehung dreht. Es erhielt die enthusiastischsten Kritiken seiner Karriere – „Ein Meisterwerk“ (Sunday Times), „Meisterhaft“ (Uncut), „Eine außergewöhnliche Platte“ (MOJO) – und seine bisher größten Headline-Shows im Londoner Shepherd’s Bush Empire und in der Manchester Albert Hall. Doch selbst die zunehmende Anerkennung für das beachtliche Talent des Mannes kann die lange Geschichte seiner Depressionen nicht ausgleichen, und Christinzio gibt zu, dass es ein harter Kampf war, diesen Punkt in seinem Leben zu erreichen.

New Traditions is a collection of pipe music, electronic music, mouth music and folk music from five emerging and prominent Scottish artists.

It started in Sutherland with a recording of The Waters of Kylesku. “Do you learn any Gaelic at the school?” asks Hamish Henderson of Christine Stewart. “No,” she answers. “That’s a shame,” he responds, “Isn’t it?” she says. Then she sings. Her voice is of the peat itself, grown from the earth as the language was. It soars raptor-like above drenched ground and scoured pink rock.

Next, to Nancy Dorian, a linguistic missionary of sorts, who came from America to watch a language die. She charted the decline of Gaelic in a cluster of Sutherland villages from 1963 to 2020 when the terminal native speaker passed. Gaelic has origins in nature, with each letter of the alphabet named after a tree. It seems significant that the land of the north is now all-but devoid of forest.

Enter Alan Lomax, who travelled the world documenting indigenous music. Material from his archives feature on (fucking) Moby’s platinum selling Play. Despite the record’s worldwide commercial success we know very little of the music he essentially exploited.

Then musician Martyn Bennett, who built tracks around Lomax recordings of Scots and Gaelic voices, and did so with love that shared his blood with the cancer that killed him. His records both popularised and preserved obscure indigenous Scottish music.

This collection of tunes has similar intent: to consolidate ephemeral words in physical grooves - real as the rigs that still scar the earth - but also a desire to interpret. These versions have the greatest reverence for the originals at heart, but like the architecture of a great gallery, serve to protect and elevate.

Sea Blue Vinyl. John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

With solid training as a classical musician, Sophie Agnel took a close interest in modern jazz before committing in the early 90s to the shifting, deliciously uncertain ground of free improvisation, thanks to her fascination for the powers of expression displayed by a few great keyboard-heretics such as Keith Tippett, Fred Van Hove or Christine Wodrascka. She began reworking the prepared piano techniques imagined by John Cage and transformed her instrument into a sort of extended piano.

Coming from a Punk music background Joke Lanz started in the mid 80s to play Experimental- and Noise music. Best known for his internationally acclaimed project Sudden Infant, Lanz is presenting his work since 30 years all over the world. Born in Switzerland and currently operating out of Berlin, he is one of the most prolific and profound artists working in the border zones where performance and body art meet Improvisation and Noise.

Agnel and Lanz have performed stunning live shows as a duo, now their debut album is coming out on Klanggalerie. Turntables and piano, a unique combination that is a lot of fun!

Wytch Hazel's stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain's most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band's singer, guitarist, songwriter and mastermind Colin Hendra. "I'm really into the idea of an album," notes Colin. "I don't do mix-tapes, I don't listen to singles, I'm interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing." Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: "I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year," remarks the frontman. "This seems to be more of a hard rock album, where the last one was more rock-folk. It's definitely more rock than folk!" The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - "Exactly the same type of amp that Thin Lizzy would have used," beams Colin - a benefit of working in James Atkinson's Hand Of Law Studio, a converted gaolhouse in Leeds. "We knew there would be a lot more great gear, more amps, more options," enthuses Colin of this productive new work environment. "We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!" Wytch Hazel's proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: "It's used a lot in the Old Testament, people would travel somewhere to stay for a short period of time," explains Colin, comparing the idea to Wytch Hazel's development since Prelude. "We're going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it's a temporary stay. We'll be here for a while, then there will be something else. I'm always writing, it's a constant stream, but I'm always trying to raise the bar, because I don't want the next album to be not as good as the other ones!"

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Ein Mensch verbringt den ganzen Tag damit, eine Maschine zu bauen, nur damit sie ihn die ganze Nacht hindurch quält. Als ob das nicht schon verdreht genug wäre, gefällt es ihnen auch noch. Es gefällt ihnen sogar so gut, dass sie am Morgen verjüngt aufwachen und eifrig an der Maschine feilen, bis sie in ihrem Kopf perfekt läuft.
Dies ist die nächtliche Vision, die Cryptopsy zu ihrem neunten Album Nightmare inspiriert hat. "Hüte dich vor dem Scheinwerferlicht", warnt Sänger Matt McGachy, bevor "Dead Eyes Replete" mit einem schmerzerfüllten Breakdown vor deinen Augen aufblitzt. An Insatiable Violence spiegelt unsere toxische Beziehung zu den sozialen Medien wider, aber obwohl es unheimlich vorausschauend ist, ist das Album von den vielen Mutationen beeinflusst, die die Hall of Fame-Diskografie der Band geprägt haben. Inspiriert von einem Mukbang, der furchtbar schief gegangen ist, ist der gefräßige Opener "The Nimis Adoration" ein Sammelsurium an Blasts, Christian Donaldsons Fishhook-Riffs und einer kräftigen Portion Groove, der die Boxen zum Beben bringt.

Cryptopsy wissen, dass nicht jede brutale Technical-Death-Metal-Band lange genug durchhält, um nach 30 Jahren einen kanadischen Grammy zu gewinnen. Das Cover von "An Insatiable Violence" wurde von dem verstorbenen, großartigen Martin Lacroix gestaltet, der mit unheiligem Vergnügen über die frischen, fetthaltigen Tiefen von McGachys falschem Akkordschrei grölen würde. Ein anderer ehemaliger Sänger kehrt auf "Embrace the Nihility" zurück, um alle flüsternden Zweifel an seiner Vormachtstellung zu zerstören. Doch obwohl Cryptopsy bereits auf ihrem zweiten Studiowerk die Krone der abscheulichsten Death-Metal-Band für sich beansprucht haben, gehen sie immer noch an die Grenzen des Extremen.

Die Leadsingle des Albums rumpelt und knirscht zu Olivier Pinards schaurigen Bassschlägen - und doch erhebt "Until There's Nothing Left" im Kern den Anspruch, Cryptopsys größter Ohrwurm zu sein. Selbst Flo Mounier - der buchstäblich das Buch des extremen Metal-Drummings geschrieben hat - hat neue Techniken verfeinert, um die Blasphemie von An Insatiable Violence frisch zu halten. Zum Abschluss kommt "Malicious Needs" im Schneckentempo daher, bevor es wie eine Fledermaus in eine schwarze Rauchwolke aufsteigt.

Verbeugt euch vor der neuen Abscheulichkeit der Könige des extremen Metal.

FFO: Suffocation, Dying Fetus, Nile

Green vinyl, limited to 500 copies. Helheim, one of the founding pioneers of the Norwegian viking metal genre, are ready to release their 12th studio album "HrabnaR / Ad vesa". On this record, Helheim has made a split album with themselves. For the first time, the main songwriters V'gandr and H'grimnir have divided the album in two, where they solely take care of the vocals on the part they represent musically. This has resulted in two very different expressions - not uncommon for this band, but never as clearly as here. The first half, "Hrabnar", contains four stand-alone songs written by H'grimnir. The second part, "Ad vesa", is about the four components in Norse mythology that we know collectively as the human soul. In pre-Christian Norway, the concept of the soul was not a singular, unified entity, but a composite of many elements, of which the four key components were Fylgja, Hamr, Hugr, and Hamingja. Founded in 1992, Helheim are known and renowned all over the world for their authenticity and integrity when it comes to portraying their Norse heritage. Constantly growing and evolving, and staying clear of musical trends and fads, they've carved their own way for more than 30 years. This split album is no exception. Recorded in Duper and Solslottet Studio in 2024/2025, the album was engineered, produced, mixed and mastered by Iver Sandoy.

Die 1992 in London von Sänger und Songschreiber David Christian gegründete Band Comet Gain war ursprünglich inspiriert von den frühen Creation Records, Television Personalities und der Mod-Kultur. Comet Gain schöpften aus denselben Idealen wie Dexys, The Style Council oder Vic Godard und aus Traditionen wie der von The Velvet Underground, The Byrds und den 13th Floor Elevators. In den darauffolgenden Jahren veröffentlichte die Gruppe acht Alben auf so angesehenen Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP!. In diesen Veröffentlichungen vermischten sich französischer New Wave mit englischem Arbeiterherz, Riot Grrrl mit Acid Punk und Twee Pop mit Post-Punk und Northern Soul. Comet Gain überdauerten ihre Zeitgenossen und inspirierten eine neue Generation von DIY-Bands. Auf dieser Platte, Comet Gains zweitem regulären Album bei Tapete Records, hören wir David Christian (Stimme, Gitarre), Ben Philipson (Gitarre), Rachel Evans (Gesang), Robin Christian (Schlagzeug), Anne Laure Guillain (Keyboards) und Clientele-Bassist James Hornsey, mit zusätzlichen Gesangs-, Bläser- und Keyboard-Beiträgen von Produzent Sean Read (Dexys, Edwyn Collins, Rockingbirds).

“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….” That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.

Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin. The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.

The recipient of the 2023 American Piano Awards and Steinway Artist, pianist/composer Isaiah J. Thompson has become the first call for the greats such as John Pizzarelli, Steve Turre, Wynton Marsalis, Christian McBride and more! For his Mack Avenue debut, The Book of Isaiah: Modern Jazz Ministry, Thompson enlists legendary pianist Cyrus Chestnut to produce his 8-song autobiographical musical statement exploring faith, musicianship, race and humanity.

Eight years ago exactly, in April 2017, the Australian soon-to-be dark synth maestro Buzz Kull released his first full-length album Chroma via Burning Rose imprint.

The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer’s personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries. Since his debut, Dwyer has given the world tewo more album tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of goth electronics global underground.

With this dark gem being out of print for years now, it was time to bring it to life!

New run of 500 on black vinyl LP housed in reverse board jackets.

Die 1992 in London von Sänger und Songschreiber David Christian gegründete Band Comet Gain war ursprünglich inspiriert von den frühen Creation Records, Television Personalities und der Mod-Kultur. Comet Gain schöpften aus denselben Idealen wie Dexys, The Style Council oder Vic Godard und aus Traditionen wie der von The Velvet Underground, The Byrds und den 13th Floor Elevators. In den darauffolgenden Jahren veröffentlichte die Gruppe acht Alben auf so angesehenen Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP!. In diesen Veröffentlichungen vermischten sich französischer New Wave mit englischem Arbeiterherz, Riot Grrrl mit Acid Punk und Twee Pop mit Post-Punk und Northern Soul. Comet Gain überdauerten ihre Zeitgenossen und inspirierten eine neue Generation von DIY-Bands. Auf dieser Platte, Comet Gains zweitem regulären Album bei Tapete Records, hören wir David Christian (Stimme, Gitarre), Ben Philipson (Gitarre), Rachel Evans (Gesang), Robin Christian (Schlagzeug), Anne Laure Guillain (Keyboards) und Clientele-Bassist James Hornsey, mit zusätzlichen Gesangs-, Bläser- und Keyboard-Beiträgen von Produzent Sean Read (Dexys, Edwyn Collins, Rockingbirds).

One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind".



In this two-part album, as far as jazz is concerned, we will showcase, describe and celebrate exactly what was 'going on behind'. We see that music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical.



Our liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks we've chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome.



We chronicle the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain.



"Whether it's by improvisation in the African-American jazz tradition, or by a village kobza player standing on top of a damn hill - he feels connected to the stars."

Félicité Thösz is the eleventh studio album by French band Magma, and was originally released on the 3th of July 2012.

The album was Magma’s first studio release in 27 years to contain new material written after the band’s reformation in 1996.

“Félicité Thösz” was written during 2001-02 by Christian Vander, but only played live by the band from 2009. “Les hommes sont venus”

was written and performed in 1992 by Les Voix De Magma, and again in 1995 for the band’s 25th anniversary, then called “Tous Ensemble”.

Félicité Thösz is sung almost entirely in Magma’s constructed language Kobaïan, apart from a passage in

French named “Seule une fleur est venue au fond des bois en mon cœur (âme)”.

Félicité Thösz is now available as a remastered LP in a 3mm sleeve and contains an insert.

The record is cut at 45rpm for the ultimate audio experience.

Ting was released in 1992. The band decided to record the songs with mainly piano and percussion accompaniment. Hofstede put his guitar aside, Stips did not touch his extensive library of sounds and samples and Kloet did not played the drum-set, but played orchestral percussion instruments. Guest musicians were invited for most songs (mainly bass and cello) and on some songs 'Klangsteine' (musical stones), works of art by the Swiss sculptor Arthur Schneiter, were used. These stones could be played with mallets, which explains the title of the album. They could also be rubbed by hand to create a buzzing sound. On the album the entire band plays the stones, together with Schneiter and friend Swiss percussionist Fritz Hauser. The music is often quiet and melancholic, but also contains some strong pop songs, including the cheerful "Soap Bubble Box", the lyrics of which were inspired by the artist Joseph Cornell and the Nits classic "Cars And Cars". The lyrics are often introverted and/or abstract, even poetic and much less immediately understandable than on previous albums. Ting is available as a limited edition of 500 copies on silver coloured vinyl and includes an insert with additional pictures provided by the band.

180g schwarzes Vinyl

Tom Reinbrecht (sax), die beiden PassportɞMusiker Patrick Scales (bass) und Christian Lettner (drums), und Jan Eschke (keys) Sinnliches Kopfkino, das funky und beseelt ist

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

A Floor-Killer Cover by a UK Soul/Jazz Unit Now on 7-Inch!

The legendary mellow break classic Lowrell - "Mellow Mellow Right On" and the female free-soul masterpiece Gloria Scott - "(A Case Of) Too Much Love Makin'" are now available as covers on their first-ever 7-inch release. Formed in 1993, Paprika Soul is a unit led by Alan Barnes and Andrew Spiller, leaving their mark on the UK soul/jazz scene. Side A features a stunning cover of Lowrell's "Mellow Mellow Right On" (1979), with Christine Glen Cousee and Tim Whitnal delivering a smooth rendition titled "Mellow Mellow." Side B brings a soulful cover of the timeless masterpiece Gloria Scott's "(A Case Of) Too Much Love Makin'"(1974) performed passionately by Jacqui Hicks. This 7-inch is a must-have, guaranteed to set the dance floor alight on both sides!

"In 2020, Chick Corea—27-time GRAMMY® winner, National Endowment for the Arts Jazz Master, and one of the most iconic figures in jazz—hit the road with his powerhouse trio of Christian McBride and Brian Blade, and embarked on what would be his final tour. Candid Records and Chick Corea Productions proudly present the recordings from that tour as Trilogy 3, the third installment from this extraordinary group. This unforgettable double live album showcases their unparalleled chemistry and cements their legacy in contemporary jazz history.

With years of collaboration to draw from, 9-time GRAMMY®-winning bassist Christian McBride and 4-time GRAMMY®-winning drummer Brian Blade bring a profound musical connection to their work with Corea. Their longstanding partnership fuels a dynamic, ever-evolving soundscape that elevates the art of the jazz trio to new heights.

Following the critically acclaimed Trilogy (2013) and Trilogy 2 (2018) albums, which each earned two GRAMMY Awards® including Best Jazz Instrumental Album, Trilogy 3 marks yet another milestone for this celebrated ensemble. The release brings together live performances from their February-March 2020 tour, cut short by the onset of the pandemic, capturing the trio’s extraordinary interplay and artistic brilliance. The album features fresh interpretations of jazz standards and Chick Corea originals, including the first trio recording of Corea’s iconic composition ""Windows"" since its appearance on the album Now He Sings, Now He Sobs, nearly six decades ago.

Widely regarded as one of Chick’s most acclaimed ensembles, this trio has consistently pushed the boundaries of jazz with technical brilliance, playful camaraderie, and deep emotional resonance. Trilogy 3 invites listeners to join these masters on a journey through music that is both timeless and groundbreaking."

Tony Christie is proud to announce his first new album in over 12 years - ‘We Still Shine’. Released on 16th February 2024, it is from the heart and sees Tony go back to his love of country music, something he has been planning to do with long-time producer and close friend Graeme Pleeth for many years. Now available on WHITE vinyl, this record has been half-speed mastered to DMM for ultimate audio quality and pressed on heavyweight vinyl contained within a printed inner sleeve and gatefold outer sleeve.

Originally released in 1996 on Quarterstick Records, Music for Egon Schiele is the soundtrack to a piece of dance and theater that was debuted by the Itinerant Theater Guild, May 18, 1995, in Chicago. Based on the life of the romantic and controversial Viennese painter, Egon Schiele was written and directed by Stephan Mazurek, who headed the group of performing artists. Rachel Grimes composed this music and performed it with two string musicians during the run of the performance. The Rachel's began recording in April of 1991 in Baltimore, MD, under the direction of Christian Frederickson and Jason Noble (Rodan, Shipping News). Subsequently, they met and became close friends with Rachel Grimes. In September of 1994 after a few more city moves, band break-ups, and general melancholy they decided to become a full time band and complete their first record for Quarterstick Records, Handwriting. Music for Egon Schiele is their second LP and contains a more stripped down and immediate musical focus. These songs are not sparse, they're beautiful. They build, they crash, and they make you wish you knew more about life and they mysteries its holds.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

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.

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

Mit „Stärker“ setzt der erfolgreiche Sänger und Musiker einen weiteren Höhepunkt in seiner Karriere und zeigt sich in musikalischer wie auch persönlicher Hinsicht von seiner stärksten Seite. Der Titel des Albums, "Stärker," spiegelt die persönliche Entwicklung und die tiefe Resilienz wider, die der Künstler in den letzten Jahren erfahren hat. Fans können sich auf eine Mischung aus eingängigen Popmelodien, tiefgründigen Texten und kraftvollen Botschaften, aber auch auf emotionale Balladen freuen, die sowohl zum Tanzen als auch zum Nachdenken anregen. Ein Großteil des Albums wurde auch diesmal von Christian Geller produziert, aber zum ersten Mal hat Eloy auch andere Produzenten ins Boot geholt. Die Kölner Erfolgsproduzenten Weiß und Straßer, die auch u.a. bereits mit Andrea Berg zusammengearbeitet haben, haben auch vier Songs auf „Stärker“ produziert.

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.

Illusive Bristolian producer Claude Cooper returns with ‘Friendly Sounds Vol 1’; part psychedelic trip, part romping beat tape, part party. The album was inspired by the vinyl discoveries made from Cooper’s months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop. Cooper fed these myriad captured sounds through the studio and then, blurring the lines between sampling and performance, arranged and embellished them with keyboards, drum machines, bass guitar and more, also co-opting BEAK> bassist Billy Fuller and esteemed composer Ben Salisbury to contribute.

With most of the tracks in and out within 90 seconds, the album is best enjoyed as a continuous course. Play side A, play the B, then flip it back and listen all over again. Stand out moments include tremulous cut ‘n’ paste jam ‘Jackie’, the moody string-laden ‘Rainbow Eternity’, funky sitar workout ‘Nerd Nork’, and atmospheric closer ‘Take Flight’. Sharing a similarly broad and experimental sound palette as the likes The Avalanches, Madlib, The Go Team, and Edan; ‘Friendly Sounds Vol 1’ is the soundtrack to a wild joyride down South Bristol’s North Street, foot on the gas, hand on the horn, LPs spilling from the boot.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”. Called a "mysterious Bristol breaks scientist" by Lauren Laverne, BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Stuart Maconie, and Tom Ravenscroft have rinsed Cooper’s tracks, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.



‘Stay A While’, the first showing of Cooper’s new shop sampling stunners, was released on 7” in January ‘24. Lush string flourishes sliced with 6Ts girl-group vocals and rollicking piano chords resulted in a dreamy, end of night, lights up anthem in-the-making that The Arts Desk called “A horn-fired, beatsy, chop-around that recalls The Avalanches”. Releasing the album is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has released LPs by Alison Cotton, Floating World Pictures, Christian Madden & The Enemy Chorus, Nick Craft, as well as handling the War Child series of 7”s with BEAK>, Idles, J Dilla, PJ Harvey, Portishead, and Sleaford Mods + Hot Chip.



Claude Cooper will DJ at the one-day Friendly Festival on 10th May in aid of War Child, which will feature Sleaford Mods, Katy J Pearson, The 45s, Zalizo and DJ sets by Ishmael Ensemble, Heavenly Jukebox and Friendly Records DJs.

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

Seit ihrer Gründung im Jahr 1991 gehören Nightfall neben Rotting Christ und Septicflesh zu den Pionieren des griechischen Metal. Die legendäre Death-Metal-Band aus Athen klingt so rachsüchtig wie eh und je. Doch unterstützt von einer monumentalen Produktion und einer kraftvollen Botschaft ist ihr elftes Studioalbum ihr bisher düsterstes und epischstes Werk.
Wie ihre Zeitgenossen verweben Nightfall Gothic-Melodien mit geschwärztem Death Metal. Children of Eve enthält die infektiöseste Sammlung von Hooks, die die Band je geschaffen hat, dank des Mixings und Masterings von Jacob Hansen. Der maskierte Frontmann Efthimis Karadimas, bewaffnet mit Mantel und Dolch, befehligt die Leadsingle "I Hate" hinter Blastbeats, die wie ein Schwarm Pfeile fliegen.

Aber Children of Eve wäre nicht Nightfall, wenn sie nicht auch eine tiefere Botschaft hätten. Während "The Cannibal" vor göttlichem Tremolo-Picking nur so strotzt, geht es im Text darum, wie religiöse Strukturen und Fanatismus einen verschlingen können. "I hold the power / to explain your screams", heult Efthimis mit abschreckender Intensität.

FFO: Rotting Christ, Septicflesh, Behemoth, Paradise Lost, Amorphis, Moonspell

Seit ihrer Gründung im Jahr 1991 gehören Nightfall neben Rotting Christ und Septicflesh zu den Pionieren des griechischen Metal. Die legendäre Death-Metal-Band aus Athen klingt so rachsüchtig wie eh und je. Doch unterstützt von einer monumentalen Produktion und einer kraftvollen Botschaft ist ihr elftes Studioalbum ihr bisher düsterstes und epischstes Werk.
Wie ihre Zeitgenossen verweben Nightfall Gothic-Melodien mit geschwärztem Death Metal. Children of Eve enthält die infektiöseste Sammlung von Hooks, die die Band je geschaffen hat, dank des Mixings und Masterings von Jacob Hansen. Der maskierte Frontmann Efthimis Karadimas, bewaffnet mit Mantel und Dolch, befehligt die Leadsingle "I Hate" hinter Blastbeats, die wie ein Schwarm Pfeile fliegen.

Aber Children of Eve wäre nicht Nightfall, wenn sie nicht auch eine tiefere Botschaft hätten. Während "The Cannibal" vor göttlichem Tremolo-Picking nur so strotzt, geht es im Text darum, wie religiöse Strukturen und Fanatismus einen verschlingen können. "I hold the power / to explain your screams", heult Efthimis mit abschreckender Intensität.

FFO: Rotting Christ, Septicflesh, Behemoth, Paradise Lost, Amorphis, Moonspell

FIRE UP: Fifteen successful releases later, Anetha continues to fan the flames with MTY-FEU, an incandescent new compilation. Titled «Ils s’embrasèrent, réduits ensemble», the release stands for fusion and oneness.



Bursting from the depths of the earth, magma is devouring: melting hot techno, deep techno, fast techno, firestorms of trance, eruptions of hard groove, break, mental, smoldering experimental… MTY-FEU is a lava flow of boiling, vital energy, unstoppable and full of blistering textures.



During the Nuit Blanche (A1), we surrender. We, the offer. Our fire is combusting. Our feet, stomping.
Berserk, in a fury, there’s No End (C1) to this party. In a trance, Eternal Echoes (E2) beguiles us all, until we become one into the Molten Core (H2) of Inferno. Ils s’embrasèrent, réduits ensemble.

The incredibly talented visual artist FEMUR crafted the artwork by creating an AI-generated meta-crackle of fire. Diplomatie Studio handled the design while mastering was entrusted to Sixbitdeep, except for Anetha’s edit, where mix and mastering credits go to Le Dom. We’ve opted for bio-vinyls for this release, knowing that one day these records will return to ashes, only to rise again, like the phoenix.

DJ Support: Camelphat, Henry Saiz, Le Youth, Gabriel & Dresden, Above & Beyond/ABGT radio, Armin Van Buuren/A State of Trance radio, Just Her, Ruben du Ronde, Stephen Kirkwood, Paco Osuna, Mia Mendi, Christian Homan/RTE, Andi Durrant

A dynamic blend of futuristic house, trance, and breaks, infused with deep emotion. Inspired by the sounds of Bicep, Orbital, Pryda, and Trance Wax.

This 45 comprises two killer pop dancers with plenty of psych fuzz guitars, punchy horns and funky beats: the in-demand Christie Laume's mod anthem 'Rouge-Rouge' and Marta Kubisova's 'Tak Dej Se K Nám A Projdem Sv?t' a glorious LP-only song that has never available on a 45 before. Sister-in-law of Edith Piaf (who introduced her to the music business), Christie Laume became a ye-ye style singer in '60s France. Her mod anthem 'Rouge, Rouge' (1967) is a great song that never fails in making the dance floor shake, taken from a very rare and in-demand E.P. On the flipside we can find Marta Kubisová, one of the most popular singers in the Czech Republic in the '60s. Her 'Tak Dej Se K Nám A Projdem Sv?t' is a glorious LP-only song from 1969 that has never available on a 45 before. Expect heavy basslines, punchy horns and fuzzy guitars. Both songs are officially reissued here on a 45 for the first time.

" Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I - the production trio of Dean Honer, Jason Buckle and Richard Barrett (aka DJ Parrot).

" Part of the late nineties big beat / trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker.

" Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used 'Sounds' in recent years accruing 2.4 billion views and 162k creations.

" The follow up 'Walk Like A Panther' peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years.

" London Records have remastered & re-issued the cult-classic album :
1. for the very first time on vinyl ! As collector Red & Yellow Double LP.
2. with an expanded and remastered 2CD edition to boot, including rare b-sides from lost CD singles, new mixes from DJ Parrot and more.

Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

Hermon Mehari and Tony Tixier first met in 2010, in their early twenties, in a club on Paris's Rue des Lombards for a concert with saxophonist Rodolphe Lauretta. Over the next decade, the two musicians took opposite paths, while continuing to collaborate on two continents. The American trumpeter moved to France to discover European culture and the world cultures that coexist there, while the Parisian pianist of Martinican origin spent several years in the USA, immersing himself in the roots of jazz and Afro-American music.



In June 2024, the two musicians, who had been working for fifteen years on numerous albums and collaborations, and whose musical understanding had continued to be forged in clubs, festivals, and on recordings, met again for a duet at the TOC-TOC festival in the Puisaye region, where Antoine Rajon was a collaborator. Enthusiastic about the idea, the artistic director of the KOMOS label invited them back to his home in this corner of Burgundy to record this Fender Rhodes/trumpet formula. He called on sound engineer Christian Hierro, who traveled with his mobile studio for the album recording, then mixed and produced the master in his studio in Lyon, using the best analog equipment and his expert ear.



At dusk on November 12, 2024, the duo played eight tracks in a single, direct take on a 33-minute magnetic tape.



Four unusual cover versions were carefully chosen. "Maimoun" is a composition emblematic of pianist Stanley Cowell's style, also recorded by Marion Brown. George Duke's "The Black Messiah" was captured live by Cannonball Adderley's band on an album of the same name but has never been released as a studio version. "Hello To The Wind" was created by Bobby Hutcherson in 1969, sung by Eugene McDaniels. Finally, "Laini," dedicated by the great Martinican pianist Marius Cultier to one of his daughters, is a mazurka dear to Tony's heart.



Each of the musicians also contributed a composition: Hermon with "This Is Our Fantasy," written especially for the session, and Tony with "Poem For The Oppressed," a moving composition with an explicit title. Lastly, the duo improvised two tracks, without repetition, in mutual symbiosis and echo.

SOUL SONG captures a moment without enhancement, transformation, or additives, far removed from contemporary virtual technologies.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

Web Web mit ihrem sechsten Album in sieben Jahren und mit einem neuen Touch. Mehr psychedelisch, mitunter krautiger als zuvor.

Dazu haben sich WEB WEB diesmal (wieder) in Originalbesetzung (ohne Max Herre) einen besonderen Gast ausgesucht: JJ Whitefield (The Poets Of Rhythm / Karl Hector & The Malcouns / Syrup), der den fantastischen Gitarrensound beisteuert. Seine Riffs sind manchmal funky wie bei den Poets Of Rhythm oder Syrup, oder psychedelischer wie bei Karl Hector & The Malcouns oder seinen vielen Live- und Studioaufnahmen mit Embryo. Die Soundfarbe seiner Gitarre gibt dem Album den Schub in die wunderbare Atmosphäre spaciger Jazz-Kraut Bands der Siebziger. Das Konzept des Albums sollte das exakte Gegenteil zum vorigen WEB MAX Album (WEB MAX II) darstellen: Wieder zurück zu den (WEB WEB-) Wurzeln, mit spontanen, improvisierten Stücken, Fragmenten, Ideen, die größtmögliche Freiheit und Live Spirit bedeuten. Und genauso unvorhersehbar und improvisiert war auch die Idee, JJ Whitefield mit ins Boot zu holen: Einen Tag vor der Session dachte sich Roberto Di Gioia: "JJ und ich leben seit jeher in München. Wir sind uns aber leider nie wirklich über den Weg gelaufen. Ich bin ein großer Bewunderer seiner Kunst, seiner Musik, seiner Art zu spielen. Er ist so inspirierend, weil er keine Kompromisse eingeht. Er spielt auf seine so eigene Art und Weise, er ist keine Kopie von irgendwem und irgendwas."

Die 14 Kompositionen entstanden an zwei Tagen, aufgenommen von Jan Krause (Beanfield) in München. Die energetische Live-Session ging über zweimal 10 Stunden, und alle - Roberto Di Gioia (Rhodes, Fender Precision Bass, Moog, Mellotron, Percussion), Christian von Kaphengst (Fender Precision Bass, Rhodes), Peter Gall (Drums, Percussion, Fender Rhodes), Tony Lakatos (Tenorsaxophon, Querflöte) - waren bis ins Mark "on fire". Dabei wechselten die Musiker die Instrumente, um einen vollkommen anderen Gesamtklang zu erzeugen: Kaphengst am Fender Rhodes klingt anders als Roberto, sein Spiel hat einen anderen harmonischen Aufbau, und Roberto am Bass kennt man von zahlreichen Max Herre Aufnahmen, oder von Till Brönners Album "Till Brönner", und natürlich auch bei dem von ihm produzierten "Let Yourself Be Loved" von Joy Denalane, das auf Motown Records erschienen ist.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.
Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.
Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings. 
And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp. 

Das vierte Album der schwedischen Blues Rock Freaks featɍ Christian Carlsson (The Quill)
Produziert vom Gitarristen Franco Santunione (Electric BoysɎ Glory Bells Band)
Erhältlich als Digipak und schwarzes Vinyl

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

The legendary NYC label Nu Groove commits another pair of releases to wax, this time featuring recent tracks from Swiss producer Deetron and underground house staple Bruise. Inspired by the soulful techno and house birthed in Detroit, Deetron relaunched Nu Groove alongside NYC house legend Jovonn in 2021 before returning with a two-track release in 2023.

The lead, ‘Runnin’’, offers sharp house built from the creative use of loops and noise manipulation, while ‘AM_909’ is noted for its more dreamlike quality. Two tracks from Bruise’s Nu Groove debut ‘Transit EP’ follow, as the Birmingham born producer Christian Campbell delivers ‘Sway’, aptly named for its low-slung beats and ethereal builds, while ‘Getup’ is more reminiscent of gems from the original Nu Groove catalogue.