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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.