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For more than two decades alto saxophonist Marshall Allen has carried
on the legacy and sound of the Sun Ra Arkestra - He turned 98 in 2022
and as evidenced by Living Sky, his influence and leadership remain
undiminished
On the group's first recording since the pandemic and their Grammy nomination,
bandleader Marshall Allen and company give us something we can hold onto, an
instrumental album rich in spirituality to guide us through the unknown yet again.
The album includes the first studio recording of Sun Ra's elaboration of Frederic
Chopin's "Prelude in A Major", first instrumental recording of Ra's "Somebody
Else's Idea". Features Allen's "Day of the Living Sky", a meditative work that is a
belated response to Sun Ra's composition "Night of the Living Sky" which is also
featured in the album.
Cover art by Damon Locks. Mixed & mastered by two time Grammy winner Dave
Darlington.

For more than two decades alto saxophonist Marshall Allen has carried
on the legacy and sound of the Sun Ra Arkestra - He turned 98 in 2022
and as evidenced by Living Sky, his influence and leadership remain
undiminished
On the group's first recording since the pandemic and their Grammy nomination,
bandleader Marshall Allen and company give us something we can hold onto, an
instrumental album rich in spirituality to guide us through the unknown yet again.
The album includes the first studio recording of Sun Ra's elaboration of Frederic
Chopin's "Prelude in A Major", first instrumental recording of Ra's "Somebody
Else's Idea". Features Allen's "Day of the Living Sky", a meditative work that is a
belated response to Sun Ra's composition "Night of the Living Sky" which is also
featured in the album.
Cover art by Damon Locks. Mixed & mastered by two time Grammy winner Dave
Darlington.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Forest Swords' debut album 'Engravings' is back in print on vinyl and CD for the first time in years, newly remastered by Rashad Becker with previously unheard bonus tracks exclusive to this edition.

Created by electronic producer and composer Matthew Barnes, and originally released via Tri Angle Records, 'Engravings' received instant acclaim from the likes of Resident Advisor, Pitchfork, The Guardian and saw Barnes take his hypnotic live show across festivals like Sonar, Glastonbury, Unsound and Le Guess Who.

While much of British electronica is defined by its inner cities, 'Engravings' was recorded in Barnes' hometown on the banks of an ancient river in Merseyside, the album's earthy, organic soundscape reflected the landscape and climate: all silt and sandstone, woodlands and wind, with the ghosts of Liverpool's pop music and clubbing history echoing in the near distance.

The album was a prototype for a sonic vocabulary Barnes has expanded on over the next few years: in critically acclaimed studio albums ('Compassion' and 'Bolted' via Ninja Tune), collaborations with Massive Attack and Neneh Cherry, remixes for the likes of Bjork, as well as commissions for video games, ballet and film scores - of which he has carved a career as an in-demand composer and sound designer.

'Engravings' is a snapshot of an artist confidently defining their own language: a piece of work that distills influences like dub, ambient, rave, post-rock and psychedelia into an ancient-futurist musical vision that feels timeless and vital.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.

Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.

As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.

Making his first appearance on Flat White Records, NYC’s Malik Hendricks arrives with Stretching, a four-track EP that leans comfortably into the grey space between Deep House and Techno. Across three original cuts, Hendricks delivers warm, hypnotic, and quietly confident sounds that are unmistakably his own.

Rounding out the release is a remix from London-based, Spain-born producer Beringei. Known for his broken-beat excursions, Beringei with a 4x4 workout that still carries his unmistakable percussive touch, proving that even when stepping outside his usual lane, his identity remains firmly intact.

With previous releases on respected imprints like Eglo, Darker Than Wax, and Phuture Shock Muzik, Hendricks arrives in trusted company, thus making it an easy call to hand him the reins for our 15th release.

Born in the ’80s and raised in the ’90s, Malik Hendricks is a product of transatlantic club culture, drawing inspiration from Detroit’s futurism, New York’s grit, and the UK’s rhythmic experimentation. A DJ for over a decade, he approaches music with an almost academic curiosity, seeing the dancefloor as a shared space for cultural exchange.

Recently, his work has caught the attention of heavyweights like Eli Escobar, Byron the Aquarius, James Bangura, and Roy Vision, all stepping in to remix his material. With Stretching, Hendricks continues to prove that subtlety, craft, and groove still go a very long way.

Early DJ Support from: Shy One, LDLDN, Louise Chen, Dam Swindle, LTJ Bukem, Christophe Salin, Franck Roger, Jazzanova, Mr Redley, Last Nubian, Glenn Davis, Seven Davis Jr, Stonie Blue, Stu Clark (WOLF), Adriatique, Marco Weibel, Mr Ties, Tereza, Cottam, Joyce Muniz + MORE

Following an extensive data-driven research initiative, overwhelming support has emerged for Khotin’s return to dance music duty. Here on KIND 013, four tracks have been compacted onto a single vinyl disc, delivering a considered dose of dusty drum machine house for all the dance floor enthusiasts out there.

Limited Silver Vinyl Repress!

Mexican brothers Soul Of Hex are back on Delusions Of Grandeur and deliver an absolute gem of an EP entitled Constellation. With recent releases on Underground Resistance (as Mano De Fuego) and an upcoming release on Kilometro 4.5 which features Mad Mike Banks and Kuniyuki it’s safe to say Soul Of Hex are keeping good company and have earned the respect they deserve through their talent, consistency and hard work.

Leading the charge we have Face Down which is an absolute barnstormer of a track which features a killer electric bass line and low slung dubby disco drums and twisted FX. Simple, powerful and funky AF!

Constellation is up next, picking up the BPM’s for a full on soulful piano house jam which features Javonntte and Mariana Phelts on vocals. Far from being a retro throwback, Soul Of Hex have successfully created a fresh and original slice of feel good, disco-influenced house music while doffing their caps to to the OG maestro Marshall Jefferson.

Next up is Dimension Spell which brings some full on funk vibes to the table courtesy of More Lotion’s heavy guitar work. Euphoric synth pads bring the deep ness while the stripped back beats and punchy Moog bassline ensure maximum dance floor pressure.

Closing out this brilliant EP we have Into The Night, a beast of a tune which fizzes with an understated energy thanks to it’s rolling, minimal groove. In your face syncopated Rhodes stabs skip around the disco drums while a repeating vocal sample brings that top line ear candy.

Die Gegenkultur-Ikone Hyd bringt ihr zweites Album raus, voll mit dynamischen, abwechslungsreichen Popsongs. Hyd holt ihre kreativen Freunde mit rein, um die Musik zu machen, darunter Hudson Mohawke, Sophie, Finn Keane (der gerade ein mega Jahr hinter sich hat als Produzent für Charli xcx), Marcus Andersson, Saint Patrick und Sophies Bruder Benny Long. Das Artwork wurde vom Fotografie-Phänomen Michael Bailey Gates aufgenommen, die Vinyl-Schallplatte wurde vom Produzenten umru gestaltet und die Musikvideos wurden vom Schauspieler Bobbi Salvor Menuez gedreht. Hayden modelt regelmäßig für Courreges, Junya Watanabe und Balenciaga und wird von der Company Gallery (NYC) für ihre visuelle Kunst vertreten. Hyd war auch der Gründer von QT, einem Performance-Kunstprojekt, das aus Hayden, Sophie und AG Cook zusammensetzt und bei XL Recordings unter Vertrag steht. Hyds neues Album beschäftigt sich damit, was es bedeutet, sich zwischen Formen zu bewegen, eine Form zu übernehmen und sich gleichzeitig in eine andere zu verwandeln; queere Ökosysteme der Fürsorge. ,Als ich 2017 mein Augenlicht verlor, begann ich, anders zu sehen. In völliger Dunkelheit wird dir klar, dass du über deinen Körper hinaus existierst. Da habe ich angefangen, dieses Material zu schreiben."

CBR009 by Hannah Addams & Cxma (Including Oxygeno Remix) Hannah Addams, Label Owner is back on the imprint after a long period of silence. First of many releases to come is a collaboration with Cxma.

This EP is the result of a whole life together in Sin City, a friendship longer than 30 years, thousands of moments, raves, parties, countless time sharing their love for music. 3 Original Mixes, Raw music, dirty bass lines, crazy random Synthe patterns. A style where both artists feel like at home. It is notorious how comfy they feel swimming on those seas. The EP gets to its maximum when a good old friend of
both, after listening to the tracks, realizes and decides he would love remixing one of them. Oxygeno Remix of "Danza de los ET" is adding the class and cleanness that was missing in the though original mixes.

An improvisational musician, composer and poet, Titi Robin has travelled extensively since the early 1980s – from Brittany to Catalonia, India to Morocco – crafting his own musical aesthetic. Throughout his journey, he has built bridges between his native Anjou, where he still resides, and the Gypsy cultures of many lands. Neither a compilation nor a mere summary, this selection offers a certain perspective on his body of work, which has earned him praises by luminaries like Peter Gabriel or Brian Eno.

Despite his many travels, it would be a mistake to view Titi Robin as an explorer of the "elsewhere". While he plays the guitar, the bouzouq, or the oud, he does not seek to imitate a Gypsy, Syrian, or Greek style; rather, he plays in a voice that is uniquely his own—a syncretism of his personal journey, from his teenage years playing at Moroccan community celebrations to his collaborations with Gypsy musicians from Southeast France and India. In Angers, in the Roseraie neighbourhood, he was immersed in the rhythms of Moroccan chaabi from an early age. Later, he frequented the gypsy neighbourhood of Saint-Jacques in Perpignan. These encounters nourished an aesthetic territory he likes to call ‘Titistan’, which includes Perpignan and Rajasthan. He views Mediterranean culture as "a bridge, a crossroads, a network of long-standing links woven between North and South, East and West." In this selection, you will hear the palmas marking the compas of the Catalan rumba; strings enveloping the melody of the bouzouq, answered at times by the clarinet or the kaval flute popular in the Balkans and Anatolia.

Produced between 1993 and 2011 these songs have been fully remastered and are presented here for the first time on vinyl, with extensive liner notes.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

"Imagine a classic singer/songwriter record loaded with the intimacy and grit reminiscent of Alex Chilton or Nikki Sudden." Shindig

Los Angeles singer-songwriter Tracy Bryant returns with his new album The Well, which is his first release since 2019’s critically acclaimed Hush. His fourth solo album, The Well marks a striking new chapter, trading his signature guitar-driven sound for piano-led songwriting that took root during the pandemic. The album was born out of one of the most turbulent periods of his life, written in the wake of his father’s sudden passing and birth of his first child. It was produced by longtime friend and compatriot Joo-Joo Ashworth at Studio 22 in Cypress Park, CA, and mastered by Dave Cooley at Elysian Masters. The nine songs are filled with raw emotion and driving motorik rhythm, telling tales of loss and love, relationships beginning and ending.
 
When the pandemic upended Bryant’s promotion for Hush and brought his 2019 European tour to a halt, he found himself at home rediscovering his musical roots at the piano, listening to Vince Guaraldi and Arthur Russell to take inspiration for the song structures. Without a band around, Bryant used the instrument to create both rhythm and melody, which resulted in a repetitive and precise backbeat, which was elevated when he began working with drummer Carmeron Gartung to rehearse the new songs. This different approach would define the style of The Well, creating an amalgamation of sounds with classic songwriting structures blended with post-punk, 90s indie, krautrock and psychedelia.
 
To produce the record, Bryant turned to Joo-Joo Ashworth, who share a friendship stretching back to 2011 (when Joo Joo was only 18) when both of their bands, Corners and Froth, were at the forefront of the bourgeoning Los Angeles/Echo Park music scene of the time and embarked on their first national tours together. Ashworth, who has since become one of underground music’s most respected producers, recorded the album throughout 2024/2025 on half inch tape at Studio 22 in Cypress Park, California, giving The Well a warm, considered sound that matches the weight of its subject matter.
 
The album’s emotional core was forged by two significant life events arriving in close succession. In January 2022, Bryant’s father passed away unexpectedly at the age of 67. Just three months later, Tracy and his wife welcomed their first child. The Well is a direct result of those experiences, a songwriter processing grief and joy, endings and beginnings in real time. 
 
The nine songs take the listener on a meticulously crafted journey through the nooks and crannies of Bryant’s mind. Spanning 37 minutes, the album is an exploration of classic songwriting elements moving fluidly between driving beat punk, like “Weight” and “Widow”, and more melancholic tracks like “Halfway” and “Danny”. Album opener “Cold Floor” sets the tone immediately, Bryant’s lyrics confronting the day of his father’s death with unflinching directness – the breezy California piano sound is in direct contrast to the heavy theme. The Bowie-esque title track is perhaps the album’s most expansive moment – a fully realised epic composed with a dynamic flare. 
 
 The Well feels like an arrival. Dramatic and expansive, it is a true, visceral reflection of the life changing events that altered the course of Bryant’s life. Fans will be surprised by the heavy focus on piano but they will welcome the change as a bold turning point for an artist who has lived long enough to know exactly what he wants to say. 

Some previous press:

"feels like a slice of California, down to its ringing post-surf guitars and bright melodies, but cross-cut with a folk sensibility more aligned to the work of Elliot Smith or, on occasions, Conor Oberst." Uncut - lead album review

"…sees the Los Angeles rocker confront both the finer and uglier aspects of love and life, combining classic rock with psychedelic tinges and catchy melodies." Evening Standard 4*s

Foley steps forward with the inaugural 12” on Pyramid Fields — an EP rooted in nineties trance that delivers a sound that feels unearthed rather than recreated. Pulling from the Sasha & Digweed / early Paul van Dyk school, but cutting out the excess compared to classic trance, balancing groove and emotion in equal measure — controlled, melodic, and dialled in for the floor without losing its pull. Body Clinic returns on remix duties — recently featured as an emerging artist of 2025 by DJ Mag — sharpening the edges with a more direct, prog club-ready take — two distinct lanes, same forward momentum.

This tidy joint release between Future Rootz and Luchando Music compiles rare recordings from 1970s and 80s Cuba, all sourced from private archives and reel-to-reel tapes. This is the sort of selection to get serious diggers hot under the collar as it explores funk-driven arrangements, jazz-informed horn sections and rhythm-led compositions contoured with Afro-Cuban percussion. There is plenty of tape saturation and analogue noise present throughout that reinforces the archival origins of the music and instrumentation centres on brass, keys and layered percussion, with grooves built from syncopated patterns and live ensembles. Alongside the music, restored credits and contextual research foreground the musicians and recording histories behind these previously unavailable works. Do not sleep on this one.

The 12th studio album from Death Metal Veterans, JUNGLE ROT. DAVE MATRISE (Vocals/Guitars): "Let's start off by saying what an amazing accomplishment it is to hit 12 releases in my career. Never would I think I'd still be doing this 30+ years later. I guess be careful what you wish for I'm very grateful to all of our fans that have supported us for so many years and for never giving up on us. To my bandmates for all of their hard work and dedication to me and JRot over all these year’s. Cruel Face Of War will not disappoint. It's full of crushing grooves and violent hooks that will surely break anyone’s neck. We have stood the test of time. We are still here playing our trademark style of Oldschool Death Metal that has carved a legendary name for us in the underground scene today." Produced by Chris Djuricic at Bell City Sound Company. Mixed and Mastered by Dan Swano at Unisound Studio. Artwork and design by Gyula Havancsak

DYING VICTIMS PRODUCTIONS is proud to present the striking debut EP of Spain’s FABLE, Long Hath the Night Dwelt, on CD and 12” vinyl formats. FABLE started as a solo-project by Jose Soler (Phantom Spell, Chantrice) influenced by ‘70s and ‘80s hard rock and heavy metal – a list as varied and idiosyncratic as Thin Lizzy, Whitesnake, Pagan Altar, Ashbury, and Hällas – along with hints of old US metal. Duly girded, the band bring forth their public debut, Long Hath the Night Dwelt. An actually-narrated prelude sets the stage for a cautionary tale about class struggle and revolution, FABLE indeed using fables and stories as a medium to tell an expansive story of the woodsfolk dominated under the iron claw of “The Owl.” Despite that, the band’s debut EP is exceptionally compact at five tracks in 22 minutes, moving with a simmering patience that’s heavy on mood and dynamic in its restraint. Never overdriven nor busy, warm and intimate but with a psychic distance that seems impossibly ancient, FABLE very much evoke the perhaps-centuries-old folklore that seems so central to their rustic rock; the wise-sage vocals almost seem an afterthought when the narrative flow of the music starts winding and wending like smoke from a tavern fireplace, so illustrative is its hushed power. However, each element here is equally important, and all work together to form a totality that’s unfussy but hewn with class and care. And this is just the start of this FABLE: discover for yourself how Long Hath the Night Dwelt!

James Shinra continues his ‘Shinra Electro Company’ series with 4 acid-laced tracks exploring different aspects of his sound. Opener ‘Acid Every Day’ keeps it simple by combining hard hitting drums with a 303, while ‘Back’ adds a soulful touch with vocal snippets and dubby chords. On the B-side, 2 sub-rattling DJ tools.