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Erupt returns with another explosive release in the "Unrest Hazard" series, bringing together a diverse lineup of artists to showcase the best of hardcore, jungle, and drum n bass. Wild Swan, formerly Ugly Duckling, teams up with Mr Dan Master for the frenzied track "*int," while Kool FM regulars Subbreak, D-Region, and Code deliver a pounding remix of "Industry Plant." DJ Terrace and Jon Tetly contribute hardcore jungle tracks "Doing Battle" and "I Get Stu Pid," adding to the record's intensity.

Schoco also makes a return with "Love Is The Answer," a track previously championed by Dead Man's Chest on SWU.FM, now finally getting its vinyl debut. For collectors, the vinyl release includes the exclusive track "Doing Battle." Survive the eruption and make your way to Amsterdam to secure a copy of this must-have release.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

black vinyl ltd. to 200 copies incl. album download code. Neun neue Songs + Interludes auf, die euch die Falten aus dem Hintern bügeln werden. Diese fast 50 Minuten feinster, eigenständiger, brutaler, technisch- klassischer Death Metal hören zusammengefasst auf den Albumtitel "From Origin To Decay" und werden als CD, LP sowie in digitaler Form am 22.11.2024 via FDA Records (Vertrieb: Cargo Records) veröffentlicht. Alles wurde einmal erschaffen. Und alles wird vergehen. Und aus allem Verfall kann eine neue Schöpfung entstehen. Dieses Thema findet sich in den Stories der 9 neuen MAAT Songs, die sorgfältig mit 2 separaten atmosphärischen Zwischenspielen arrangiert sind, um einen Klangfluss zu erzeugen. Von der lyrischen Seite werden philosophische Fragen des Werdens, Seins und Vergehens gestellt, indem lyrische Bilder und Stilmittel verwendet werden, die von der Mythologie und Geschichte des alten Ägyptens und des orientalischen Raums inspiriert sind. Textlich und musikalisch dreht sich das Album um den Haupttrack "Perennial Bliss", der das innere Selbst innerhalb von Zeit und Raum und außerhalb von beidem reflektiert. ,From Origin To Decay' ist extrem empfehlenswert for Fans von NILE oder BEHEMOTH. Alle Songs und Lyrics wurden von MAAT geschrieben und im Soundlodge Studio von Jörg Uken aufgenommen, gemischt und gemastert. Jörg hat bereits mit vielen Künstlern wie God Dethroned, Slaughterday, Keitzer oder Anvil zusammengearbeitet.

Die Franzosen Bryan's Magic Tears sind jetzt bester Shoegaze/Baggy/Madchester! Sommer der Liebe: den ersten haben sie nicht miterlebt, den zweiten haben sie studiert und den nächsten verplanen sie schon. Bryan's Magic Tears veröffentlichen ihr neues Album, Smoke and Mirrors, auf Born Bad. Auf den früheren Alben 4AM und Vacuum Sealed noch im Zentrum, rückt ihr Garagen-/Lärmvermächtnis ein wenig zur Seite, ohne ganz Abhanden zu kommen. Sie schwärmen von modischen Shoegaze-Oldies und geben gleichzeitig zu, dass es eine Vorliebe für All Saints haben. Der Name des neuen Albums ist treffend gewählt, denn es macht sich über Stadionmusik lustig und respektiert gleichzeitig deren Codes. Sieht aus und klingt, als hätte Shaun Ryder Liam Gallagher gegessen, schamlos Hits rausgehauen und sich dabei auf eine gut gebaute Soundwand gestützt. Die Platte ist stark von diesem typischen 90er-Shuffle-Beat geprägt, mit der die Band schon geflirtet hat...aber jetzt ist man ein Paar. Zwei Drittel der Tracks haben diesen Groove. Dazu ein Synth-Intro, dass wie ein Acid-Flashback von Underworlds ,Born Slippy" daherkommt. Das erspart den Franzosen eine Reise über den Ärmelkanal. BMT ist immer noch eine gitarrenlastige Band, aber mit einer ordentlichen und effeltvollen Trick- und Werkzeugkiste. Diese Platte, die sich von The Velvets zu Ride bewegt, bietet einen fetten Sound, der wie geschaffen ist, um die Arme auszubreiten, mit dem Kopf zu wippen und auf Festivals den Boden festzutanzen. Immer noch Musik, um Drogen zu nehmen, um Musik zu machen, um Drogen zu nehmen, um Musik zu hören.

After two highly acclaimed EPs and a number of collaborations, singer, songwriter and melodist Enchantée Julia opens a new chapter in her career with ONZE, a debut album with a carefully matured groove on which she blazes a trail in France, between neo-soul intentions and R&B inflections. Or the art of grooving a French language that's not always all-terrain, of marrying a certain lyricism inherited from chanson with the rhythmic and melodic codes of contemporary soul with Anglo-Saxon roots.

Such is the promise kept by Enchantée Julia on this album, recorded between south-east France and the Noble studio in Paris - where sound engineer Clément Caritg (Luidji, Lala &ce, Lossapardo...) helped meticulously shape the sonic identity of the 11 tracks, 8 of which are produced (or co-produced) by the young and highly visible multi-instrumentalist LaBlue. With her pure, celestial voice, set against sophisticated arrangements, she recounts her most intimate emotional torments in an unvarnished yet poetic way.

Brown eco cover with hand stamped logo - limited edition of hand numbered 100 copies of black vinyl.

The album "LIVE" is a record of a concert from January 2024 promoting the band's latest album, "No Codes".

It is a departure from traditional forms and a certain correctness characteristic of studio situations. Instead, there is a lot of energy, improvisation and carefree fun flowing from contact with the audience, seasoned with rock claw and freedom of expression. It is a pass to the world of P.Unity as it is in its essence - a character that until now could only be captured during live performances.

Now you can experience it in any place and time of your choice.

a centrifugal spin collapses inward
sucked into the ground
vibrating with the quake beneath the crust
the folding repeats itself in time
an echo amid the buildings of a primordial era

with closed eyes
the shapes begin to take form
in the debris
objects clump together into conglomerates

a scream
trapped in water-retaining cells
the moss that embeds itself after
a short passage of time
you talk back
but I can’t hear you

something springs forth
somewhere

a remnant that remains

—
Strange Meridians is an album by multidisciplinary artist upsammy. It is released by adventurous electronic music label topo2 on November 21, 2024. The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release. Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Thessa Torsing and Kees de Klein. Poetry by Thessa Torsing with editing by Eelco Couvreur.

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

BigʼN was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018, BigʼN recorded and released a new EP, Knife of Sin, via Computer Students™. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. BigʼN is back once again with a ruthless new album, End Comes Too Soon — their first in 28 years — released via Computer Student. It's all still here as present and disciplined as ever — Brianʼs powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fredʼs metallic superstructure of a bass that builds the defined framework of the music, Toddʼs clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akinsʼ yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, BigʼN were shocked and devastated. End Comes Too Soonʼs title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions — and there are six here, under the common code "XMSN."

Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven photographs, and a multi-sensory, multiple channel live performance, Willits has created something which might better be thought of as an experience than a simple album. OPENING features Willits latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and his recent production and mastering work on Tychos Awake. The vibrant, enveloping sounds we have come to expect from him are on full display. The vinyl LP includes a download code.

Diamond D is back with his 3rd installment of his Diam Piece series, The Diam Piece 3: Initium. Vol. 3 will be broken down into 3 separate parts with Initium being the 1st of 3.

With Diamond on the tracks, Initium boasts features from KRS-One, RJ Payne, Skyzoo, Torae, Bishop Lamont, Sauce Money, Lord Tariq, Fat Man Scoop, Static The Prodigy, Royal Flush, Agallah, David Bars, Inspectah Deck, Shyheim, 38 Spesh, E-A-Ski & Bonecrusher.

*Includes download code

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

Although he began his career as an artist as a producer, working on the hit ‘Le Code’ in 2017 with Ichon, Myth Syzer and Bonnie Banane, Muddy Monk's work today is far removed from hip-hop and closer to a mutant form of synthetic and romantic variety, sung in French. His debut album, Longue Ride, is a collection of songs about adventure, love, violence and the quest for a good life - themes which, for the young man, are all about overcoming his anxieties. So many subjects that he treats with a mechanical and desperate lyricism often close to that of another fan of powerful two-wheelers whose label was called Les Disques Motors: we're talking about the legendary Christophe.

Diese wegweisende Zusammenstellung setzt die Entfaltung teuflisch obskurer, aber kulturell und künstlerisch wichtiger Aufnahmen fort, die verborgen waren und am Rande des Verfalls schwebten. Zum ersten Mal präsentiert Tramp Records eine "rein deutsche" Version der Peace Chant-Reihe mit Linernotes in deutscher Sprache und einem Download-Link zur englischen Übersetzung.

Ende der 1960er begannen viele deutsche Musiker damit zu experimentieren, Jazz, Rock, Pop, elektronische und Weltmusik mit einem härteren, aggressiveren Sound zu verschmelzen. Ursprünglich "kosmische Musik" genannt, sollte die Bewegung dem Kaleidoskop von Klängen weichen, das heute als Krautrock bekannt ist. Insbesondere die Phase zwischen den Mitt-70ern bis Mitt-80ern war eine äusserst fruchtbare Zeit. Obwohl sich die Peace Chant-Reihe hauptsächlich auf Amateurbands, Privatpressungen und verschollene Acetatplatten konzentriert, haben viele der vertretenen Künstler ihre Spuren in der deutschen und internationalen Musikszene hinterlassen und mit vielen der Giganten der Bewegung gespielt. - Joel Ricci, August 2024

Sämtliche Titel erscheinen zum ersten Mal auf LP-Vinyl. Schwarzes Vinyl im Gatefold mit detaillierten Linernotes, unveröffentlichten Fotos und Download-Code.

blauweiß marmoriertes Vinyl m. Download Code. "Transition" (der Übergang) fasst als Titel die Bedeutung des Albums für die Wuppertaler Shoegazer Casino Garden bestens zusammen. Bisheriger Live-Drummer Jonas Schoelen löst Gründungsmitglied Alex Alaimo Di Loro ab, David Burdina ergänzt Sänger Matthias Ballke an der zweiten Gitarre, zur Single "Pretend" wird das erste professionelle Musikvideo gedreht und Jo Philippi (Vandermeer) und die Schall und Wahn Studios sorgen für die erste professionelle Albumproduktion. Mit diesem Album verabschieden sich Casino Garden von ihrem DIY-Image und machen einen großen Schritt in Richtung Erwachsenwerden. Das Soundspektrum reicht auf "Transition" vom grungigen Shoegaze über wuchtigen Postrock bis hin zu lupenreinem Indierock.

2024 Repress

Zeta Reticula makes his Censor debut with Star’s Wobble EP. The A side starts with the EP title track with rushing leads, arps and a distinct energy that ZR is known for, all held together with electronic clangs and atmospheres adding tension to the mix.

Next is Planet’s surface which has a murkier and tougher sound, jumping between broken beats and 4/4 electro territory in sections that creates a twisting, turning wormhole straight to the galaxy from which it was made. Unaided Eye is the final track of the A with a deeper and more drum focused mix intertwined with tripped out pads and fx.

On the flip, Sync 24 & Alex Jann take care of the title track remix adding a rushing bass, claustrophobic edits, builds and impacts that the pair are known for respectively. Francois Dillinger brings the B-Side to a close with a sparse stripped back electro sound adding almost a down-tempo alternative to Zeta Reticula’s original.

This is Censor’s 5th vinyl release following on from London Modular Alliance, Assembler Code and Alex Jann.

Mastered by Alden Tyrell
All tracks Uroš Umek
Remix P by Sync 24 & Alex Jann (Star’s Wobble Remix) // Francois Dillinger (Planet’s Surface Remix)

Bonus 7”
A. Rincón de Luna (2.55)*
B. Voices (2.34)*

Singer/Songwriter Juliet Lawson’s album, ‘Boo’, was released on the Sovereign label in the UK in 1972. The album was the confident debut of a young British artist and featured twelve of Lawson’s own compositions.

In the same wave of early 1970s English singer-songwriters such as Nick Drake, Vashti Bunyan, Christine McVie and despite being described at the time as ‘Britain’s answer to Joni Mitchell’ ‘Boo’ was to prove her only major label release with limited commercial success.
Over the next 50 years the album’s reputation has slowly grown and is today an expensive and collectible item. ‘Boo’ is presented here in its entirety.

The first pressing of the vinyl edition of the album also come with a bonus 7-inch single featuring two early demo tracks produced by ex-Yardbirds founder Paul Samwell-Smith, who also produced Carly Simon and Cat Stevens. Special Limited-Edition Album with bonus 7” Single + Download Code.

Includes interview with Juliet Lawson and exclusive photography.

The poet, producer and visual artist Ramuntcho Matta is coming back to music with 96. 96 – as 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album.

He was the man behind the success of Eli Medeiros’ Toi mon toit. As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry and many others. However this time he decided to put himself in the spotlight, with this record which sounds very 90s – with a wink to Bill Laswell for the bass – but still very contemporary. The album unveils a dark atmosphere, as if Bashung had lost himself in a Lynch film.

Alongside the album release, Ramuntcho Matta and Akuphone have decided to make the entire discography of the artist available on Bandcamp. Each Friday since the beginning of this year, an album has been put online and made available for listening and downloading.

Record sleeve designed by Ramuntcho Matta. Unpublished notes and drawings from the artist’s logbook « Desseins du jour ». Downloading code