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. It started in a cafe in Chico, California, with a flier, covered in glitter, wires, feathers, and assorted melted items, with a three-word advertisement: “Noise person wanted.” It wasn’t a sign. It was a sample. A tiny piece lifted from the visionary environment that the band XDS would continue building over the next couple of decades, hoarding an eclectic stockpile of collage materials/influences/approaches for assembling psychedelic dance-punk jams played with homemade instruments, blown-out samples, off-kilter drumming and dub baselines. Shoko Horikawa had come from Japan to (the small, music-crazy college town) Chico for school, and responded to Jesse Hall’s mysterious flier and a pitch to collaborate on making interesting sounds. The partnership would end up featuring her syncopated polyrhythmic drums alongside his vocals (through a duct tape-and-PVC-pipe mic) and custom-built Guitar-o-bass, plus synths/samplers and various noise-making devices. The two-piece Experimental Dental School eventually morphed into XDS as the duo moved the operation from Chico to Oakland to Portland and back to Chico, touring the world (playing alongside the likes of Deerhoof and other innovators) and releasing 11 recordings (on Cochon Records, German label TCWGA, etc.) as they went. On the new XDS album, Bicycle Ripper, the band’s genre-bending roots are as deep as ever, but the goal now is to be less “noise” people and more “fun” people. The songs are weird yet cohesive, with jittery grooves and inventive hooks. Throw a dart at the album and hit “Hot Panther, Cold Moon” for one random sample: an unrelenting fuzzed-out bass dances with a insistent drums; a sharp turn into sparse tin-can-guitar break; then a return to the dance floor with a bonus overdriven bass riff and full-throttle drums. The Panther stays hot whether she’s under the “hot hot sun” or the “cold cold moon.” It’s all very irresistible and, yes, really really fun

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Lush"s fi nal studio, Lovelife, landed whilst Britpop was in full swing (Jarvis Cocker even duets with Miki on the track "Ciao!"), managing to fi t in whilst sticking to the rules they set themselves with prior albums. Produced by Pete Bartlett (Therapy?, Kitchens of Distinction), it features three of the band"s biggest singles in "Single Girl", "Ladykillers" and "500 (Shake Baby Shake)".

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Infernal Sounds are back with their 6th release on the label, this time with the combined minds and talent of Japanese based artists, Karnage and the infamous Rider Shafique on vocals. The A side, 'Realise' providers a weighty influx, featuring the elemental voice of Rider, backed by a rugged roller in the form of 'Bayside Shakedown' on the B side.

No. is the tenth Soft Riot album by Glasgow-based Canadian synth auteur Jack Duckworth (also known as JJD). With origins from the mid-nineties in the vibrant art-punk/hardcore dominating the West Coast American/ Canadian underground at the time, he has clocked in over twenty five years of musical output in various bands and projects.

No. is the logical follow-up to When Push Comes To Shove, released in November 2019 on the Glasgow UK-based label Possession Records, which saw some critical acclaim in the increasingly diverse synthwave scene — a crystallization of the artist’s signature “SynthLord” sound.

With No. things have been shaken up and pushed into new directions. Many different factors came into play, including the conditions of the pandemic lockdowns and an urge for listening to music favourites from beyond his own scene informed developments on this new record. One key feature of these tracks is that under these conditions they were developed as individual pieces — a contrasting approach from previous albums where tracks were written with an album in mind. An evaluation of all of these individual tracks in the summer of 2022 unveiled a common pattern going through these new compositions.

One can still hear any number of echoes of the spirits of original synth artists in his sound, such as Images in Vogue, The Box, Section 25, Thomas Dolby, Skinny Puppy, Chrome, Cabaret Voltaire, Fad Gadget, Japan and Bill Nelson. However, some of Jack’s halcyon punk influences surface as well, taking inspiration from legendary punk/hardcore labels such as Dischord and Gravity, as listening habits over pandemic steered back towards more guitar-based styles. The introduction of expanded production techniques, experiments with vocal styles and tones, and stylistic shifts mark a progression of Soft Riot’s sound. The result is a snarkier, urgent and more playful, with a focus on pure synthpop, new wave, art-punk, proto-EBM as well as grittier synth-punk and post-punk tones.

The variation, energy and tone of this collection of tracks illustrates Soft Riot’s ability to transcend the hallmarks of today’s music environment, which increasingly is fragmenting into smaller and smaller micro-genres. Dry wit and dark humour take the lyrics and the tone of this album on a fun ride through music scenes, dark alleys and inside jokes.

A long-awaited release, this is the 7” version of the Bob Dylan Classic “Blind Willie McTell”, out exclusively on black vinyl on August 20, 2021. The record will be available only at indie record stores and the Third Man Records online and physical stores. The 7” features two previously unreleased takes of the song, with the A-side being exclusive to this vinyl release. The B-side (take 5) will be included as part of Spring In New York: The Bootleg Series, Vol. 16 (1980-1985). The recordings on this single feature a formidable lineup of session musicians, including Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare. “Blind Willie McTell” was the first track seriously worked on at the Infidels sessions and the last attempted as recording concluded almost a month later. In the end, it did not make the Infidels album, but in 1991, the acoustic piano-guitar version that Bob Dylan and Mark Knopfler recorded the last day was released on The Bootleg Series Volumes 1-3. The full band version from the first day of the sessions will now see the light of day as part of Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Notes: ● Two previously unreleased takes of the Infidels outtake “Blind Willie McTell” ● The A-side (take 1) is not available elsewhere and is exclusive to this 7” ● Indie exclusive Packaging: Full-color glue-pocket sleeve, standard weight vinyl

Ten Numero-minted, dance floor ready dive bombers from disco’s all-to-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.

The 3rd vinyl produced by Southwax, a collective of DJ Producers and Graphic Designers based in Marseille, London, Lille and Liverpool.

Side A, a compo by the White Knight , a producer based in Marseille, in collaboration with James Bacon, cut for the dance floor with a heady sample taken from a classic French film from the 70's whose melody is easily recognisable by Vladimir C., an inspired tribute to the tradition of French Touch tracks with a Kick worthy of Chicago House.

Side B - French Disco Machine, produced by James Bacon in the style of Justice/ Sebastian, with a big techno kick and a disco sample that is destructured and filtered to the extreme. James Bacon is best known for his techno productions under the name LENSKID on Analog Records for the legendary DJ Fresh. For Southwax he has produced a sonic UFO that will shake the walls.

Maxi 45 rpm blue vinyl pressed by French sound craftsmen La Manufacture des Vinyles in Annecy.

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

Bush Tetras have made punk music at the fringes for over four decades. Flashes of reggae, bursts of noise, guitars that rattle, shake and snake, born out of a gutter behind CBGBs. Over the years they have respawned time and time again, contorting their sound, tweaking the vision, remaining singular and indispensable. In the late 2010s the group-Pat Place, Cynthia Sley, and Dee Pop-reformed again, releasing an EP, Take the Fall, in 2018. It was their first offering of new music in over a decade. A few years later in, 2021, they released a career spanning box set called Rhythm and Paranoia. The New York Times called the box set an artifact that "proves for decades that Bush Tetras continued to evolve in surprising yet intuitive directions." Around the same time, the band began working on a full length record, writing sessions during the pandemic over Zoom. Right before the release of the box set, beloved drummer Dee Pop passed away. Determined to complete the record to honor his memory, the Tetras went into the studio to finish what they'd started, once the timing was right. They brought in a new drummer, Sonic Youth's Steve Shelley, who also served as producer. Enter They Live in My Head. The band's 3rd official LP (a misleading fact when viewed along - side a catalog as expansive as it is influential), They Live in My Head is a collection of songs that sometimes reflect on the past and sometimes reckon with our current reality. From "Ghosts of People," on which Pat Place's legendary guitar meanders through closed doors and portals, to the scorching "2020 Vision," a matter- of-fact call to arms to get on the streets and get something done, the album addresses new and old, in both abstract and specific terms. But whether they're looking forward or backward, Bush Tetras have always been a political band, a band that calls out all kinds of bullshit. And, in that sense, They Live in My Head is absolutely no exception.

Bush Tetras have made punk music at the fringes for over four decades. Flashes of reggae, bursts of noise, guitars that rattle, shake and snake, born out of a gutter behind CBGBs. Over the years they have respawned time and time again, contorting their sound, tweaking the vision, remaining singular and indispensable. In the late 2010s the group-Pat Place, Cynthia Sley, and Dee Pop-reformed again, releasing an EP, Take the Fall, in 2018. It was their first offering of new music in over a decade. A few years later in, 2021, they released a career spanning box set called Rhythm and Paranoia. The New York Times called the box set an artifact that "proves for decades that Bush Tetras continued to evolve in surprising yet intuitive directions." Around the same time, the band began working on a full length record, writing sessions during the pandemic over Zoom. Right before the release of the box set, beloved drummer Dee Pop passed away. Determined to complete the record to honor his memory, the Tetras went into the studio to finish what they'd started, once the timing was right. They brought in a new drummer, Sonic Youth's Steve Shelley, who also served as producer. Enter They Live in My Head. The band's 3rd official LP (a misleading fact when viewed along - side a catalog as expansive as it is influential), They Live in My Head is a collection of songs that sometimes reflect on the past and sometimes reckon with our current reality. From "Ghosts of People," on which Pat Place's legendary guitar meanders through closed doors and portals, to the scorching "2020 Vision," a matter- of-fact call to arms to get on the streets and get something done, the album addresses new and old, in both abstract and specific terms. But whether they're looking forward or backward, Bush Tetras have always been a political band, a band that calls out all kinds of bullshit. And, in that sense, They Live in My Head is absolutely no exception.

In an era defined by futility, isolation, and precarity, it can be difficult to envision a utopia. But on Skeleten’s thrilling, immersive debut album, Under Utopia, the Sydney musician dares to imagine new ways of being that are not characterized by doom or despair. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, Skeleten praises the power of comradery and community; while dreaming of a future that is joyously boundless. 



Skeleten, real name Russell Fitzgibbon, has always been fascinated by the ideas of utopias. He’s thought a lot about how the concept has shifted and morphed throughout history, and how the goal post for a utopia is always moving further and further away. “We're more familiar with the idea of a dystopia in the modern world - that's more close to our consciousness. I think on this album I wanted to explore the importance of imaging and embodying a new world.”

Written before and during the pandemic, the album was born out of a desire to connect with others and to shake the mantle of introspection that had been placed on his previous works. From the opening notes of the otherworldly album opener “Generator”, it's clear that this record prioritises immediate pleasures without forgoing intimacy. The lyrics are also more explicit, reaching outward with inviting choruses and mantra-like melodies. “I think the album came out of the experience of feeling this great desire to reconnect and dreaming of the power of community,” says the musician.

This is especially present in lead single ‘Sharing The Fire’, a song that crackles with optimism. A sprawling dance track with pulsating synths and Fitzgibbon’s gentle, warm vocals, the song is about futures that are full of brightness and bliss. As the artist repeats in the song’s chorus: “for all that you know, summer could be around the corner.” The song is about an “almost frustrated desire to connect with more people and feel that sense of community through shared goals.” The accompanying video clip, shot on 35mm, is similarly invested in ideas of companionship and gathering. Shot in a clinical, drab office space, friends and revelers fill the space with warmth and energy.

Elsewhere, this invocation of paradise is infused in the stripped-back, singular title track “Under Utopia”. The song was significant to Fitzgibbon, as it allowed him to gather all his thoughts and ideas about his new music under one message. “It’s something I wrote when I had this collection of songs and wanted to give it a single voice, which was about seeing the world entirely new, full of hope and beauty, and all of us underneath pushing it upwards.” 

An antidote for gloom presented in Under Utopia is the transformative power of love. There’s “Heart Full Of Tenderness”, a woozy, languorous love song, awash with cloudy vocals and glistening synths; the truncated beats and hypnotic pleading of “Territory Day” and “Right Here It’s Only Love” which explores the icier and ambient side of R’n’B.


Another hallmark that characterizes Under Utopia is Fitzgibbon’s airy and spacious mix, which gives his songs room to sprawl out and simmer; as well as allowing his calming baritone to come to the fore. This is notable in the contemplative, synth-laden “Colour Room”, the funk-tinged “Walking On Your Name,” the previously released “No Drones in the Afterlife,” and the beloved early single “Mirrored,” which speaks of finding yourself through a connection to those around you.

Fitzgibbon has been enmeshed in the Sydney music scene for years. Skeleten emerged out of a need to experiment and make music without worrying about the outcome. “It was just me making music that felt right, and very much focusing on this kind of meditative aspect of exploring without any goal,” says Fitzgibbon. But as the project has evolved, the artist has gained clarity on what he hopes his music will achieve: bringing people together, and creating an atmosphere of elation. Or as Fitzgibbon puts it on Under Utopia’s hallucinatory album closer “We’re gonna get everything we need in the world.”

Lazy Reflex Complex lands their second release with a split EP by Clone's techno-ambassador Lenson and Sculpturism / Miller & Keane; two collaboration projects of Dave Miller that were produced back in 2003. Tranquilizer, originally released on the Schenk1 compilation (Onderwereld), has been remastered for vinyl and is exclusively available for the fitting format. Label head 543ff reworks Tranquilizer in an ominous and hypnotic fashion. Big room beats built to shake floors and move crowds. Mastered by Audiosculpture.

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"One Step Forward" is the debut album from Brighton based DJ and producer Cut La Vis aka David Lavis. Raised on a healthy diet of 90s hip hop, roots reggae and ska, Cut La Vis debut album for NICE UP! is a melting pot of exactly that - the sounds and culture he grew up around whilst learning his trade. Starting off as the DJ for a reggae band in his hometown of Hereford, he soon gravitated to the turntablist explosion of the mid 90s, competing in local competitions and B-Boy jams. At the same time, his love for dub and roots reggae led him into trying his hand at the fertile reggae mash-up scene, making a name for himself with an array of dancefloor shaking blends of classic hip hop tracks infused with a feel good skank, as well as remixes for for artists such as Blend Mishkin, Dreadsquad and Max Rubadub. Making the transition from mash-up maverick to original producer, you can still expect the same reggae infused bangers, dubwise hip hop and ska shakers complemented by an impressive array of guest vocalists plus a little help from a tight band of session musicians. Following their summer hit "Still Have The Love", London-based reggae/soul singer Maddy Carty appears on a number of tracks, as well as Bristol songstress Eva Lazarus who has been bothering the top 40 recently alongside Etherwood (Hospital Records). Roots Manuva collaborator and Speech Debelle's Mercury-winning producer Lotek blesses the mic on the bouncing "Rinse & Repeat" as well as UK Dancehall legend Tippa Irie who crops up on "Love My Music" pus an appearance from regular collaborator Mystro who opens the album with "Hit Me One Time". Rounding things off are JA dancehall MC Peppery and vocalist from Origin One, Parisa - giving the album a healthy balance of established artists and newer talent. With a cheeky nod to the classic Max Romeo track, "One Step Forward" also refers to this being Dave's debut album and making his first step into the future whilst retaining inspiration from the past.

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

Am 4. November veröffentlicht PJ Harvey eine Sammlung von B-Seiten, Demos und Raritäten.

Die Sammlung beinhaltet 59 Tracks der letzten drei Jahre und wurde von Jason Mitchell zusammen mit dem langjährigen Produzenten von PJ Harvey neu gemastered. Zusätzlich enthält die Sammlung 14 zuvor unveröffentlichte Songs und gibt Fans die Möglichkeit, die bereits veröffentlichten Songs erneut zu genießen.

Zudem zeigt das Artwork bisher unveröffentlichte Archivfotos.

Diese Sammlung ist als 3CD und LP Box Set erhältlich.

The Remainder comprise of Blancmange’s Neil Arthur (vocals, guitar and synthesisers), solo artist Finlay Shakespeare (synthesisers and vocals) and Liam Hutton (drums, guitar and synthesisers). The latter - best known for his work with Boxed In, Neneh Cherry and more recently, Young Fathers - initiated the writing process back in 2015. ‘There was never a clear brief or definition of the project that we were working towards collectively’, he explains. ‘It was always a completely open statement.’ The trio’s crisp, glacial rhythms, cascading synths, shadowy psychedelia, absurd humour and lyrical x-rays of everyday life all feature strongly on their forward-looking debut album. The hypnotic, beat-driven songs are a way of venting; facing up and expressing a strange new positivity in spite of all the darkness. Each song is also linked by interludes created by Liam’s mother Jo Hutton, a recording engineer and composer/sound designer of experimental music and sound art.

Barcelona's Oscar Escapa debuts on DCLTD with a trio of searing cuts. 'Motion' brings in a propulsive atmosphere, a building tool essential for every set. 'Shake' is an absorbing percussive rattler, dynamic and colourful with lots of interesting sounds throughout while 'Lights' is a classic peak time loop, crunchy and rhythmic.

Critically acclaimed songwriter, fashion mogul and electronic artist Honey Dijon is back with a vinyl package of exclusive remixes from her sophomore album ‘Black Girl Magic’, which saw the trailblazer receive recognition from major international outlets, cementing her as a globally relevant superstar. ‘Slap! EP’ features remixes produced by Honey in collaboration with Classic label boss Luke Solomon; the two previously collaborated on Beyoncé’s chart-topping album ‘Renaissance’, receiving GRAMMY Awards for their musical contributions. Four tracks from ‘Black Girl Magic’ are revisited with a tougher, club-ready approach, adding a hefty weight to the already driving releases; ‘Show Me Some Love’ with Channel Tres featuring Sadie Walker gets a treatment that is sure to Shake The Earth, while Honey’s collaboration with Mike Dunn & Ric Wilson ‘C’s Up’ shows off the sound of The Southside, Chicago, in one pounding re-edit. ‘It’s Quiet Now’, featuring 90s RnB-inspired vocals from Dope Earth Alien, receives a chugging Sunlight Remix while ‘Not About You’ gets a Set You Free Remix, liberating the mind with a relentless four on the floor kick. Made with the club in mind, Honey Dijon and Luke Solomon prove again they are a pairing that can’t be beat.

Grammy-winning producer, composer, guitarist and songwriter Blake Mills returns with his first solo record since 2020’s Mutable Set, co-produced by Blake and experimental artist Chris Weisman.



Blake Mills has released four acclaimed solo albums and produced, played and recorded with artists such as Fiona Apple, Alabama Shakes, Phoebe Bridgers, Perfume Genius, Moses Sumney, Bob Dylan, Laura Marling, Cass McCombs, Weyes Blood and Randy Newman, among others. His album Mutable Set, released in in 2020, was praised by Pitchfork as “a hushed collection that floats through the subconscious like a tender dream” and earned their Best New

Music title. Most recently, Mills worked as the Executive Music Producer and chief songwriter on Amazon Prime’s limited series Daisy Jones and the Six.

Dutty Rock ist das zweite Studioalbum des jamaikanischen Reggae/Dancehall-Künstlers Sean Paul.

Es wurde am 12. November 2002 veröffentlicht und enthält vier Top-15-Hits der Billboard Hot 100, "Gimme the Light", "Get Busy", "Like Glue" und "I'm Still in Love with You". Am 29. September 2003 wurde es inklusive der Hit-Single Baby Boy wiederveröffentlicht.

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Superb new LP from the crew... Magestic tunes, dancefloor, melting new tricks to the old shcool style of each... Defenitly a beautyful pack of anthem ! Soon at a cinema near you:)

PJ Harveys zehntes Studioalbum 'I Inside the Old Year Dying' ist ihre erste Veröffentlichung seit sieben Jahren, nachdem sie mit 'The Hope Six Demolition Project' auf #1 der britischen Charts (#11 der deutschen Charts) landete. Auf diesem Album, das mit ihren langjährigen kreativen Mitarbeitern John Parish und Flood aufgenommen wurde, erschafft PJ Harvey ein klangliches Universum, das sich in einem Raum zwischen den Gegensätzen des Lebens und zwischen der jüngsten Geschichte und der alten Vergangenheit befindet. Durchsetzt mit biblischen Bildern und Anspielungen auf Shakespeare, lösen sich all diese Unterscheidungen letztlich in etwas zutiefst Erhebendes und Erlösendes auf.

Feel the ground shake beneath your feet as swarms of infected march towards your colony! The soundtrack for They Are Billions was composed by Nicolas de Ferran, a prolific composer who already has about fifteen soundtracks to his credits and experience as a Music Editor on OSTs like A Plague Tale: Innoncence, Vampyr, and more.

Due the game's humble beginnings, the music was originally produced on a low budget, using only samples and virtuals instruments.

However, following the overwhelming success of the Early Access, the music was re-orchestrated and completely re-recorded with the National Slovak Symphony Orchestra in Bratislava. A 60-piece orchestra recorded the music for the game for an entire day in the concert hall of Slovak Radio, with sound engineer Peter Fuchs (known for Fable, Total War, Call of Duty and more).

With its cinematic epicness, stressful ambiences and inspiring melodies, this album is a must-have awaited by the whole community! "They Are Billions has been an incredible experience in my career and I'm very happy to be able to keep the music of this game alive with Microids Records" Nicolas de Ferran

A1 - Interconnected

Taking the reigns again for his latest solo EP, Aural Imbalance opens in style as Interconnected blends delicate keys and ambient soundscapes swirling together creating a sumptuous, serene intro before brisk amen patterns gently roll their way into the mix, filtered perfectly and set over silky, graceful 808 undertone bass, transporting your mind across the oceans to distant shores - while equally catering for the discerning dancefloor.

A2 - Solitude

Aural Imbalance showcases all aspects of his incredible production journey on Spatial with Solitude, an anthemic, almost spiritual track with enveloping escalating swathes of powerful somber mood ambience, set upon finely crafted rousing drum patterns which punctuate proceedings perfectly. Solitude is a track which lives long in the memory - it is an experience you will identify with on your own level, within, as the title suggests.

AA1 - Subliminal Messages

A melancholic, unnerving amtmosphere introduces Subliminal Messages, shaped with enchanting synthwork and light hi hats, accentuating a mournful audio landscape. As the tightly constructed breakbeats unfold, immersive sub bass adds depth and presence to the mix and the listener is taken on a meditative voyage to the inner spirit, challenged to understand and reflect.

AA2 - Sentience

Closing the EP, Aural Imbalance shakes things up again as Sentience carves a more upbeat vibe, a beautiful addictive earworm melody composed with gently refined keys instantly grabbing the attention. Filtered breaks are slowly introduced before announcing themselves fully, a sublime drum loop layering a dynamic percussive energy as the catchy melody captivates us throughout.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

From Alehouse to Playhouse Bjarte Eike and his barnstorming Barokksolistene capture the vital spark of Restoration London’s entertainment scene with a captivating new recording for Rubicon Classics! The Playhouse Sessions will be released on 23 September 2022 to coincide with Barokksolistene’s concert double-bill at London’s Southbank Centre.

‘A smattering of Purcell, dances from Playford’s Dancing Master, shanties, reels and ballads succumb to a nine-piece ensemble drawing on Baroque, jazz and folk styles for a no holds barred hooley of riotous improvisatory give and take,’ (BBC Music Magazine review of The Alehouse Sessions, August 2019)

London’s musicians, pushed in the 1650s, to the margins of society by order of Oliver Cromwell, found room for new forms of entertainment in city-centre taverns and alehouses. They remained there long after the restoration of the monarchy, performing sets of dances, theatre songs and bawdy ballads to audiences glad to be free from Puritan constraints on pleasure.

Norwegian violinist Bjarte Eike and his Barokksolistene have restored the spirit and substance of those long-forgotten performances with their Alehouse Sessions, hailed by The Times as ‘irresistible’ and ‘fabulously unrestrained’ by The Guardian. Five years ago the Norwegian violinist and his band scored a best-selling album with The Alehouse Sessions on Rubicon Classics. They return to the label with another compelling collection of music and words of the kind on offer more than three centuries ago at Henry Purcell’s favourite Westminster watering holes. The Playhouse Sessions, set for release on Rubicon Classics on 23 September 2022, reflects the uplifting energy and engaging emotional contrasts of Barokksolistene’s Alehouse performances.

“The album contains a sort of inner narrative that runs through the recording,” says Bjarte Eike. “It has become like a play in its own right, with each track being a small tale within a larger story.” The recording’s tracklist includes Eike’s beguiling arrangements of music from Purcell’s semi-opera The Fairy Queen and his own original compositions on words from the play on which it is based, Shakespeare’s A Midsummer Night’s Dream; popular songs and ballads such as ‘The Irish Washerwoman’, ‘I often for my Jenny strove’ and ‘The Three Ravens’; tunes from Purcell’s welcome odes and stage shows, Come ye sons of art and Dido and Aeneas among them; the ‘Willow Song’ from Shakespeare’s Othello; Eike’s own voice in Puck’s monologue from Act 5 of A Midsummer Night’s Dream; and John Dowland’s sublime air ‘Can she excuse my wrongs’.

London’s theatres were closed at the start of the English Civil War in 1642 and remained shut until the Restoration. Alehouses offered redundant musicians, actors and dancers a place to scrape a precarious living and soon became their creative refuge. “Although a few surviving theatres reopened in 1660 with the return of Charles II, there was little money around to rebuild those that had been demolished,” observes Bjarte Eike. “And a generation of musicians had already found an audience in places like the Black Horse in Aldersgate Street. So popular were their alehouse sessions that Cromwell tried to abolish them! But they outlived him and became part of Restoration musical life.” The form of a Barokksolistene Alehouse, he adds, is like a creative room. “Within its framework I can frequently refurbish the show with new contents. The Playhouse project is likewise an extension of the ever-evolving Alehouse Sessions. Together they tell the story of music and theatre in London during Cromwell’s time and after the Restoration. Of course there’s an historical context to what we do. But there’s also the practical context – which is even more important to me – of connecting with a contemporary twenty-first century audience. An Alehouse / Playhouse performance is not something for the museum; it's about music made in the present moment, just as it was in the London alehouses of Purcell’s day -- with their playhouses annexed to the rear of the beer-drinking saloons. The encounter of musicians onstage and the audience in the hall is the real magic of it. We have to fuse the audience into the action of our performance!”

The Playhouse Sessions will be launched on Friday 23 September with a late-night concert at the Purcell Room and a post-concert Alehouse Session in the foyer of the Queen Elizabeth Hall. Soprano Mary Bevan is set to join Eike and his Alehouse Boys for the first half of their Southbank Centre double-bill, offering unique interpretations of songs from Purcell shows and other hits from the late seventeenth-century London stage. “The Southbank Centre is a direct descendant of concerts given in the 1650s in the alehouses of London,” notes Eike. “These alehouses after all staged some of the world’s first public concerts. Later, after the Restoration, it became common for promoters to advertise alehouse concerts in the press and offer subscription tickets. Purcell and his fellow musicians were thus just as at home performing there as they were in the chambers of the royal court or in London’s new theatres.”

Bjarte Eike launched his Alehouse Sessions in company with like-minded musicians 15 years ago. The ensemble comprises a core of regular performers, all of whom have committed to memory a huge setlist of up to four hours of music. Typically they meet a day or so before a concert tour to share a meal and make music together; then next day, re-grouping thirty minutes before the show, they discover Eike’s select-menu for the evening. “That ensures that every show is fresh,” he notes. “I make sure we never repeat the same programme twice. It’s therefore essential to work with people who share my outlook and dare to adventure. We’re into a high-risk sport, with lots of traps and places where the unexpected appears - for good or for ill. And so the audience knows we’re vulnerable. But our skill is seen in how we re-act on the hoof to the unpredictable. That’s authenticity and honesty - and above all it’s a performance that’s genuine.”

Armed with a classical training and a background in folk music and improvisation, Bjarte Eike was drawn naturally to Early Music in all its stylistic variety. “I never really felt at home with only one genre,” he recalls. “Early Music allowed me to study profound, complicated compositions, but performing it has also opened up the chance of rebellion and uproar! Early music offers wide, multi-faceted areas of musical exploration for me. You find, for instance, links to different types of music wherever you look in seventeenth-century English repertoire. And I am fascinated by all these connections. They offer a foundation for the Alehouse Sessions and for all Barokksolistene performance more generally. Every member of the group plays, sings, dances and improvises without limitation. We’re all interested in the many different fields of being a stage performer and pushing hard at the ‘normal’ boundaries of what it means to be a classical musician.”

Repress

2x February Griessmuhle closing party, it was a Monday during the day I had a hard weekend but I know the last party from Griessmuhle is still running (one day longer already) I ended up playing that night because Tham made the closing with the other synoid resident Acierate in B2B. We ended up doing an eternal afterparty at my place until Wednesday morning when he showed me this track and immediately closed it for KAOS.

Following this iconic moment in the history of contemporary Berlin club culture. Alexander Repro strikes the third tune on KAOS being the first one to made it to such a number. This techno-trance cinematic bomb will make the basements and warehouses shake whenever they let us rave in them. The Soundtrack for the post-corona movement that we all hope is about to come.

Stealing the show with his first appearance, you may have heard of him with his continuous prolific bomb outcome in Lobster Theremin, his classy Eurodance edits or his mighty U4E compilation. One of the most talented out there right now. And we will hear much more from him soon. Warm welcome to Julian Muller with a song dedicated to his mother Nancy. Keep the fire bro!

Closing the record, one of the classiest of its kind, Binary Digit post-melancholia around 150BPM acid that will make you feel as hopeful as happy and as sad. Feelings overload.

In pure Herrensauna fashion, wearing DIY decolored pants I type: "this is bleached punk" for disc-jockeys and collectors.

Mungo’s Hi Fi return with their exciting new vocal project Past And Present. Released on their Dumbarton Rock label, it’s the eagerly awaited vocal companion piece to 2021 dub album Antidote. Past And Present is unique for Mungo’s in being devoted to the Rub A Dub reggae style that arose in late 70s and early 80s Jamaica. The record has its roots in both past and present. Back in 2021, Mungo’s responded to the pandemic with the dub project Antidote, an album of reflection among wide spaces and nature. As the world has reopened, Past And Present celebrates the return of verbal communication and dancing to hypnotic basslines, with the original vocal cuts by veteran and rising microphone talent. The haunting voice of French pure singjay Pupajim encourages us to face living in the now, on title track Past and Present. Pioneering Jamaican female deejay Lady Ann toasts the importance of Good Lovin’ over a sensual, waist-winding rhythm. Ethereal UK neo lovers rock singer Hollie Cook revisits her classic Sugar Water, floating above a sparse and eerie future Rub A Dub soundscape. Honey-toned Londoner Kiko Bun exudes confidence and humility as a Riddim General while veteran talker Solo Banton shakes up the dance on his seismic, much requested, We Pulsating. The biblical voice of Jamaican legend Prince Alla sounds fresh on a revisit to his immortal Only Love Can Conquer. Fellow elder statesman of reggae Johnny Clarke contributes the sole non Rub A Dub offering with the “Flying Cymbals” driven, deep roots track Rain Keeps On Falling. French singjay Shanti D and Israeli chanter Ranking Levy pair up on the mighty Jaqueline rhythm for a warning against Total Disaster. The prodigious Charlie P joins Godfather of UK emcee-ing, Daddy Freddy, to request freer movement on Control The Border. The final statement is without words or vocals: as Mungo’s production team take centre stage for the soaring Birds Of Vice – the A side to Antidote’s closing dub, Birds Of Pleasure. In reggae, the vocal traditionally precedes the dub. By completing their pairing of Antidote with Past and Present, Mungo’s have flipped the script and reversed the process – crafting a loving tribute to Rub A Dub’s rolling basslines and upward vibes in a modern style

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

FOR FANS OF: ROLLING STONES, GUNS N`ROSES, AEROSMITH.
Seit über 45 Jahren sind AC/DC eine nicht wegzudenkende Rock-Institution. Millionenfache Tonträgerverkäufe, ausverkaufte Tourneen, unzählige Hits und Auszeichnungen gehen auf das Konto der erfolgreichsten Hardrock Band aller Zeiten. Wir blicken zurück in die Vergangenheit der RockTruppe: 1985 startete die World-Tour zum Album "Fly On The Wall" von Angus, Brian & Co. und machten auch in der texanischen Metropole Dallas einen Stop. Das Konzert wurde damals vom US-Radiosender RCM-FM mitgeschnitten und später den amerikanischen Fans präsentiert. Endlich gibt das Kultkonzert nun auf einer strikt limitierten 10inch Schallplatte; gepresst in transparentem Vinyl mit edlen Splatter-/Splash-Effekten inklusive den
Hits Fly On The Wall, Back in Black, und viele mehr.

180g double LPs, 45 RPM. Hot off the back of this year's critically-acclaimed new album 'New York City', Brooklyn punk institution The Men are back already with a Fuzz Club Session album due out digitally and on limited double LP vinyl June 23rd. Recorded live to tape at Brooklyn's Serious Business Studio by Travis Harrison, the live session sees the Men storm through three tracks from 'New York City', one from 'Devil Music', a cover of English punk band Blitz and nine-brand new tracks that have never seen the light of the day until now, ranging from blistering noise-rock and cathartic rock'n'roll to lo-fi country-rock and hypnotising drones. This is the 20th release in the Fuzz Club Session series from London-based label Fuzz Club, which has previously hosted the likes of A Place To Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more.

Richard Lamb’s second and (presumably) final release under this moniker is a bit of a special one. Lamb starts off with ‘Salt Lick’. A track with beautiful, lush, sunny sounds that lure you into an unexpected world of electro, heavy bass and more dance orientated tracks like ‘A Life In Harmony’.

Following up his first EP ‘Automatic Tango’ on his own Montreal based Temple imprint, there’s still hints of early Moog greasiness but overall it’s a more decisive production compared to the previous one. Intricately layered percussion mixed together with dreamy pads take you on a journey to a hidden Utopia where tight arrangements and tribal-esque rhythms dictate the pace. Once more we are shown how versatile Lamb’s productions are and how he juggles genres freely, ranging from dub to electronica, experimental, idm and techno.

The second side of this EP features two remixes by non other than Norwegian DJ and producer DJ Sotofett. A heavyweight in the electronic music scene who needs little introduction takes on the EP’s title track ‘A Life In Harmony’ and turns it into two electro-acid pieces ready to tear up any dance floor, or anything else for that matter. Surrender to the acid and indulge in these masterful tracks.

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

Tief im glühenden Kessel von Texas haben die Alchemisten von Necrofier (mit Mitgliedern von Night Cobra, Oceans of Slumber, Venomous Maximus, etc.) mit ihrem zweiten Album "Burning Shadows in the Southern Night" eine weitere starke Dosis amerikanischen Black Metals gebraut. Das Vierergespann aus Houston besinnt sich auf die bewährten Tugenden des traditionellen Black und Heavy Metal und wählt einen organischen Klangansatz, indem es den siebenfach Grammy-nominierten Produzenten und Tontechniker Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) engagiert, um einen natürlichen Sound zu erzeugen. "Burning Shadows in the Southern Night" wird bei all jenen, die es wagen, dieses bösartige neue Werk zu hören, mit Sicherheit ein Gefühl der Nostalgie hervorrufen.

FFV: Immortal, Rotting Christ, Blackbraid, Uada, Cloak

High Roller Records, reissue 2023, black vinyl, ltd 200, insert, poster, Audio mastered and restored by Patrick W. Engel in September 2021